Breaking the vase

The "Indefinite Vases" project by Stockholm-based multidisciplinary design practice Studio E.O explores the dynamic relationship between organic and geometric forms, and between transparent and opaque materials. This series utilizes handblown glass and meticulously cut stone to create a collection of unique vessels. The design process involves melting and cooling traditional vase forms directly onto sharp, angular stone bases, resulting in a distinct interaction where gravity plays a crucial role in defining the final shape. The project intentionally blurs the lines between sculpture and container, as well as between functional and decorative objects. The core concept revolves around the contrast between the fluid, malleable nature of the handblown glass and the rigid, defined structure of the stone platforms. This juxtaposition highlights the interplay between a delicate, fragile material and its solid, unyielding counterpart. The glass appears to "melt" onto the stone, adopting its contours and creating a seamless, yet visually contrasting, union. Each vase becomes a site-specific creation, molded by the precise interaction with its individual stone base. Studio E.O's approach emphasizes the inherent characteristics of each material. The handblown glass, with its inherent imperfections and fluidity, is allowed to naturally conform to the sharp edges of the cut stone. This process ensures that no two vases are exactly alike, each possessing a unique form dictated by the forces at play during its creation. The transparency of the glass further enhances this effect, allowing light to interact with the forms and reveal the subtle variations in thickness and texture. The angular stone bases provide a stable and strong foundation, contrasting with the soft, flowing lines of the glass. The selection of stone, likely chosen for its aesthetic and structural qualities, complements the ethereal quality of the glass. The project statement elaborates on this exploration, highlighting how "indefinite melting material interacts with definite angular forms and gravity determines the relationship in between." At the time of its release, a limited number of these "Indefinite Vases" were made available through Galerie kreo, a renowned gallery specializing in contemporary design. The project demonstrates Studio E.O's innovative use of traditional materials and techniques to produce pieces that challenge conventional notions of form and function. The collection serves as an example of how careful consideration of material properties and natural forces can lead to compelling and visually striking design outcomes. #glass #sculpture #vessels #StudioEO #handblownGlass #stoneArt #design #artisticVases #materialContrast

The French-based design firm AD-3D, led by Bulgarian designer and artist Aleksandar Dimitrov, has introduced an innovative 3D-printed accessory called 'clip on glass.' This creation transforms an ordinary drinking glass, specifically the IKEA Pokal glass, into a functional vase for flowers. The design aims to add a secondary purpose to everyday items through a simple yet effective modification. The 'clip on glass' is engineered to be minimalistic while maintaining full functionality. Measuring 9 x 9 x 6 centimeters, the object is optimized for material efficiency, utilizing a minimal amount of polyamide. Polyamide was selected for its strength and flexibility, critical properties for the 'clip' mechanism. The material's fine surface texture allows for the necessary expansion and contraction during the clipping process, ensuring a secure fit without compromising the integrity of either the accessory or the glass. The design ethos behind 'clip on glass' centers on enhancing existing household items rather than replacing them, promoting a sustainable approach to home decor. By leveraging 3D printing technology, AD-3D offers a customizable and accessible solution for users to repurpose their drinking glasses. The ease of attaching the accessory means that users can effortlessly switch between the glass's original function and its new role as a vase, providing versatility in home styling. This project highlights the potential of additive manufacturing in creating practical and aesthetically pleasing objects for daily use. The ability to produce complex geometries with minimal material waste makes 3D printing an ideal method for such small-scale, high-utility designs. The product serves as an example of how thoughtful design can integrate new functions into common objects, extending their lifespan and utility. Aleksandar Dimitrov's work with AD-3D demonstrates a forward-thinking approach to product design, focusing on user-centric solutions and the innovative application of modern manufacturing techniques. The 'clip on glass' accessory is not only a decorative item but also a statement on adaptable design, encouraging creative uses of everyday objects and showcasing the transformative power of 3D printing in the realm of home accessories and functional art. #3DPrinting #HomeDecor #ProductDesign #IKEAHack #SustainableDesign #FunctionalArt #AleksandarDimitrov #AD3D #Polyamide

Raili Keiv, an Estonian designer, has created a unique line of ceramic vases called the "Dancing Vase." These vases are characterized by their rounded bases, which allow them to move and swing when touched, reminiscent of a traditional Estonian balancing toy known as a Jonnipunn or roly-poly doll. Keiv's fascination with porcelain began early in her career, and she has since dedicated herself to creating ceramic objects that blend artistic expression with functionality. Keiv's design philosophy emphasizes the connection between her artworks and the intrinsic properties of the materials she uses, often incorporating wood into her ceramic pieces. Despite the machine-like precision evident in her finished products, each Dancing Vase is entirely handmade in her studio, reflecting her commitment to artisanal craftsmanship. She values the tactile process of creation and continues to work with her hands, even as she explores the technical boundaries of porcelain as a medium. Functionality is a key consideration in Keiv's designs. The Dancing Vase was developed out of a practical need to create a vessel that would accommodate classic flower arrangements without compressing the blooms, while also being easy to clean. The rounded base, inspired by the Jonnipunn, not only provides its distinctive movement but also addresses these practical concerns. The Dancing Vases are available through NID, a brand that offers them in various sizes and finishes. These finishes include marbled, green, mirrored, and pearl, providing a range of aesthetic options to suit different tastes and interior decor. The sculptural form and interactive nature of the vases aim to evoke nostalgic memories for Estonians who grew up with the traditional roly-poly dolls. Keiv, a graduate of the Estonian Academy of Arts, views her creations as miniature architectural pieces for the home. Beyond their artistic and functional qualities, her ceramic objects are designed for longevity, ensuring they can be enjoyed for decades. This focus on durability also contributes to a more sustainable, or "green," footprint, aligning with contemporary interests in lasting design and environmental consciousness. The collaboration with photographer Albert Kerstna ensures the aesthetic qualities of her designs are effectively captured and presented. #RailiKeiv #DancingVase #CeramicArt #HomeDecor #EstonianDesign #PorcelainCraft #HandmadeVases #InteriorDesign #FunctionalArt

The 'Vase with Stone' project, a collaboration between designer Martín Azúa and Marc Vidal, integrates craftwork and natural elements without artificial intervention, emphasizing the intrinsic honesty of both materials and artisanal techniques. This collection extends Azúa's earlier work from 1998, where he explored the interaction of porous ceramics with natural elements by submerging them in a river to absorb natural stains. In this current iteration, the project highlights the capacity of an organic component, specifically raw stones, to engage in a dialogue with a traditional craft process. The design methodology involves shaping the ceramic while it is still in its plastic stage, allowing the raw stones to interact with and deform the material. This interaction results in unique forms where the stone appears to exert its force directly on the ceramic surface, creating distinctive indentations and warps. The intention is to showcase an unrefined beauty, celebrating the inherent characteristics of the materials rather than imposing a completely controlled design. The raw stones used in the project are sourced from Colera on the Costa Brava and Catalonia, regions known for their natural landscapes, thereby linking the objects to their geographical origins. The vases are crafted from a highly porous white clay, a material choice that enables the observed distortions. This porosity also means the vases are not intended to hold water for fresh flowers, as they would act as filters. Instead, their purpose is purely decorative, serving as aesthetic objects that highlight the interplay between natural and crafted forms. The focus is on the beauty derived from their unrefined appearance and the narrative of their creation. Each vase in the collection is individually signed and numbered, reinforcing its status as a unique piece of art. They are delivered accompanied by the specific Colera stones that were instrumental in their formation, further emphasizing the direct connection between the natural element and the final ceramic form. This practice ensures that each owner receives not just a vase, but a complete narrative of its making, including the natural artifact that shaped it. The project demonstrates a philosophical approach to design, where natural processes and material properties are given prominence. It explores themes of collaboration between human craft and nature, the beauty of imperfection, and the potential for objects to tell a story through their form and origin. The resulting ceramic vases are sculptural pieces that stand alone as beautiful items, inviting contemplation on the balance between deliberate design and organic influence. #MartínAzúa #CeramicVases #RawStones #Craftsmanship #NaturalDesign #ProductDesign #SculpturalArt #Designboom

The "Innesti" series, developed by designers Alexandra Denton and Sofia Lazzeri, introduces a collection of vessels that seamlessly integrate glass and textiles. The name "Innesti" is derived from the Italian word for grafting, a botanical process involving the fusion of tissues from two distinct plants to cultivate new varieties. This concept serves as the foundational principle for the project, which aims to merge disparate materials to generate novel forms and aesthetic experiences. The core idea behind Innesti is to combine the inherent qualities of a hard, rigid material like glass with the soft, pliable nature of textiles. This juxtaposition results in a compelling visual and tactile harmony, where the seemingly contradictory characteristics of the materials complement each other, creating a sense of belonging and unity. The designers intentionally chose these materials to highlight their individual voices and to stimulate an aesthetic appreciation that thrives on contrasts. This approach celebrates the unique properties of each component while showcasing how they can be harmoniously integrated. Innesti is not merely about combining materials; it is also a deliberate exploration of knowledge and tradition within design. By drawing inspiration from the ancient technique of grafting, Denton and Lazzeri infuse their contemporary design with a reverence for established practices. The project underscores the potential for innovation when traditional methods are reinterpreted through a modern lens, emphasizing the enduring relevance of craftsmanship and material understanding. The series was prominently featured at Greenhouse during Stockholm Design Week, an event recognized for showcasing emerging talent and innovative design concepts. Its exhibition there highlights the project's significance in the broader design landscape, drawing attention to its inventive use of materials and its thoughtful conceptual framework. The public presentation allowed for a wider appreciation of how Innesti challenges conventional perceptions of material compatibility and opens new avenues for design exploration. Through Innesti, Alexandra Denton and Sofia Lazzeri offer a compelling narrative about the transformative power of material synthesis. Their work demonstrates that by thoughtfully combining diverse elements, designers can create objects that are not only visually striking but also imbued with deeper meaning, fostering a richer aesthetic and intellectual engagement with everyday objects. The project serves as an example of how designers can push boundaries by exploring the interplay between contrasting textures and forms, ultimately enriching the discourse on material innovation and design artistry. #InnestiVessels #AlexandraDenton #SofiaLazzeri #GlassTextileDesign #MaterialFusion #DesignInnovation #StockholmDesignWeek #ContemporaryDesign #HomeFurnishings

This blog post highlights a diverse collection of design-oriented products spanning homewares, lifestyle items, and apparel, each chosen for its unique aesthetic and functional qualities. The selection begins with the DOIY Acquedotto Vase, a ceramic vessel inspired by Roman architecture, available in single and double arch designs with marbled patterns. This piece merges architectural influence with floral display, offering a distinctive decorative element. Following this, the Rayleigh Desk Lamp by Sean Augustine March is featured, an illuminating sculpture crafted from dichroic glass that produces striking optical effects through light refractions, colors, and geometric shapes, mounted on a wood base with a long-lasting LED. For music enthusiasts, Sampa the Great's second album, 'As Above, So Below,' is presented as a pre-order on opaque peach vinyl from Vinyl Me Please. The album, recorded in Zambia and Botswana, blends hip-hop with various African genres and R&B, offering a dynamic experience of self-exploration and joy. Complementing a laid-back lifestyle are Canna Style Pink Cones, pre-rolled, hot-pink metallic-tipped cones designed for ease of use and a smooth smoking experience with slow-burning paper. The Lalo + West Elm Kids collaboration introduces 'The Chair,' a versatile piece that functions as both a high chair and a play chair. This item boasts a sleek acorn finish, a five-point safety harness, non-toxic tray, and a machine-washable cushion, with 50% of proceeds supporting No Kid Hungry. The Bucatini Candle Holder from Copenhagen-based (a.o.t) studio showcases an exploration of aluminum's versatility, featuring a sculptural and winding form in various colors, hand-crafted to offer unanticipated dimension. For the kitchen, Freckled Fuchsia's Papaya Tea Towel, designed by Chandlyr Jackson, adds color and whimsy with its geometric papaya print on 100% natural cotton flour sack. Sustainability is emphasized with the Avocado Green Mattress Wood Stool, a classic timber stool with whimsical curves made from upcycled beechwood and non-toxic finishes as part of their Zero Waste collection. Awagami's Hand-Dyed Indigo Uchiwa Fan, a traditional Japanese non-folding fan, is hand-dyed by artisans in an ombre pattern using kozo paper and bamboo, reflecting Japanese craft. Apparel includes the MAAP Evade OffCuts Pro Jersey, a limited-edition cycling jersey made from repurposed excess fabric, designed for performance and environmental consciousness. The Real Bad Man Psychic Plant Tie-Dye Shirt features a playful, psychedelic graphic inspired by plant communication. For outdoor and casual activities, the Snow Peak Soft 18 Cooler offers a minimalist aesthetic with functional insulation, while Duvin Design Company’s Banana Leaf Button Up Shirt, inspired by '80s surf culture, provides a relaxed, tropical look. The YOWIE Zipper Candle, with notes of black pepper and bergamot, encourages exploration with its smoky and sweet aroma housed in sleek black packaging. Lastly, the Homa Studios x Pétales et Plantes Trio Vase, combining 3D printing and ceramic artistry, presents an eclectic and tilted design to enhance floral arrangements. #HomeDecor #DesignProducts #LifestyleItems #SustainableDesign #HandmadeGoods #FashionApparel #MusicAlbums #Kitchenware #OutdoorGear

The annual 1000 Vases exhibition in Paris, founded in 2018 by Francesco Pirrello, celebrates the vase not merely as a container for flowers, but as a standalone object of art. Pirrello's vision for the exhibition prioritizes unique pieces from independent and emerging artists, asserting that a truly good vase does not require flowers to demonstrate its aesthetic merit. This perspective was inspired by his friend Roberto Baciocchi, an Italian architect and avid vase collector. Initially conceived to feature a large quantity of works, symbolizing abundance and diversity much like the '1000-sheet' delicacy of mille-feuille or the fables of 1001 Arabian Nights, the exhibition ultimately adopted a 'less is more' approach, showcasing around 100 items. This adjustment aimed to allow visitors to appreciate each piece individually and engage with the artists. Pirrello observes that contemporary vase-making trends show a predominance of women artists and a preference for ceramic materials, noting that vases are accessible, affordable, and easily incorporated into any space, referring to them as "democratic objects." This year's 1000 Vases exhibition, running during Paris Design Week until September 8, highlights the works of eight participating artists, each bringing a distinct perspective and technique to the art of vase creation. Chous Ceramics, a duo from Sparta, Greece, presents hand-built sculptures that explore balance and tension, drawing inspiration from nature and Greek ceramic history. Their predominantly beige vases are characterized by voluminous bases and open, elegant rims. Belgium-based artist Dietmar Michiels, born in 1988, works with ceramic sculpture, employing coiling, plating, and throwing techniques with porcelain and glaze to create imaginative, creature-like pieces often accompanied by conversational titles. His work draws from everyday inner experiences, the mystical, historical art, the occult, and various cultural identities. Hellen Song, an artist from Shanghai now based in Toronto, uses ceramic vessels to delve into themes of the human condition, philosophy, and nature, often influenced by the supernatural and Impressionistic mark-making. Her exhibited stoneware vessel, with its blue and white tones, evokes a seascape, representing a range of emotions through the metaphor of water bodies. The collaboration between French artist Coco Brun and Mexico City-based Sten Studio yields the 'Mistico' vase, a geometric, multi-colored piece made from red travertine, Venetian marble, and pink onyx. This work pays homage to Meso-American culture, with each color carrying symbolic meaning related to rituals, fertility, and the balance of masculine and feminine energies, inspired by Meso-American architecture. Norwegian artist Karin Amdal presents 'Pluss', a pair of smooth, round terracotta pots designed to form a 'plus' sign when combined, showcasing her style of creating simple yet characterful pieces that often incorporate extensions or words. Amdal's inspiration stems from nature and everyday life, with her pieces designed to be open to interpretation and evoke a smile. Magdalena Zarychta, a multidisciplinary Polish artist specializing in decorative and stained glass, showcases her (COM)PRESSION vase. This hot-formed, blown glass object is hand-shaped, embossed, and features botanical markings, symbolizing traces of the past akin to fossils. Istanbul-based artist Sara Montazeri's coral reef-like artwork, crafted from stoneware clay, pays tribute to the 13th-century Sufi poet Rumi, incorporating his words "You are my soul and my world" in gold Farsi script, blending tradition with modern organic design. Finally, New York City-based writer and artist Emily Tate Moreu, inspired by ancient Greek pottery, creates minimalist, thoughtful pieces that explore the philosophies of form and human interaction, including greige vessels, abstract sculptures, and a stoneware candelabra. #VaseExhibition #ArtisticVases #CeramicArt #IndependentArtists #ParisDesignWeek #ContemporaryDesign #HomeDecor #SculpturalVases #DesignTrends

In the spring, patrons and neighbors of the Elite Cafe were concerned about the sale of the 35-year-old restaurant, fearing that its historic interior would be gutted. However, reassurance came with the news that San Francisco restaurateur Andy Chun, known for his sensitive 2014 remodel of Schroeder’s, was leading the buying group. Chun stated his intention to preserve much of the Art Deco interior, while offering a contemporary interpretation of the 1920s and 1930s decorative style. The Elite Cafe, located at 2049 Fillmore Street since 1981, resides in an Art Deco building originally commissioned for the Lincoln Grill in 1932. Building permits from September 1932 indicate an estimated cost of $5,000 for the structure, designed by Irvine & Ebbets in the “modernistic” style. The firm was noted for its Art Deco apartment buildings in San Francisco. For the Lincoln Grill, Irvine & Ebbets incorporated colorful tiles, with black and yellow zigzag patterns above transom windows and as wainscoting along the facade. A raised zigzag cornice and a large, repeated diamond pattern etched in cement adorned the building's top. Stepped designs framed the Philippine mahogany front doors and main plate glass window. These exterior details, along with a reconfigured neon sign from the 1980s, largely remained intact until the recent remodel, which saw the zigzag and diamond patterns obscured by black paint. Inside, the remodel, designed by BCV Architects, involved painting nearly all the wooden surfaces in shades of gray, including dark bluish slate (Benjamin Moore’s Polo Blue) for booths, the bar, and woodwork, and a charcoal color (Englewood Cliffs) for the walls. Chris von Eckartsberg, principal architect at BCV, explained that the booths had been previously painted and required refinishing. The design team aimed to maintain the cafe's essence while updating the color palette to a more luxurious collection of hues. The moldings on the high ceiling were highlighted in white, complementing a new retro-inspired white and black hexagon tile floor, which mirrored the original magnesite floor. However, most Art Deco light fixtures, whether original or added through previous renovations, were removed. Curved Art Deco glass sconces in the booths were replaced by small brass lampshades, which were described as more suitable for bedside reading. While the previous sconces were not original to the 1930s, the replacements were seen as less appropriate for the cafe's style. The non-working bells to summon waiters were kept, but the rails for privacy curtains were over-polished. A press release announcing the reopening mentioned the use of marble and brass for working surfaces to acquire a graceful patina over time. Many existing fixtures with their own patina were discarded for new "faux" old elements. The previous ceiling lights, white milk glass in a skyscraper shape with era-appropriate fans, were replaced by cheaper-looking fixtures that unsuccessfully attempted a Deco style. A mahogany workstation separating the kitchen from the dining room was replaced by an out-of-place mesh-like charcoal drape. The most significant change was the repainting of the back bar, which previously showcased the warmth of polished mahogany reflecting bottles and glasses. The new bar, along with the booth tabletops, was covered in white, veined Carrera marble, providing a more utilitarian but less comforting surface. The Elite Cafe, along with other historic San Francisco restaurants like Tadich Grill, Sam’s Grill, and the Far East Cafe, are among the few that retain elements of their original interiors. While Chun and his team preserved the restaurant's basic structure, largely by painting over existing elements, this approach is criticized as an easy solution for interior designers, leading to a space that has lost decades of warmth and character. #ArtDeco #HistoricPreservation #RestaurantDesign #InteriorRemodel #SanFrancisco #ArchitecturalHistory #EliteCafe #DesignCritique #UrbanLandmarks

The "2x Glass Vases" collection, created by Assembly Design, features unique glass vases that give the impression of ice crystals forming both on their interior and exterior surfaces. This distinct aesthetic is achieved through the application of master glass-blowing techniques, ensuring that each vase in the collection is entirely one-of-a-kind. The creation process for these vases involves the careful integration of broken glass shards into a freeform glass bubble. This bubble is initially shaped through mouth-blowing, a traditional glass-making method. Following the initial blowing, the piece undergoes a meticulous process of repeated heating and hand-molding. This iterative shaping and heating allow the glass shards to become seamlessly embedded within the vase's structure, transforming them into integral sculptural elements. The purposeful incorporation of these glass fragments is what contributes to the vases' unique, crystal-like appearance, giving them a texture and visual depth that distinguishes them from conventional glasswork. The manual and repetitive nature of the shaping process ensures that while they share a common design principle, no two vases are exactly alike, each possessing its own subtle variations in form and shard integration. Once the sculptural body of the vase is complete, the final steps involve cutting and polishing the top edges. This finishing touch refines the vase's aesthetic, providing a smooth, clear opening that contrasts with the textured body, and making it suitable for practical use while maintaining its artistic integrity. The entire production sequence underscores a commitment to craftsmanship and artistic expression, resulting in decorative objects that are both functional and visually striking. #GlassVases #AssemblyDesign #GlassBlowing #SculpturalArt #HomeDecor #UniqueDesign #ArtisticGlassware #Craftsmanship #InteriorDesign

Fredericks & Mae, a New York City home decor shop co-founded by Gabriel Fredericks Cohen and Jolie Mae Signorile, is hosting an art show titled "About Face." The exhibition celebrates vases adorned with faces, an art form that Gabriel Fredericks Cohen became fascinated with after seeing examples in Luca Guadagnino's film _A Bigger Splash_. His subsequent research revealed that ceramics featuring faces have a rich and global history, appearing in various forms across almost all cultures. The "About Face" show is currently on display at the Fredericks & Mae store in Brooklyn, running from today until November 18. It showcases the work of 33 artists, many of whom Gabriel and Jolie have either personal connections with or have long admired. The artists were given a broad prompt: to create a vessel with a face, and were encouraged to interpret this theme as widely as possible, resulting in a diverse collection of pieces. The exhibition offers a unique opportunity for art enthusiasts and home decor aficionados to view and acquire these distinctive pieces. The store is open on weekends, and viewings can also be arranged by appointment. All the artworks featured in "About Face" are available for purchase, with prices ranging from $40 to $2,400. The article highlights the versatility of these face vases, suggesting their use not only as functional flower vases—where blossoms could creatively serve as "hair"—but also as standalone sculptural elements to enhance shelves and interior spaces. The article provides a glimpse into some of the featured works, including "King Dog" by Katie Kimmel ($450), "The Unlucky Lover" by Adam Frezza & Terri Chiao ($888), "Long Hair" by Pat Kim ($500), "Cheburashka" by Betty Roytburd ($300), Untitled (OK!) vessels by Joe Sturm (from $35), and "Face Vase/Untitled" by Recreation Center ($380). Additional pieces from the exhibition can be viewed on Fredericks & Mae's Instagram feed, allowing a wider audience to appreciate the collection even if they cannot visit in person. The "About Face" show is positioned as a celebration of artistic expression and cultural heritage, offering a diverse and compelling array of contemporary ceramics. #VaseDesign #HomeDecor #ArtExhibition #CeramicArt #BrooklynArtScene #FredericksAndMae #AboutFaceShow #UniqueVases #DecorativeArts

A woman shared a frightening experience in a Facebook cleaning group when the glass top of her bathroom vanity and basin unexpectedly shattered shortly after she finished cleaning it. She had used "The Pink Stuff," a popular miracle cleaning paste, applying it gently and then rinsing it off. The woman noted that she had used the same product on the same sink previously without incident and that the wooden structure beneath the glass also sustained damage, suggesting the entire unit might require replacement. She emphasized she was not blaming the cleaning product directly. The incident prompted a wide range of theories from other members of the cleaning group. Many speculated that the shattering could be attributed to thermal shock, suggesting that a rapid change in temperature, such as washing with hot water and then rinsing with cold, might have caused the glass to fracture. Another theory proposed that the break resulted from nickel sulfide inclusions, a common issue in toughened glass where small impurities can lead to spontaneous breakage without direct impact. According to a former employee of a glass company, such breakages in toughened glass, when not due to impact, often point to a manufacturing defect or an imperfection within the glass that was not addressed during the toughening process. Some users in the group shared anecdotes about the cleaning product, with one professional cleaner claiming that the industry is becoming aware of potential dangers when using it on glass, citing cases of oven glass doors exploding. However, others defended The Pink Stuff, stating they had used it on glass many times without any issues, suggesting the problem lay with the vanity itself rather than the cleaner. One member, married to a plumber, asserted that a cleaning product could not physically crack glass, only scratch or affect its finish, and that a fault in the vanity's construction was more likely. They wished the original poster luck in resolving the issue. The manufacturer's website for The Pink Stuff lists it as safe for use on glass, among other surfaces, describing it as a mild, non-invasive abrasive paste. Evo, the Australian importer of The Pink Stuff, supported this, stating that their product contains nothing that could cause glass to crack and that this was the first such report they had encountered globally. They suggested that an unleveled installation of the vanity, which could stress the glass, was a more probable cause for the shattering, and expressed their intent to contact the affected customer, Vini, to offer assistance. #BathroomVanity #GlassShattering #CleaningProducts #ThePinkStuff #HomeMaintenance #ThermalShock #ManufacturingDefect #HomeSafety

This article details the journey of Amy and Bruce Paul in designing and decorating their 11,000-square-foot home in Rye, New York, focusing on integrating their extensive art collection into a cohesive interior design. Having previously lived in a post-modern home with traditional furnishings and a growing contemporary art collection, the Pauls sought to create a new residence where the exterior architecture and interior aesthetics were harmoniously aligned with their personal taste in design and art. Their objective was to construct a home that could comfortably accommodate their family of six while optimally showcasing their practiced and perfected collection of paintings and sculptures. The couple acquired a 13-acre estate in Rye before the 2001 World Trade Center attacks, subdividing it into seven lots and reserving a two-plus-acre parcel for their own home. They collaborated with builder Michael DiChiaro to construct a six-bedroom, seven-full-bath residence that offers views of a wooded yard, later enhanced with a pool and waterfall by Coral Sea Pools, and adorned with bronze sculptures by Mexican artist Bruno Luna. For the interior design, Amy Paul enlisted Joseph R. Stabile of J.R. Cattington, who had previously worked with them. Stabile and his team were involved from the ground up, providing input on architectural design, interior finishes, electrical layouts, and lighting selection. Stabile chose a palette of cream and gold to complement the Pauls' artwork and suggested structural modifications, such as adding a doorway to improve flow in the formal living room. Amy's primary design directive was for a "light and bright" home, which was achieved in the living room through buttery gold satin-striped fabric from Robert Allen for window treatments and crystal wall sconces by Crystorama. This room serves as a gallery for various notable paintings, including works by Janet Treby, Liane Abrieu, and Russian artists. The soft color scheme is accented by silk brocade wing chairs with colorful throw pillows and fuchsia and silk rugs from China. The family room continues the luminous theme with yellow walls, a toile pattern by Antonia Vella, Seabrook wallcoverings, and similarly colored fabrics in lemon, green, and persimmon for window treatments, pillows, and side chairs. Crystal chandeliers from Murano, imported by Castilian Imports, were chosen to coordinate with paintings by Isaac Maimon and Charles Levier. The coffered ceiling in a green apple shade with cream-colored woodwork further enhances the vibrant, garden-like atmosphere. Bruce Paul's personal space, a clubby card room, contrasts with Amy's preferences, featuring dark wood paneling, built-in bookcases, a bar, and masculine fabrics. This room, separated from the family room by a stone-front fireplace, includes Biedermeier chairs with leopard-print fabric and various personal artifacts. Stabile designed the fireplace with intricately carved mahogany lions and used a Serengeti Leopard carpet to connect Bruce’s adjoining office. The Pauls' children, Joanna, Ryan, Matt, and Jason, also contributed to the design of their respective bedrooms and bathrooms, incorporating elements such as Masland Carpets, Bernhardt furnishings, and Thibaut wallpapers. The master bedroom, with its vaulted ceiling, presented a challenge in scale, addressed by Stabile using Highland Court silk brocade for a cornice "headboard" that coordinates with custom curtains. The article highlights the Pauls' passion for art collection, which began with a French artist Charles Levier painting and expanded to include works from their travels to Europe, South America, Asia, and the Southwest. Despite concerns about diminishing wall space, their quest for art, driven by personal connection and memories from their travels, continues. #HomeDesign #InteriorDecor #ArtCollection #LuxuryHome #RyeResidence #JosephStabile #CustomDesign #ArchitecturalFeatures #PersonalStyle

The article details a DIY hack for transforming used glass jars and bottles into decorative, ceramic-style vases, offering an eco-friendly and cost-effective approach to home decoration. The hack was shared by an Australian woman in a Facebook group, highlighting the potential for upcycling common household items into elegant home decor. The process begins with thoroughly cleaning the glass items, removing labels and any sticky residue. Following this, the jars are coated with chalk paint. A key detail in this method is the addition of a small amount of wax to the chalk paint mixture, which is said to provide an extra sheen to the finished product. The woman specifically used 'Old Ochre' from Annie Sloan Chalk Paint, noting that no extensive preparation is required other than washing and air drying the jars before painting. For optimal coverage and adhesion, the paint is applied by tapping the brush against the glass, and typically, two to three coats are necessary to achieve full opacity. Once the chalk paint has dried, a clear wax coat is applied to seal the paint, ensuring durability and enhancing the ceramic-like finish. To further elevate the aesthetic, the crafter wrapped twine around the edges of some of the jars and adorned them with homemade tassels, contributing to a refined and custom look. The cost-effectiveness of this project is emphasized, with Annie Sloan chalk paint and wax each costing approximately £5.99. These materials are also reusable for multiple crafting projects, making the endeavor an economical choice for those looking to refresh their home decor. While the featured project used a neutral beige color and natural twine, the article encourages readers to experiment with different color schemes and decorative elements to match their personal home decor. The article also suggests pairing these newly crafted vases with dried flowers, a popular and low-maintenance trend in home styling that does not require watering. The DIY hack gained significant traction online, receiving over 4,000 likes and numerous positive comments from individuals inspired to try the project themselves, particularly for repurposing candle jars they were reluctant to discard. The project serves as an example of how simple materials can be transformed into beautiful and elegant decorative pieces, promoting creativity and sustainability in home design. #DIYHack #Upcycling #HomeDecor #ChalkPaint #VaseCrafting #EcoFriendlyDecor #CreativeReuse #BudgetDecor #InteriorDesign