Entomological Vase Earns First Place in Art Show at 2022 Joint Annual Meeting

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

The Wellcome Collection in London is hosting a new art exhibition titled 'Milk,' which delves into the socio-political aspects of milk through various artworks and cultural artifacts. This exhibition, curated by Marianne Templeton and Honor Beddard, aims to explore the multifaceted role of milk in human lives, transcending its common perception as merely a dietary staple. It examines how milk intersects with political, cultural, and economic spheres, highlighting its complex significance. The curators emphasize that milk, a ubiquitous item in daily life—whether in beverages or infant feeding routines—serves as a lens to address broader questions about diet, food systems, and the politics of infant nutrition. The exhibition also explores the intricate relationships between humans, animals, and the environment. It prompts visitors to consider their dietary choices and the factors influencing them, particularly in the context of the UK, where dairy milk has been a dietary cornerstone for over a century. The exhibition acknowledges the growing availability of milk alternatives and the current crossroads facing the dairy industry post-Brexit, including the need for climate-conscious agricultural practices. Furthermore, it touches upon emerging trends such as the online market for human milk and the development of synthetic human milk. The exhibition features a diverse range of media, blending historical artifacts with contemporary art. Examples include ancient terracotta models of mules carrying cheese from the 3rd or 2nd century BC, juxtaposed with works by modern artists like Julia Bornefeld, Sarah Pucill, Hetain Patel, and Lucy + Jorge Orta. These pieces are presented alongside materials like 1930s marketing advertisements and a 19th-century feeding bottle, all contributing to a comprehensive exploration of how milk became integral to daily diets. A significant theme in the exhibition is the political role of milk, particularly its use in marketing campaigns that often depicted white nuclear families, reinforcing specific societal norms. The exhibition also addresses the historical influence of figures like Herbert Hoover, who, through eugenicist ideologies, manipulated the public's perception of 'natural' milk and its connection to social purity. These historical references are balanced with personal narratives that critically examine the influence of formula companies on breastfeeding narratives, linking these issues to broader themes of empire and exploration. A new commission by Ilana Harris-Babou, titled _Let Down Reflex_, is highlighted as a key piece. This work integrates personal testimonies about breastfeeding from the artist's family members with a wider political commentary on infant feeding. It scrutinizes the relationship between individuals and maternal healthcare systems, exposing inequalities within these structures and their impact on choices available to new parents. The piece also references the lullaby 'All the pretty horses,' drawing a connection between the traumatic history of enslaved African mothers separated from their infants to wet-nurse enslavers' children, and contemporary severe inequalities in Black maternal health outcomes in the US and UK. The exhibition's non-chronological arrangement allows for a thematic exploration, demonstrating that historical issues surrounding milk remain relevant today. For instance, the section on Scientific Motherhood includes 1930s crochet infant weighing scales, used by health visitors to monitor infant development. The exhibition critiques how these standardized measurements, while seemingly benign, can induce feelings of shame and anxiety in parents, potentially undermining breastfeeding success. The curators aim to provoke visitors into questioning why milk is considered essential, who defines 'good health,' and how food systems are built on specific values. They hope visitors will reflect on the impact of milk's standardization and regulation, and the role of science and industry in shaping contemporary perceptions of milk in Britain. #ArtExhibition #WellcomeCollection #Milk #DairyIndustry #FoodSystems #MaternalHealth #SocialPurity #CulturalArtifacts #ContemporaryArt

The design industry has seen a continuous upward trend in biophilic design, which incorporates elements of nature into built environments. 3form, an award-winning materials innovator, introduces a novel approach to this movement with its new Ivory Flora Collection. This collection deviates from the conventional green and brown palettes typically associated with biophilia, instead presenting an all-white, neutral range of botanical patterns. The focus of the Ivory Flora Collection is to celebrate the inherent textures, intricate details, and varied scales of natural materials, offering a fresh perspective on how organic elements can influence a space, from fostering calmness to creating dramatic visual interest. Ryan Smith, 3form's Chief Creative Officer, emphasizes that the collection shifts the understanding of biophilia from merely a color additive to an appreciation of the tactile and visual qualities that organics provide. This results in surfaces that draw the viewer in with a stunning display of materiality. The collection features three distinct scaled patterns, each designed to evoke a different mood and suit various applications. Star Flower, the smallest pattern, is characterized by delicate and whimsical flora, making it suitable for healthcare and wellness settings where subtle design and intricate details are desired. Mountain Fern offers a fluid design with an elegant, overlapping pattern that appears boundless, creating a sense of continuous flow. The largest pattern in the collection, Anahaw Palm, evokes the image of fronds on a white sandy beach, providing a strong sense of neutrality and deep visual texture. This pattern is designed to add a luxurious feel to any space. To achieve these unique designs, 3form's designers meticulously pressed dried botanicals into the company's flagship Varia product. Extensive testing was conducted to observe how these flora interact with natural light, revealing a dynamic interplay between crisp cleanliness and warmth. This dichotomy enhances the depth and texture, which are highly sought after in biophilic design and broader interior aesthetics. The Ivory Flora Collection, available in Varia material platform, comes in panel sizes of 48″ x 96″ and 48″ x 120″, with gauges ranging from ¼” to 1″. The lead time for these panels is four weeks. The collection offers versatility, allowing designers to either integrate 3form’s existing color system to customize the Ivory Flora patterns or use them as a modern neutral statement. The core appeal lies in how these durable design materials encapsulate the intricate details of nature, promising longevity and aesthetic value. Furthermore, the Varia material platform, used for the Ivory Flora Collection, boasts several environmental certifications, including Optimized EPD (SCS), Greenguard Gold (UL), Type III EPD (SCS), and a Red List Free Declare Label (ILFI). These certifications are a testament to 3form’s comprehensive sustainability program, Align, which was launched in March 2020. Align reflects the company's commitment to enabling architects, designers, and consumers to make informed and responsible choices regarding their purchases and construction practices. The Ivory Flora Collection aligns with this commitment, promoting both aesthetic innovation and environmental stewardship. #BiophilicDesign #IvoryFloraCollection #3form #InteriorDesign #ArchitecturalMaterials #SustainableDesign #CommercialInteriors #NaturalElements #DesignInnovation

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

Drag And Drop, a Romanian design and manufacturing studio co-founded by Madalin Gheorghe and Dragos Sabareanu in 2019, is known for its innovative approach to design, merging advanced technology with artisanal techniques. The studio's ceramic collection showcases this philosophy by reimagining the function and aesthetics of everyday objects, specifically vases. The creation process leverages a large 3D-ceramic printer to produce intricate patterns, which are developed using sophisticated algorithmic modeling software. Throughout the design and manufacturing process, a strong emphasis is placed on sustainability, aesthetic appeal, and overall quality. The collection features five distinct vase designs, each drawing inspiration from natural patterns and traditional craftsmanship. The 'Intertwined' vase, for instance, is characterized by its organic, interwoven geometric pattern, reminiscent of growth structures found in tree bark and root systems. This unique design is achieved through 3D printing using 100% natural clay. While the interior of the Intertwined vase is hand-glazed, its exterior maintains a matte finish, a consistent characteristic across the entire ceramic collection. This contrast highlights the intricate textures created by the 3D printing process. Another design, 'Bulky,' is offered in three different sizes. This vase features a textile-like pattern that interacts with light throughout the day, creating varying visual effects. The design encourages tactile engagement, inviting individuals to explore its geometric forms and textures through touch. This interactive element adds another dimension to the appreciation of the piece, allowing for a more intimate connection with its design and material. The 'Ripple' vase demonstrates the studio's ability to translate complex mathematical formulae into aesthetically pleasing natural patterns. Its design mimics the visual effect of rippling liquid, such as the concentric circles formed when a stone is dropped into water. This piece exemplifies how technology can be used to replicate and enhance natural phenomena, creating objects that are both visually striking and conceptually rich. The wave-like pattern provides a sense of movement and fluidity, despite the static nature of the ceramic material. The 'Kilim' vase pays homage to the traditional tapestry-weaving methods employed in regions historically part of the Persian Empire. This design represents a contemporary reinterpretation of an ancient craft, demonstrating a harmonious blend of traditional artistry and modern industrial design. By translating the intricate patterns of kilim carpets into a 3D-printed ceramic form, the studio bridges the gap between historical techniques and cutting-edge manufacturing, creating a piece that is culturally resonant and technologically advanced. Finally, the 'Melting' vase directly incorporates its manufacturing process into its aesthetic. The design plays on the suppleness of wet clay during the layering process of 3D printing, creating the illusion of a soft object that appears to be melting. This visual effect is achieved despite the hard, finished ceramic product, creating an intriguing juxtaposition. The Melting vase challenges perceptions of material properties, making a rigid object appear fluid and malleable, highlighting the transformative potential of 3D printing in ceramic art. #3DPrinting #CeramicVases #NatureInspiredDesign #AlgorithmicModeling #SustainableDesign #HomeDecor #ModernCraftsmanship #DragAndDropDesign #InteriorDesign

The art collective rAndom International, known for their interactive and experimental works, has unveiled a monumental outdoor installation titled 'Tower: Instant Structure for Schacht XII' at the Zollverein Coal Mine Industrial Complex in Essen, Germany. This performative structure, a towering shower, cycles an impressive 30,000 liters of water per minute. The choice of location is particularly significant, as the world heritage site requires approximately 6 million cubic meters of water to be pumped out of its former mines annually to maintain the structural integrity of the entire region. The installation ingeniously harnesses this native resource to fuel its ambitious design. This marks rAndom International's first outdoor installation, following their highly successful 'Rain Room' project, which similarly featured large quantities of water in an architectural context. The 'Tower' creates an ephemeral, yet intensely loud, man-made storm, leaving a palpable film of moisture in the surrounding air. The controlled and structured application of such vast amounts of water animates the space, transforming the static architecture of the former industrial site into a dynamic, experiential environment. The project aims to explore new possibilities for engagement with and access to historic industrial spaces that were not originally designed for human or social interaction. It creates a striking juxtaposition between the simulated, temporary architecture of water and the solid, permanent buildings of the coal mine complex. 'Tower: Instant Structure for Schacht XII' was commissioned by Urbane Künste Ruhr for the RuhrTriennale 2013. The installation offers a unique sensory experience, allowing visitors to witness and interact with the immense power and movement of water on a grand scale. The constant flow and visible presence of water highlight the ongoing ecological and structural relationship between the site and its natural resources. By transforming a necessity—water removal from the mines—into a captivating art installation, rAndom International brings attention to the hidden processes that sustain such industrial heritage sites, while simultaneously offering a fresh perspective on architectural possibilities and the interplay between natural elements and constructed environments. The artwork's powerful visual and auditory components, combined with the tactile sensation of moisture, create an immersive experience that challenges perceptions of space, structure, and nature within an industrial setting. It invites contemplation on the history and future of such sites, and the potential for artistic intervention to reveal new layers of meaning and engagement. The installation ran daily from 10 AM to 1 AM until October 6, 2013, offering a temporary yet impactful transformation of the Zollverein complex. #ArtInstallation #InteractiveArt #WaterArt #Ruhrtriennale #ZollvereinCoalMine #OutdoorInstallation #EphemeralArchitecture #PublicArt #RandomInternational

The article presents an interview with Tom Pergola, an artist known for his "Assemblage Plastique" art form. Pergola discusses his journey into the art world, which began in 1978 with Martin Lawrence Limited Editions as an artwork shipper. He quickly advanced to curator and general manager, gaining extensive knowledge of the business aspects of fine art. After eight years, he transitioned to managing artists and producing videos of prominent artists, contributing to millions in art sales globally. Pergola later co-founded DATZ ART with a friend, focusing on art created with resins. Their work gained national recognition through fine art trade shows and exhibitions in prestigious galleries, including Caesars Palace Las Vegas and Rodeo Drive in Beverly Hills, California. His unique 3-dimensional wall and table sculptures, which immortalize everyday objects and popular culture icons, are highlighted as a continuation of the Pop Art tradition established by artists like Andy Warhol and Claes Oldenberg. He was invited by the Los Angeles County Museum of Art to participate in their "Appetite for Art" exhibition, where his works were also sold. Pergola's "Pop Art Sculptures" have been purchased by thousands, and his work has been displayed in galleries across the United States. Notable celebrity collectors include Jay Leno and Carol Burnett. His art has been featured in various cities, including New York, Los Angeles, and Las Vegas. Pergola has received commissions for hundreds of limited-edition pop art sculptures from major brands such as Kellogg's (Fruit Loops and Frosted Flakes) and Corona Beer. He also undertakes custom commission work for private clients. Beyond commercial endeavors, Pergola has contributed his sculptures to charity events for organizations like Make-A-Wish and Stop Cancer, helping to raise funds for their causes. His artwork has also been showcased at major golf tournaments, with full-page announcements in high-end golf magazines featuring his pieces like "Hole In One" and "It Takes A Lot Of Balls." Pergola's primary mission in his creative journey is to create large-scale installations of his images, aiming for pieces 20 to 50 feet tall to be displayed in front of corporate headquarters and in museums. He expresses that the most rewarding aspect of his creative work is bringing smiles to people's faces through his art. #TomPergola #AssemblagePlastique #PopArt #FineArt #ArtistInterview #ArtBusiness #Sculpture #CreativeJourney #ArtExhibitions

Vases are versatile home decor items that function as both ornamental pieces and practical containers for flowers. An interior expert shares her personal approach to selecting vases, highlighting that many of her own collection look appealing with or without floral arrangements. The expert emphasizes that vases make excellent gifts due to their dual functionality and aesthetic appeal. The article compiles a selection of 11 favored vases sourced from both high street retailers and independent designers, all priced under £50. Each chosen vase is described with its unique characteristics and potential styling options. The first recommendation is the Pols Potten Glass Jug, priced at £39. This jug, a popular housewarming gift, features a distinctive hole handle that gives it a sculptural appearance, making it suitable for flowers or as a carafe. Next is the Dunelm Elements Sculpt Two Tone Orange Glass Vase, available for £35. This piece is part of Dunelm’s mid-century modern-inspired Elements collection, notable for its colored glass design that can be styled in multiple orientations, with the blush pink and amber combination being particularly highlighted for its ability to complement tall tulips. Following this, the SGW Lab Cylinder Vase, priced at £30, is introduced. This vase, stocked at Made.com, is celebrated for its craftsmanship, featuring handmade porcelain and vibrant, poppy colors that work well individually or grouped. The Stolen Form London Brick vase, costing £36, is another piece featured from Made.com. These cult vases are inspired by vintage bricks from various British cities and come in a range of colors, making them suitable gifts. The Oliver Bonas Nomi Bud Blue Glass Vase, an affordable option at £12, showcases the current trend for speckled glass and is suggested for styling with dried flowers in muted hues. The Recycled Glassware Co Recycled Blown Glass Vase, priced at £37.50, is presented as an eco-conscious choice. Made from 100% recycled glass with a low carbon footprint, this vase is praised for its irregular shape and is available in six colors, including a captivating sea blue. The Heinen Delfts Blauw KLEI Cylinder Tulip Vase Pink, available at Liberty London for £14, offers a modern take on the traditional Dutch tulip vase with its clean lines and matte blush pink finish. The Not On The High Street Vase Dolomite White, at £49, is noted for its bold lines and pleasing shape, suitable for a neutral aesthetic but also capable of being enhanced with bright red or pink blooms. The H&M; Large stoneware vase, priced at £20, is highlighted for its distinctive silhouette and textured finish, making it a striking centerpiece. The article also mentions H&M; Home’s asymmetric designs in natural tones as alternatives. The Anthropologie Lotus Pod Vase, costing £26, is described as a beautiful stoneware piece inspired by a blooming lotus flower, functional as both a standalone object and styled with flowers, and available in two sizes. Finally, the Rose & Grey Rust & Caramel Terracotta Vase With Handles, currently 20% off at £172, is recommended for its unusual shape and scalloped pattern in rich, earthy colors, representing a well-made and distinctive item. #VaseDesign #HomeDecor #InteriorStyling #HomewareTrends #AffordableDecor #GlassVases #CeramicVases #GiftIdeas #DecoratingTips

Palestinian architecture and engineering studio AAU Anastas has collaborated with Japanese sound artist Tomoko Sauvage to create a site-specific installation called _Serpentine Bell_ at Ruinart's estate in Reims, France. The conical structure, resembling a translucent hive, is constructed from 103 hand-crafted blown-glass voussoirs, which are wedge-shaped elements crucial for both its visual appeal and sonic qualities. These delicate glass surfaces refract light and enhance sound, contributing to an immersive acoustic experience. The installation stands atop a tall tripod in a clearing among trees, elevated 1.35m above the ground on steel stilts, inviting visitors to step underneath and experience it like an immersive kaleidoscope. The project originated in 2024 when Ruinart commissioned Tomoko Sauvage for a garden installation. Sauvage then invited AAU Anastas to collaborate, based on their shared appreciation for material exploration. Elias Anastas, co-founder of AAU Anastas with his brother Yousef, noted their long-standing admiration for Sauvage's work on sound and materials. He highlighted the synergy between Sauvage's focus on the sonic qualities of materials and AAU Anastas's expertise in the precision and delicacy of stereotomic principles, particularly in shaping materials like stone. This shared sensibility became the foundation for their collaboration on _Serpentine Bell_. _Serpentine Bell_ represents an evolution of AAU Anastas's decade-long research into traditional stone building techniques, known as Stone Matters. For this project, glass was substituted for stone, with each of the 103 blown-glass voussoirs (categorized into 11 typologies) being crafted through an experimental process using plaster molds and 3D-printed templates. These thick glass bricks interlock, providing structural integrity with minimal additional support, similar to a gift shop ceiling the studio completed in Jerusalem in 2018. The intricate and organic geometry of the structure allows it to reflect light and interact dynamically with its environment. Upon entering the space beneath the sculpture, visitors encounter an auditory landscape created by water-filled bowls and micro air bubbles emitted by chalk stones sourced from Ruinart’s underground cellar. Light refracting through the glass distorts the surrounding trees, creating a visual effect akin to underwater reflections. Anastas explained that Sauvage’s work focuses on the subtle interplay of sound, water, and composition, while their studio emphasizes precision and finesse in working with materials. _Serpentine Bell_ merges these approaches, blending glass, and sound to create a subtle, immersive experience that fosters a deeper connection between visitors, materials, and the surrounding space. Elias Anastas highlighted that the project explores how material can shape, reflect, and amplify sound. The flowing, bell-like forms of the structure subtly reference symbols of transformation and purification, where sound holds significant spiritual meaning in various traditions, including Japanese culture. The year 2024 was highly productive for AAU Anastas, with significant projects like 'Tiamat' at the Design Doha Biennial, exploring stone’s potential, and 'Carthagisme' in Tunis. The studio’s commitment extends to advocacy and relief efforts, channeling proceeds to initiatives like the Revive Gaza’s Farmland project and Médecins Sans Frontières. Upcoming projects across the Middle East and the UK, alongside the development of their Bethlehem-based Wonder Cabinet cultural hub into an experimental educational platform, underscore their ongoing mission. #AAUAnastas #TomokoSauvage #Ruinart #SerpentineBell #GlassSculpture #SoundArt #ArchitectureDesign #Materiality #SiteSpecificInstallation

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

The Poilu Vases represent an innovative venture into material research and 3D printing technology by Paris-based Studio Bold. This project explores the integration of natural fibers into 3D printed structures to create unique textural qualities in decorative objects. The studio's research centered on developing a method to implant what they describe as “hair” into the vases during the additive manufacturing process, aiming to enhance the visual and tactile bulk of the objects. The design philosophy behind the Poilu Vases bridges mathematical logic with natural generative principles. Studio Bold formulated a specialized code that dictates the precise coordinates for the integration of fibrous materials within the 3D printing sequence. This algorithmic approach allowed for a controlled yet organic outcome, resulting in surfaces that mimic the appearance of looped fibers, reminiscent of certain textile textures such as those found in rugs. Crafted from vegetable-based fibers, the vases incorporate materials like bamboo, coconut, and wood. These natural components contribute to the distinctive “hairy” texture and give each vase a unique character. The choice of natural fibers also aligns with contemporary design trends that emphasize sustainability and the incorporation of organic elements into manufactured goods. The collection consists of three distinct vases, each named after a hair color: "Blond," "Brun," and "Roux." This nomenclature further reinforces the concept of implanted "hair" and differentiates the individual pieces within the series. Each vase is produced as part of a limited edition, with specific numbering and artist signatures. This exclusivity positions the Poilu Vases as collectible design pieces rather than mass-produced items. The Poilu Vases are distributed through Aybar Gallery, highlighting their status as art and design objects. The collaboration with a gallery suggests a deliberate effort to present these pieces within a fine art context, appealing to collectors and design enthusiasts interested in the intersection of technology, art, and natural materials. This project showcases the potential of 3D printing to move beyond purely functional applications and into the realm of sculptural and decorative art, pushing the boundaries of what is achievable in contemporary object design through material innovation and advanced manufacturing techniques. #3DPrinting #VaseDesign #StudioBold #MaterialInnovation #HomeDecor #VegetableFibers #LimitedEdition #AybarGallery #ContemporaryDesign

Contemporary interior design is witnessing a profound transformation, moving beyond mere aesthetics to create deeply personal, experiential, and expressive living spaces. This shift is marked by a resurgence of sculptures as primary design elements, transcending their traditional roles in museums and gardens to become integral components of architectural design within homes. Sculptures are now seen as instrumental in shaping the atmosphere and guiding movement within a residence, reflecting a growing appreciation for contemplative beauty in everyday life. Internationally recognized Indian sculptor Murtikar Naresh Kumar Kumawat, renowned for his Samudra Manthan mural in the new Parliament, emphasizes that sculptures are establishing themselves as a permanent fixture in interior design. Historically, Indian sculptures primarily depicted divine figures, animals, and intricate stone carvings. While these traditional forms continue to inspire contemporary aesthetics, modern Indian artists are broadening the scope to include abstract and kinetic art, utilizing diverse materials such as industrial steel, polished resin, and ceramic alloys. This evolution encourages residents and designers to approach the entire space as a canvas, where a singular, impactful sculpture can redefine the room's character. For instance, a large, abstract metal sculpture placed in a minimalist foyer can become a dynamic focal point, its raw energy invigorating an otherwise quiet space and complementing the overall architectural design. Sculptures possess a unique ability to engage viewers and redefine three-dimensional space in ways that two-dimensional paintings cannot. They invite interaction from multiple perspectives, influencing the flow and perception of a room. Designers are leveraging this characteristic, using sculptures to subtly direct movement and attention. A series of wall-mounted pieces, a rhythmically arranged collection, or a delicately suspended installation can guide the eye through a space. Furthermore, a strategically positioned large vertical sculpture in an open-plan living area can function as an elegant, non-physical divider, separating conversational zones from dining areas without the need for solid walls. This architectural utility is highly valued by individuals seeking distinctive living environments. There is a discernible trend among homeowners to view their residences as extensions of their identity, artistic preferences, and personal philosophies. This perspective has led to an increased demand for sculptures that function as small-scale architectural installations, indicative of a sophisticated artistic sensibility. In modern design, the selection of a sculpture often precedes furniture choices, with the artwork dictating the room's color palette, material textures, and lighting scheme. Subsequent furnishings are then carefully chosen to complement and support the sculpture, ensuring it remains the artistic nucleus of the space. In contemporary homes, sculptures are often placed to foster a seamless connection between indoor and outdoor environments. A robust stone or bronze figure, for example, can effectively anchor an interior, bridging the gap between sleek modern designs and the dynamic elements of a garden, thereby imparting a sense of timelessness and intentional connection with nature. Kumawat notes that this burgeoning artistic trend has significantly benefited the Indian contemporary art market. Homeowners are actively commissioning both emerging and established Indian sculptors for site-specific works, thereby fostering a stable and robust ecosystem for creative talent. This practice not only ensures an aesthetic fit tailored to individual homes but also cultivates a deep personal connection to local craftsmanship and artistic vision. The use of innovative and unconventional materials further enriches this trend. Sculptures crafted from reclaimed wood, repurposed textiles, or recycled industrial waste not only offer visual interest but also reflect a growing environmental consciousness and a commitment to responsible consumption among Indian consumers. Therefore, sculptures are no longer mere accents but central characters that structure and elevate modern Indian homes, transforming ordinary living areas into sophisticated, complex, and highly personalized works of art that capture a cultural moment characterized by optimism and discerning taste. #SculptureDesignTrend #HomeInteriors #ArchitecturalSculpture #IndianArt #MurtikarNareshKumarKumawat #ContemporaryArtMarket #SustainableArt #PersonalizedHomeDecor #ExperientialDesign

The importance of a well-conceived lighting plan in home design is often underestimated, frequently being an afterthought rather than an integral part of the initial concept. Good lighting significantly contributes to an inhabitant's well-being, optimizes functionality, and elevates the overall aesthetic of a room, transforming an ordinary space into something remarkable through strategic fixture selection and placement. This principle was vividly demonstrated at the recent WOW!house design exhibit held at the Design Centre, Chelsea Harbour in London, England. The exhibition featured 22 unique rooms, each crafted by leading interior designers, where lighting often took center stage. The WOW!house exhibition, open to the public for a month in June to support the United in Design charity, was not a traditional house but an innovative installation. It comprised a series of exterior and interior spaces within the atrium of the Design Centre. These spaces were diverse, ranging from entries, kitchens, dens, bars, and dining areas to libraries, bathrooms, bedrooms, and outdoor courtyards, all brimming with originality and creative design solutions. Across most of these spectacular settings, lighting played a prominent role in defining the ambiance and functionality. One of the most striking examples was the grand entry of the installation, which featured an dramatic leaf chandelier by Cox London. Victoria Davar, founder of Maison Artefact, specifically requested a five-meter ceiling height to ensure the fixture was not only accommodated but also given pride of place, asserting its visual dominance upon entry. Davar emphasized that this height aligns with classical design principles. Her design philosophy for the entry embraced a blend of classical and modern elements, where the chandelier was framed against a traditional-surround fireplace. This approach allowed each element to balance the other, creating a dialogue between the old and the new. Davar intentionally utilized negative space, leaving the wall above the fireplace blank, to allow the chandelier to stand out as a sculptural piece without visual interruption, fostering a sense of airiness. Another innovative approach was seen in the courtyard room designed by Emma Sims-Hilditch. This multi-functional space, envisioned to support various aspects of country living such as a boot room, dog wash station, and gardening area, integrated classical elements of heritage country homes with modern touches. Sims-Hilditch positioned an oversized Charles Edwards lantern as a focal point above an island, drawing inspiration from classical English country house lanterns. The lantern received a contemporary update through its coloration, painted in Farrow & Ball's Lulworth Blue. Wall lights, inspired by carriage lanterns, and pendant lights with fabric shades in corner spaces were strategically placed to layer the lighting, ensuring both functionality and comfort. Sims-Hilditch underscored the importance of soft lighting and avoiding bare bulbs, opting for a layered system that included John Cullen Lighting for downlights and Soane Britain for wall lights. The bathroom designed by 1508 London exemplified how lighting can transform a functional space into a luxurious retreat. The design studio incorporated an advanced lighting system by John Cullen Lighting and Lutron, offering three distinct illumination programs: Ritual, Revitalizing, and Revery. Paris Albert, an associate at 1508 London, explained that “Ritual” supports daily cleansing routines, “Revitalizing” enhances vanities and showers for rejuvenation, and “Revery” creates a dreamlike state for relaxation. These options, accessible at the touch of a button, elevated the bathroom experience from mere utility to a restorative escape. Interior decorator and antiques dealer Daniel Slowik presented his morning room design, emphasizing subtle, layered lighting rather than bright, centralized fixtures or intrusive task lighting. He advocated for side lights, often converting decorative vases or antique items like Arts & Crafts candlesticks into lamps, to create ambient illumination. Slowik aimed for a subdued, not overlit, atmosphere, focusing on objects that also serve as beautiful design elements. While generally disliking overt task lighting, he integrated a brass floor lamp discreetly next to a reading chair, chosen for its distressed appearance that conveyed a sense of history and permanence. The unifying theme across all these designs is the necessity for lighting to be an intrinsic component of the overall design strategy. A thoughtful approach to illumination enhances comfort and functionality, highlights the aesthetic, and can dramatically transform a room into a unique and spectacular environment. #HomeDesign #InteriorDesign #LightingSolutions #WOWHouse #DesignExhibition #ArchitecturalLighting #DecorativeLighting #SmartLighting

This article, originally published in 2016 and updated to reflect Christo's passing in 2020 and Jeanne-Claude's in 2009, revisits the monumental art installation "Running Fence" by Christo and Jeanne-Claude. In 1976, this 24.5-mile long, nearly 20-foot high fabric fence was erected across Sonoma and Marin farmlands, extending into the Pacific Ocean. The article explores the significant impact of this temporary artwork, not only on the landscape but also on the local community and the land-use policies of Sonoma County. The genesis of "Running Fence" began in 1972 when Christo, accompanied by Jeanne-Claude, approached local ranchers like Joe Pozzi with his ambitious proposal. Initially mistaken for an itinerant laborer, Christo's charisma and genuine nature quickly won over the skeptical farming community. He and Jeanne-Claude immersed themselves in the agrarian culture of west county, building trust and personal connections with 59 families whose land lay along the proposed route. This personal engagement was crucial, as many local farmers and ranchers became staunch supporters of the project, driven by their admiration for Christo's character and his commitment to realizing his artistic vision. However, the project faced considerable opposition, primarily from environmentalists concerned about its impact on the land and some locals who questioned its artistic merit. This opposition led to the formation of the "Committee to Stop the Running Fence" and triggered a lengthy and contentious approval process involving the California Coastal Commission, the Marin County Planning Commission, and the Sonoma County Planning Commission. The bureaucratic hurdles and public debates lasted over three years, with meetings often marked by intense emotions and differing views on art, land use, and development. Despite the fierce resistance, Christo maintained a serene and optimistic demeanor. He famously considered the entire process—including the meetings, environmental impact studies, and public discourse—as an integral part of the art itself. Barbara Gonnella, owner of the Union Hotel in Occidental and Joe Pozzi’s sister, highlighted this aspect, noting that even if the fence hadn't been physically constructed, Christo would have considered the project a success due to the engagement it generated. The collaboration between Christo and Jeanne-Claude emphasized their deep connection to each other and their belief in art as a means of connecting with humanity and integrating with the landscape and its people. The article recounts the eventual triumph of the project, with hundreds of volunteers, including a young Joe Pozzi, participating in the construction of the fence. Christo himself was actively involved in the labor, wearing an OSHA-required hard hat and working alongside the volunteers. Although the "Running Fence" stood for only two weeks before being dismantled, its memory profoundly impacted those who witnessed it. Dave Steiner, a former Sonoma County Planning Commissioner, noted Christo's subversive streak, particularly his decision to extend the fence into the sea despite the Coastal Commission's initial refusal, a move seen by supporters as essential to the project's integrity. Ultimately, "Running Fence" played a significant role in shaping public consciousness regarding land use in Sonoma County. Brian Kahn, a former Sonoma County supervisor, suggests that the art installation galvanized public discussion around the county's general plan, which aimed to manage growth and preserve landscapes. The project helped shift popular support towards a more contained and orderly development approach, contributing to the preservation of Sonoma Valley and the west county's natural beauty. The experience of the "Running Fence" fostered a sense of collective accomplishment and brought the diverse community of Sonoma County together, creating a lasting legacy that transcended its temporary physical presence. #ChristoAndJeanneClaude #RunningFence #ArtInstallation #SonomaCounty #MarinCounty #PublicArt #LandUsePolicy #EnvironmentalArt #CommunityEngagement

Petra, a brand founded by Sight Unseen co-founder Monica Khemsurov, unveiled its 2025 sculptural hardware collection during NYCxDESIGN 2025. This collection, which debuted at HOST on Howard, a hospitality-focused gallery by AvroKO, challenges the traditional view of hardware as mere functional elements. Instead, Petra aims to elevate doorknobs, pulls, and levers into small-scale works of art, emphasizing bold silhouettes, unique textures, and tactile forms. The 2025 collection features collaborations with 14 designers, alongside Petra's in-house team. Monica Khemsurov initiated Petra in 2024 to infuse artistic expression into an often-overlooked aspect of interior design. Her curatorial approach, honed through her work with Sight Unseen, focuses on discovering and presenting new and innovative design concepts, particularly those that prioritize materiality and unexpected aesthetics. Among the featured designers, Sally Breer introduced whimsical cast-brass knobs shaped like blueberries and a doorknob resembling a peach. Elyse Graham showcased hardware pieces that utilize her signature resin-layering technique, resulting in designs with a tortoise shell–like finish. Alexis & Ginger contributed visually dynamic black-and-white striped knobs, adding a rhythmic element to the collection. L.A. artist Nick Biddle presented sculptural handles crafted from brass and bronze, drawing inspiration from abstract aquatic forms. Ombia's Mare handles and N Shook's Primavera pulls also feature prominently, offering unique textual and formal characteristics. Forever Studio's Hue knobs bring vibrant colors, while Cultivation Objects' Delos series provides refined designs for knobs and pulls. Pamela Love's Anemone Drop knobs, in collaboration with G. Pajolec, are ornate brass handles shaped like flowers, further illustrating the collection's artistic ambition. Petra's in-house team also contributed a collection of simple wooden handles, complementing the diverse range of artistic pieces. The collection includes various materials such as resin, cast brass, and wood, each chosen to enhance the sculptural quality and sensory experience of the hardware. This new lineup encourages a re-evaluation of hardware, positioning it not as an afterthought but as a significant design component capable of adding character and detail to a space. By focusing on the smallest elements, Petra highlights how even minor touches can serve as canvases for creativity, inviting individuals to appreciate the artistic value in everyday objects within their homes. The collection reinforces the idea that thoughtful design can transform functional items into sources of delight and curiosity. Each piece is designed to engage the senses, encouraging users to interact with the hardware and experience its unique form and texture. This approach aligns with a broader trend in interior design to personalize spaces with distinctive, handcrafted, or artist-designed elements, moving away from mass-produced uniformity. The collaboration with diverse designers ensures a wide range of styles and aesthetic sensibilities are represented, catering to various tastes while maintaining a cohesive vision of elevated design. #SculpturalHardware #PetraHardware #NYCxDESIGN #InteriorDesign #HomeFurnishings #DesignerCollaborations #ArtisticHardware #ModernDesign #ArchitecturalHardware

The blog post, "Vibrant Vessels: Editor Favorites for Every Flower Preference," curated by Architectural Digest, presents a selection of unique and aesthetically pleasing vases designed to enhance any floral arrangement or stand alone as decorative pieces. The article emphasizes that the right vessel can be as impactful as the flowers it holds, showcasing a range of styles from hand-blown elegance to playfully eccentric designs. Each featured vase is highlighted for its distinct characteristics, offering diverse options for various home aesthetics and personal tastes. The collection includes the Murano Spring Olla Glass Vase from Abask, priced at $860, which exemplifies hand-blown craftsmanship. Another notable piece is the Konstantin Cache Pot by Carolina Irving & Daughters, available for $176, offering a more rustic or classical appeal. For those seeking a contemporary look, the Speckled Vase from Cabana, at $210, features a distinctive yellow splattered glaze, adding an artistic touch to any space. The article also showcases the Worley Vessel - Rising Dawn from The Future Perfect, which merges Murano glass artistry with a whimsical, "Candyland" aesthetic, creating a polished yet playful decor item. A significant discount is noted for the Soho House Carlotta Murano Vase from Soho Home, originally $1295 and now $645, making a luxurious item more accessible. The Ferm Living Verso Table Vase, available at Lulu and Georgia for $144, presents a versatile option with its unique form and texture. Further selections include the Wheaton Decorative Vase, also from Lulu and Georgia, priced at $414, which offers a more traditional yet sophisticated design. The Louise Roe Sophia Roe Glass Vase from Net-a-Porter, at $805, is presented as another elegant glass option. For minimalist and sculptural preferences, the Accordion Vase from Mociun, costing $135, stands out with its distinctive pleated design. More affordable options are also featured, such as the Hibiscus Bud Vase from Nordstrom for $74 and the Fairfax Vase from Serena & Lily, discounted to $50 from $78. The collection is rounded out with the Three Handled Jug from 1690, priced at $522, and the Delft Vase II from Memor, at $375, both offering classic and artistic styles. Lastly, the Bollenglass Hand-Blown Narrow Glass Vase from Abask, available for $134, is specifically recommended for displaying a single, dramatic flower. This vase, with its three-dimensional motifs and textured swirl, exemplifies the detailed craftsmanship highlighted throughout the article. The overall aim of the article is to guide readers in selecting vessels that not only serve their functional purpose but also significantly contribute to the aesthetic appeal of their living spaces, regardless of floral choice. #VibrantVessels #HomeDecor #VaseCollection #FloralArrangement #InteriorDesign #DecorativeObjects #HandBlownGlass #CeramicVases #LuxuryDecor

British designer Bethan Laura Wood resides in a 575-square-foot apartment in a 1925 Art Deco building in East London, reflecting her vibrant and unconventional design aesthetic. Her home is an extension of her professional work, which is characterized by a bold use of color, texture, and a blend of industrial materials with artistic references. The apartment features powder pink stairwells, mint green window frames, and baby blue accents, providing an appropriate backdrop for her colorful creations. Inside, Wood’s living space is a dynamic display of peach, pistachio, and mauve walls, complemented by geometric rugs and a collection of unique objects. These include Pyrex lamps shaped like floral bouquets, a side table made from extruded pastel plastic, and various pieces she has designed or acquired. Wood emphasizes color as her primary language for interpreting places, drawing inspiration from regional palettes such as London's earthy grays and Venice's saturated blues. Her work often incorporates industrial materials like laminate, manipulating them to imitate other substances and exploring themes of globalism and authenticity through design history. Her current exhibition, "Ornate," at Milan’s Nilufar Gallery, draws inspiration from diverse sources including Japanese kimono fabrics, Victorian boudoirs, and insect anatomy. The exhibition features pieces like scalloped aluminum cabinets, glass light fixtures resembling hard candies, and an aluminum and brass headboard with shimmering gold and purple squiggles. Wood's living room is a visual feast, showcasing both her own designs and works by other artists and designers. Notable pieces include the Royal Daybed by Nathalie Du Pasquier and George Sowden, and a circular, jellyfish-like green, yellow, and blue resin lamp by Gaetano Pesce. A woven jacquard tapestry, designed by Wood and inspired by stained-glass windows in Mexico City, covers an entire wall, alongside an earth-toned laminate dining table with geology-inspired marquetry and a totemic light fixture made of stacked beaker-esque forms, produced with Italian glassblower Pietro Viero. Collaboration is central to Wood's practice, and many items in her home are products of partnerships or exchanges. Her collection extends into a narrow hallway adorned with hats and handbags hanging on Murano glass hooks, and artworks covering the walls. Her bedroom features an Ultrafragola mirror by Ettore Sottsass and a neon glass light by Jochen Holz, illuminating a 1970s floral textile acquired during a trip to Brazil. A small, sunny library, dubbed her "room for dreaming," houses art books, animal figurines, glass sculptures, and wooden busts, including a birthday card from her mentor, Martino Gamper. Throughout the apartment, Wood masterfully combines high design with evocative everyday objects found during her travels or at London flea markets. She deliberately positions pieces to create dialogues, such as a multicolored rope mask by Bertjan Pot near a painting of a knight in psychedelic swirls. She also notes the connection between a jar of "pickled" balloons by Saelia Aparicio and a poster by Scottish Pop artist Eduardo Paolozzi, whose motifs she frequently references. Wood's passion for collecting and creating began in childhood, influenced by her mother's accumulation of eclectic items. While her minimalist father preferred these objects to be hidden, Wood's home openly displays her collections, which she views as a material record of her life's experiences, travels, and relationships. Living surrounded by pieces from friends and fellow makers provides her with comfort and connection, especially during times of isolation. #BethanLauraWood #HomeDesign #InteriorDesign #ColorfulInteriors #ArtDeco #DesignerHome #ContemporaryDesign #LondonDesign #ArtisticLiving