Extra&ordinary Design Transforms the Ordinary into Extraordinary Objects

The article details the transformation of a Bridgehampton, New York, Hamptons home by architects Timothy Haynes and interior designer Kevin Roberts. The property, initially purchased 12 years prior by a New York businessman, was a five-acre estate near the ocean and the town of Bridgehampton. He had previously renovated the mid-1990s house with interior designer Victoria Hagan, streamlining its postmodern architecture into a comfortable beachside retreat for himself and his two sons. This earlier renovation, featuring a blue-and-white scheme, was prominently featured on the cover of ELLE DECOR in 2002. The current renovation was prompted by the homeowner's remarriage, necessitating a redesign to accommodate his new wife and her 10-year-old daughter. The couple initially engaged Haynes and Roberts for a partial renovation, including the kitchen and master bath. However, as their family grew and their entertaining needs expanded, a more extensive overhaul became necessary. The wife, a fashionista and museum patron with a strong design aesthetic, desired to infuse the home with her personal style, incorporating contemporary art, vibrant colors, vintage and antique furnishings, and a touch of glamour. A primary goal was to create a dining room capable of hosting 25 people for large family gatherings like Thanksgiving. Significant structural and landscape changes were implemented. The existing tennis court, which obstructed views and was unused by the couple, was removed along with the original swimming pool. Haynes and Roberts collaborated with Manhattan-based landscape architect Edmund Hollander, who had designed the property's initial garden, to create an ambitious new landscape plan. This included a new saltwater pool inspired by a Slim Aarons photograph, featuring limestone steps cascading into the water. Hollander also designed garden walks bordered with Japanese holly, green velvet boxwood, masses of hydrangeas, lilacs, peonies, and roses. A new poolhouse was constructed with two wings: one for a changing room and sauna, and the other featuring a chic bar and lounge with a white-and-blue circle-patterned marble floor. These wings frame an outdoor dining pavilion, complemented by a gravel-lined garden and a bosque of plane trees. The main house underwent extensive modifications, including the expansion of rooms and the lifting of ceilings to enhance the sense of space and ease. In the master bedroom, a wall with a Juliet balcony was replaced with expansive windows overlooking the garden, and a previously underutilized terrace was converted into an enclosed sitting room. The homeowners were deeply involved in every design decision, from fixtures to furniture selections. The living room was reimagined as the home's social hub. Haynes and Roberts raised its gabled ceiling to 20 feet and doubled the space with an addition featuring a wall of windows and French doors. The interior decor of the living room includes oversized white leather cocktail tables, ample seating, and a vintage Harvey Probber tufted sofa, which Roberts divided into two sections to face the garden. The design philosophy emphasized functionality and comfort, ensuring that every piece of furniture invited relaxation. A notable artistic element is a faceted mirror sculpture by Doug Aitken above the striped marble mantel, spelling out the word “more,” reflecting the wife’s preference for a touch of extravagance. #InteriorDesign #HomeRenovation #HamptonsStyle #LuxuryHomes #LandscapeArchitecture #ContemporaryArt #VintageFurniture #ArchitecturalTransformation #SeasideLiving

The article explores the concepts of "design thinking" and "design feeling" in the context of everyday objects and their impact on human experience. While design thinking focuses on optimizing user experience and functionality, "design feeling" emphasizes the ability to align objects with broader socio-cultural contexts, thereby enriching the perceived quality of design. This concept becomes particularly relevant in an era marked by digital inconsistency and economic uncertainty, where people seek tangible reassurance and comfort through their surroundings. The article highlights that many everyday objects are often poorly designed, leading to incoherent routines. Design thinking attempts to streamline these routines, but it is insufficient to address the deeper meaning and emotional connection individuals form with objects. "Design feeling" aims to bridge this gap by considering the intangible aspects of design that resonate with contemporary societal shifts. Several contemporary design pieces are presented as examples of "neo-transitional objects." These objects are characterized by their mild appearance, cozy feel, soft bends, and light-porous colors. They offer a sense of comfort and stability in a world increasingly dominated by digital abstraction and economic precarity. The term "neo-transitional objects" is derived from psychologist Donald Winnicott's concept of "transitional objects," which are items like teddy bears or blankets that help children navigate the transition from dependence to individuality. Specific examples of such designs include the "Up" lamp by Mattias Ståhlbom for Muuto, "Apps" by Richard Hutten for Artifort, and the "Basset" armchair by Iskos-Berlin for Versus. These designs are described as embodying the transition from a more tangible past to a digitally defined future, providing comfort rather than unease. The "Mega" series by Chris Martin for Massproductions and the "Haiku" sofa by GamFratesi for Fredericia are also cited as exemplifying this trend, balancing Italian expressiveness with Nordic strictness to create beautiful, reassuring pieces. Luca Nichetto's work, such as the "Stewie" lamp for Foscarini and the "N=N" collection with Oki Sato (Nendo), demonstrates weightless lines and cozy colors that sublimate the objects. Similarly, Karim Rashid's "Float" sofa for Sancal showcases a softening of tones, contributing to the overall sense of cognitive kindness. These designs aim to provide a sense of belonging and familiarity, helping individuals cope with the uncertain reliability of a digitally-influenced reality. The article concludes by emphasizing the importance of designing objects with layered aesthetic meaning to foster a sense of being "at home" amidst increasing intangible complexity. #DesignFeeling #NeoTransitionalObjects #ProductDesign #InteriorDesign #ContemporaryFurniture #PsychologyOfDesign #LucaNichetto #RichardHutten #GamFratesi

James Baker's curiosity was piqued by a boxy building near the Baton Rouge Country Club, hidden behind a tall, vine-covered barrier, recognizing its departure from the traditional south Louisiana architectural style. One Sunday, he discovered the secluded home was for sale and scheduled an open house. This timing was serendipitous, as he and his wife, Marsha, had been contemplating building a new home. Upon visiting, they were immediately captivated by the property's design, which featured massive windows looking out onto a lush private garden and a dramatically designed pool. Within days, they made an offer on the house. The home’s appealing features—streamlined structural details, an open floor plan, ample space for art, and a seamless connection between indoor and outdoor living—are characteristic of the tropical modern architectural movement prevalent in Miami. The house, built a dozen years prior, reflected the original owner’s preference for this South Florida aesthetic. Consistent with tropical modern design, tall and wide windows and doors throughout the home offer expansive views of the landscape and water features. Polished marble flooring extends from the interior to the exterior, creating a cohesive and luxurious feel. The overall ambiance is Zen-like, filled with natural light, and conducive to relaxed living, offering a warmer interpretation of typical modernism. Despite their previous homes being more traditional, the Bakers found the contemporary vibe of this house perfectly suited for their extensive and growing art collection, which primarily consists of bold and abstract pieces. The home's empty white walls provided ideal gallery spaces for displaying art acquired during their travels, as well as works by Louisiana artists sourced through Ann Connelly Fine Art in Baton Rouge and Soren Christensen Gallery in New Orleans. For the renovation, the Bakers enlisted Todd Normand of Bernhard Normand Construction. The project involved relocating a bar nook in the main open room to a separate living area, adding a fireplace and bookshelves to the opposite side of the room, and redesigning the master bathroom to include a sleek vanity alcove. Designers Helaine Moyse and Patrick Tandy, long-term collaborators with the Bakers, helped integrate the couple’s existing classic furniture with new contemporary pieces. This blend is exemplified in the dining area, where an 8x8-foot abstract painting by Meredith Pardue is framed by Venetian glass sconces and paired with a weathered antique Spanish dining table. Marsha noted that the mix of antique and modern elements, encouraged by the designers, prevented the space from feeling overly contemporary, maintaining a sense of warmth. The existing kitchen, featuring contemporary glass, metal, and exotic wood cabinet panels, initially challenged Marsha’s preference for all-white kitchens. However, replacing the dark granite backsplash with a multi-hued linear version brightened the space, and she eventually grew to appreciate its unique style, especially noting James's enjoyment of cooking there. Marsha, alongside friends Stacey Davis and Stacy Johnson, recently launched Envy, a decorating firm that began with holiday décor and expanded into full-service design. Through Envy, Marsha sourced window treatments and other furnishings for their new home, adding personal touches to the already impressive structure. The couple also took on most of the landscaping themselves, incorporating ferns, elephant ears, and other tropical-inspired plants around existing palm trees, with some natural materials from Red Onion and additional trees from Steve Rowley of Hydro-Scapes. They enjoy working in the flowerbeds and spending evenings on their marble-floored porch, which remains shaded and comfortable, watching the sunset with their three dogs. The once-mysterious home has become a cherished, comfortable space for the Bakers. #ModernArchitecture #TropicalModernStyle #HomeRenovation #InteriorDesign #ArtCollection #OpenFloorPlan #OutdoorLiving #LouisianaHomes #BatonRouge

The author explores the concept of "Design with a capital D," a term coined by T magazine editor Pilar Viladas, which refers to high-end, statement-making interiors. While admiring such designs, the author questions the necessity of always making a bold statement in a room, noting that rooms can become "rudderless" if too safe. The author's personal approach is to seek an "anchor" rather than a "statement" in design. The author discusses the pitfalls of the "statement wall," suggesting it can lead to a sense of completion prematurely. An experience is recounted where a client had invested heavily in De Gournay wallpaper for a dining room, leaving the rest of the apartment undone. The author's solution was to elevate the surrounding decor to match the grandeur of the wallpaper, emphasizing that complete overhaul isn't always necessary to transform a space. The author also touches on situations where decor becomes too tasteful, requiring a "punch" to disrupt the complacency. A personal anecdote illustrates this: while designing her own sitting room with elegant, understated elements, she introduced a zebra linen fabric to add an unexpected jolt. The author reflects on the influence of style icons like Lee Radziwill, whose tiger silk velvet sofa served as an inspiration, but also cautions against "statement seating" becoming a design cliché. The author advocates for introducing bold elements later in the decorating process, after a sense of balance has been established, to prevent them from dominating the entire space. Balance is highlighted as crucial, comparing it to cooking, and a trick for achieving harmony between rooms with strong patterns involves using a complementary color from the wallpaper in the adjacent room. The author admits to a lack of restraint in her own decorating preferences, contrasting it with the admired minimalist approach of interior designer Joanna Plant, who expertly curates a few perfect items. This personal struggle stems from a desire to possess many beloved items. Ultimately, the author emphasizes that rooms are not meant to be static but should evolve, bringing life to otherwise inoffensive interiors. The author dismisses the worry of rooms becoming boring, stating that their primary purpose is to serve as a backdrop for living, not to constantly entertain. The underlying message is to have fun with decorating, allowing for playful elements without overthinking cleverness, as seen in the September 2025 issue of Elle Decor. #InteriorDesign #Maximalism #DecoratingTips #HomeDecor #DesignPhilosophy #RitaKonig #StatementDecor #RoomBalance

This article highlights various innovative design pieces from global makers, showcasing a blend of traditional craftsmanship and contemporary materials. The featured designers and studios, hailing from locations such as Brooklyn, Copenhagen, and Ukraine, emphasize unique artistic visions and sustainable practices in their creations. Each piece is a testament to meticulous design and material exploration, ranging from intricate glass sculptures to furniture made from reclaimed materials. The article begins by introducing Reevein Studios, specifically Sara Rosa Oppermann and Alice Soro Cilliara, who create mouth-blown glass sculptures. Their 'Spora' sculpture, available in amber and electric blue, demonstrates the artistic manipulation of glass into fluid forms. Following this, Djivan Schapira's 'Divergent' foyer and low tables are presented, characterized by resin inlaid with bronze wire, offering a modern aesthetic with intricate detailing. Kateryna Sokolova's 'Flock' chair for Noom, featuring an upholstered injection-molded soft-foam body and stained-ash feet, illustrates a combination of comfort and sculptural form. Faina's Victoria Yakusha contributes the 'Sontsehryv' sculpture, which stands out for its sustainable composition. This piece is crafted from Ztista, a proprietary blend of cellulose, clay, flax fiber, wood chips, and biopolymer, reflecting a commitment to eco-conscious design. Streicher Goods, led by Ethan Streicher, showcases a collection of lamps—Archie, Ping Pong, and Drum—fabricated using various stoneware clays, underglazes, mid-range glazes, and sometimes blown glass or 3D-printing processes. These lamps explore diverse material combinations and manufacturing techniques. Mansi Shah of Manu Nanu presents an interlocking vase made of hand-blown borosilicate glass in amber and cobalt-blue, demonstrating a sophisticated approach to color and form in glasswork. Nathan Litera's side table combines natural rope and grand antique marble, offering a textural and material contrast that evokes both rustic and luxurious sensibilities. Astraeus Clarke, by Chelsie and Jacob Starley, features the 'Lenox Small' three-globe light, available in wall sconce and chandelier formats, constructed from powder-coated steel, brass, and glass, indicating a versatile lighting solution. Eduardo Rivas of ERM Studio contributes the 'Materia Digital' cast-aluminum coffee table with a glass top, showcasing a blend of industrial materials with a refined finish. Kiki Goti's 'Belted and Buttoned Up' wall lights, made from aluminum, polished nickel, and steel, exemplify a contemporary and structured lighting design. Feyza Kemahlioglu of Feyz Studio, through Wexler Gallery, introduces the 'Glowing Sentiments' lighting collection, which incorporates hand-blown Murrine glass, brass chain, and Meerschaum, a hand-carved clay mineral, highlighting intricate details and unique material sourcing. Ciara Jade Dockery’s 'Creature Comforts' collection includes a Flokati wool pouf, a Mohair bench crafted from vintage rugs, and a Ply occasional table made of FSC-certified plywood. These pieces emphasize comfort, sustainability, and the repurposing of materials. Matt McKay presents the 'Jib' shearling and lacquer stool, the 'Ahoo' cashmere-upholstered lounge chair, and the 'Cap' resin and lacquer coffee table, all demonstrating a focus on tactile luxury and modern forms. Finally, Michelle McLaughlin of Calyer Ceramics features the 'Sprig' floor lamp, which features a ceramic stoneware base with a handmade glaze and a linen shade, showcasing a handcrafted approach to lighting. #MaterialInnovation #ProductDesign #SustainableDesign #Handcrafted #Ceramics #GlassArt #FurnitureDesign #LightingDesign #InteriorDecor

This article explores a collection of 17 architectural and design projects that ingeniously transform traditionally 'ugly' or unconventional materials into aesthetically pleasing and functional spaces. The underlying theme is the challenge and triumph of creating architectural masterpieces from resources that are often overlooked or considered difficult to work with, such as corrugated metal, concrete pipes, cardboard, and recycled plastics. The projects highlight how innovative designers and architects are redefining beauty in construction, often driven by desires for cost-effectiveness, unique aesthetics, or environmental sustainability. Several projects demonstrate the unexpected versatility of industrial materials. For instance, an office in a former Italian villa, transformed by Archisbang, incorporates metal mesh, exposed wood fiber, concrete insulating panels, and galvanized metal sheets, showcasing a striking contrast between precise detailing and raw materiality. Similarly, a metallic workspace in Munich utilizes shiny bubble wrap for curtains, steel grate catwalks, and reflective surfaces, creating a unique and functional environment. The Shipwreck Lodge in Namibia elevates Oriented Strand Board (OSB) to a luxurious finish in a boutique hotel, demonstrating how a budget-friendly material can contribute to a chic and cozy interior, particularly when prefabrication is employed to minimize environmental impact in a remote setting. Other examples include the Hotel Carlota in Mexico City, which revives a historic location by integrating concrete-brick lattice and plywood details into its exterior corridors, celebrating the character of existing structures. A midcentury-inspired home in Northern California showcases corrugated metal, specifically Cor-Ten siding, for fire-resistant construction, proving that this material can be cool and sophisticated when combined with shou sugi ban timber. In Bali, a tiny prefabricated home, the Tetra Pod, is constructed from recycled Tetra Pak cartons, leveraging the material's reflective qualities to blend seamlessly with its natural surroundings. A London renovation features metal decking as an exposed ceiling in a garden house, creating an articulated surface with linear ‘vaults’ or ‘waves’ that move beyond traditional gypsum board finishes. The article also presents a kitchen renovation utilizing colorful, high-density polyethylene (HDPE) panels, a plastic traditionally used in cutting boards, which brings a surprisingly rich and tactile quality to the cabinetry. In Hong Kong, an innovative microhousing solution, the OPod Tube House, uses 2.5-meter-diameter concrete water pipes to create experimental, low-cost living spaces. A brutalist duplex in Belgium by Studio Okami embraces exposed, textured concrete walls, balancing their roughness with a peach-colored liquid floor and using them as a backdrop for an art collection. A studio in South Africa is clad in recycled rubber shingles, a material traditionally used for roofing, showcasing its potential for exterior wall finishes. Further examples include the Cardboard Cathedral in Christchurch, New Zealand, an A-frame structure made of cardboard tubing and shipping containers that served as a symbol of recovery after an earthquake. A shipping container home in Sweden uses eight gray containers perched on a rocky site, demonstrating modular construction in challenging terrains. An award-winning English tiny home is constructed almost entirely from reconstituted waste cork, highlighting sustainable building practices. An Australian home features a facade of fiber-cement panels and timber battens, chosen for their lightweight properties, low cost, and ease of installation. Finally, a UK farmhouse incorporates hemp grown in surrounding fields into its exterior cladding and insulation, underscoring local and eco-friendly material sourcing. Another project in the Netherlands utilizes repurposed cable reels for its facade, demonstrating a commitment to recycling and unique aesthetic expression. Collectively, these projects illustrate that beauty in design is not limited by conventional materials but can be found through creative application and an appreciation for the inherent qualities of diverse resources. #UnconventionalMaterials #SustainableDesign #ArchitecturalInnovation #MaterialReuse #ModernArchitecture #InteriorDesign #RecycledMaterials #DesignChallenge #EcoFriendlyBuilding

Gencork is redefining the application of cork in design through its integration of high-tech computational design with cork's natural and sustainable attributes. This approach rejuvenates cork's aesthetic and expands its utility, moving beyond traditional uses to contemporary applications in surfaces and interior elements. Cork, known for its hydrophobic, compostable, recyclable, lightweight, elastic, thermal, and acoustic insulation properties, as well as fire resistance, is being presented in a new light. At the core of Gencork's innovation is the collaboration between Sofalca, a Portuguese cork processor established in 1966, and DIGITALAB, an innovative studio specializing in generative design and digital fabrication. Sofalca, situated near Portugal's cork oak forests, emphasizes environmentally and socially conscious production, utilizing a closed-loop system where biomass from harvesting fuels its manufacturing process, achieving 95% energy self-sufficiency. DIGITALAB, led by Ana Fonseca and Brimet Silva, applies digital technologies across various design disciplines, previously creating cork threads for lighting and furniture. Toni Grilo, an acclaimed designer and art director for Sofalca’s Blackcork brand, also contributes significantly to Gencork’s pattern designs. The manufacturing process begins with cork harvested from oak branches, leaving the trees intact. Sofalca processes these branches into pellets, which are then baked in an autoclave. Water vapor injected during this stage causes the pellets to expand and agglomerate into solid blocks, bound solely by cork’s natural resins without added chemicals. These blocks are subsequently cut into panels and precisely milled using CNC technology, guided by computational design principles. Algorithmic scripts enable the creation of a diverse range of shapes and scales, allowing for tailored applications. The 2020 Corkllection showcases these advancements, featuring cork tiles, modular cork bricks for wall coverings, a cork table light, and customizable generative wall panels. The autoclaving process imparts a distinctive dark, rich, chocolatey color to the cork. Gencork's designs draw inspiration from nature, mathematics, geometry, and biomimetics, resulting in patterns that range from fluid ripples and swirls to abstract geometric forms reminiscent of origami. The granular texture of the cork maintains a warm, organic feel, even with precise milling, and the 3D panels exhibit a characteristic lined texture. These dynamic patterns allow for the creation of undulating or complex geometric wall surfaces. Corkbricks, available in square or triangular modules, facilitate regular or uniquely irregular 3D installations. Two-dimensional designs include a progressive hexagonal pattern inspired by M.C. Escher, magnetic wave motifs, and op-art grids. Tessellating cork tile designs like Corkunit and Corkarc create complex topographic surfaces, while Corkboard offers a minimal diamond tile with optional shelves for display. The generative designs are functional, enhancing cork’s inherent thermal and acoustic properties. They transform cork from a utilitarian, often concealed material into a prominent feature in contemporary design. Gencork’s approach adds significant value and broadens cork's appeal for both commercial and residential projects, elevating cork wall tiles beyond their traditional perception into an attractive and disruptive design element. #MaterialsAndSurfaces #InnovationDesign #InnovativeMaterials #SustainableDesign #CorkDesign #GenerativeDesign #DigitalFabrication #InteriorDesign #ComputationalDesign

Italian door brand Lualdi has announced a new focus in its design process for 2023, aiming to create products through experimental combinations of textures and materials. This shift in design philosophy is geared towards developing new door aesthetics by creatively utilizing and integrating traditional materials such as wood, fabric, glass, and aluminum. The brand states that many of its latest products and collections are specifically engineered to interact with light from various angles, thereby expanding a broad spectrum of "creative possibilities." These possibilities range from innovative surface treatments and overlapping patterns to the thoughtful combination of diverse materials. A key example of this new approach is Lualdi's L7 door collection, which was unveiled at the Salone del Mobile furniture fair during Milan Design Week 2023. This collection, developed in collaboration with architect Piero Lissoni, thoroughly explores the interplay between glass and aluminum. The brand highlights that this exploration is evident not only in the patterns created with these materials but also in how they are integrated. For instance, the L7 Edit, a component of the L7 door collection, features glass panels accentuated with aluminum stripes. These stripes are intended to introduce a "rhythmic feel" to the product and give the design a fence-like silhouette, demonstrating a novel application of materials for aesthetic and functional purposes. Beyond glass and aluminum, Lualdi is also actively pursuing the "quest to discover wood's untapped potential." The strategic mixing of materials is designed to "inject furniture systems with energy," effectively transforming individual pieces into adaptable, state-of-the-art architectural elements that possess significant decorative impact. An illustration of this is the Koan sliding system, conceived for Lualdi by Kokaistudios, which incorporates wooden strips to enhance its design and material composition. Similarly, the brand's cladding solutions, such as Tai Boiserie, exemplify this material-focused design. Tai Boiserie features a symmetrical arrangement of wooden geometric patterns that extend across walls and doorways. This design aims to infuse interior spaces with a sense of warmth and coherence. The graphic interplay of shadows and lines produced by these designs is specifically crafted to "breathe fresh life into wood's inherent solidity," challenging conventional perceptions of wood's application in interiors. Furthermore, Lualdi is intensifying its engagement with fabrics and leathers, materials that are increasingly seen as facilitating a "reconciliation, a fusion almost, between the product and the world of furniture." The brand employs these materials to present increasingly adaptable solutions capable of defining the visual character of the spaces they connect. Lualdi, an Italian design company established in 1859, specializes in interior doors and maintains showrooms in prominent cities including Milan, Miami, Los Angeles, and New York. The brand's commitment to exploring material combinations and textures signifies a forward-thinking approach to interior design elements, aiming to offer sophisticated and versatile solutions for modern spaces. #Lualdi #DesignProcess #MaterialInnovation #InteriorDoors #PieroLissoni #MilanDesignWeek #ArchitecturalElements #HomeDecor #ProductDesign

This article explores interior design "microtrends" that design experts predict will have lasting appeal beyond their initial surge in popularity. It addresses the common concern of investing in fleeting fads and aims to guide homeowners in making timeless decor choices. The piece highlights ten specific trends that designers believe will endure through 2025 and beyond, moving from temporary phenomena to established design principles. First on the list is curved sofas. While a revival of a 70s classic, these sculptural and convex furniture pieces are praised for softening spaces and fostering a more convivial atmosphere. Designers emphasize their versatility as floating statement pieces rather than being confined to walls, suggesting an enduring shift in spatial arrangement. Monochrome color palettes are also presented as a timeless approach, offering visual strength and emphasizing depth. This trend, often paired with color drenching, encourages a cohesive and harmonious aesthetic where every color decision is intentional. Skirted furniture, another microtrend, is re-emerging with a contemporary twist. Designers appreciate the beautifully patterned pleats on ottomans, chairs, and sofas for creating a homey, cottage-core feel without the "frumpy" connotation of past styles. The modern pleated skirts are seen as a refined nod to traditional aesthetics that will continue to gain traction. Color drenching, the technique of saturating an entire room in a single hue, including ceilings and woodwork, is identified as a trend driven by a desire for increased character and personality in homes. Designers believe this immersive approach to color unequivocally sparks joy and will remain popular. Raw, unfinished textures, such as lime plaster and microcement, are anticipated to rise in popularity. These materials contribute to an organic, artisanal look, building on previous trends like raked plaster and stucco. Their sustainability and eco-friendliness, combined with their unique patinas and textures, make them appealing for various surfaces, from walls and fireplaces to ceilings and even tile floors. Mural wall coverings, moving beyond simple accent walls, create immersive scenes with statement motifs, particularly verdant themes with lush greenery and floral patterns. This trend is favored in communal spaces like dining rooms, providing engaging focal points that celebrate nature's calming influence. Raw wood kitchen cabinetry signals a move away from sterile, white kitchens towards warmer, more inviting spaces. The inherent timelessness of organic materials like wood, especially in kitchen islands, offers a perfect balance of tradition and modernity, complementing various materials such as marble and metallic hardware. Standout ceilings, once neglected, are now becoming a fifth wall for decorative expression. Designers report increased use of paint, wallpaper, high gloss finishes, and even exposed wood on ceilings, transforming them into focal points that create enveloped and cozy spaces. Red decor, initially popularized by the "unexpected red" trend in 2024, is evolving towards deeper, darker hues like maroon. This adaptation is seen as a more timeless approach, suitable for creating relaxing and safe ambiances, especially in smaller rooms. The article predicts a continuation of color-drenching with these rich tones. Finally, the microtrend of "lived-in" interiors emphasizes uniqueness and storytelling within a home. This trend values personalized decor and accessories that subtly and overtly reflect the inhabitants, moving away from generic, "cookie-cutter" spaces. It encourages homeowners to curate spaces that visually map their experiences and preferences. In essence, the article argues that these seemingly small trends are not fleeting fads but rather design elements with inherent longevity, capable of becoming staples in interior design for years to come. By adopting these lasting microtrends, homeowners can create chic and enduring spaces. #InteriorDesign #DecorTrends #TimelessDesign #HomeDecor #CurvedSofas #MonochromePalettes #SkirtedFurniture #ColorDrenching #RawMaterials #MuralWallcoverings #WoodenCabinetry #StatementCeilings #RedDecor #LivedInInteriors

The increasing scrutiny on environmental impact has led designers to innovate, creating solutions that combine creativity with sustainability. This movement is spearheaded by both established and emerging talents who are developing projects ranging from microalgae-powered items to furniture made from paper pulp and fully compostable seating, all while maintaining high aesthetic standards. Fango, founded by Colombian designer Francisco Jaramillo, addresses deforestation by utilizing Yaré, a fast-growing natural fiber, in his 'Ibuju' furniture collection. This project collaborates with local weavers in Colombia, highlighting the relationship between artisans, sustainable materials, and contemporary design through pieces that respect indigenous traditions and environmental needs. Prowl Studio, comprising Baillie Mishler and Lauryn Menard, introduced the 'Peel' chair at Milan Design Week 2023. Developed with M4 Factory, this chair is made from a hemp-based bioplastic derived from industrial hemp waste and biopolymers. The chair's frame composts within six months in an industrial facility, while its hemp foam cushion, upholstered in hemp bio-leather, decomposes as quickly as an orange peel and can be composted at home. Creative director Menard emphasizes a design philosophy that considers the entire lifecycle of materials and products. German designer Stefan Diez, inspired by Japanese bamboo furniture, partnered with Norwegian aluminum manufacturer Hydro to create the 'Boa' table for Hay. This table uses 75% recycled, post-consumer aluminum scrap, employing a unique folding technique reminiscent of traditional bamboo artistry. Its lightweight, flat-packed design and production facility powered by hydropower significantly reduce its carbon footprint. Buyers can customize the tabletop with various finishes or source it locally to fit their style. Alted Materials, founded by Berta Julià Sala, aims to disrupt the building industry by offering architectural products based on circular economy principles. Their 'Alted H01' collection features decorative wall panels made from 'Honext,' a material derived from cellulose waste from the paper industry. These waste-based, plant-based, non-toxic, and recyclable panels come with a take-back scheme, ensuring materials are recycled back into the production loop at the end of their life. Patricia Urquiola, Cassina's art director, designed the 'Moncloud' sofa with a strong focus on sustainability. The sofa features a metal frame wrapped in recycled PET wadding, and the use of polyurethane is minimized by incorporating Circularrefoam, a foam made with recycled polyols. The design allows for complete disassembly, making individual material recycling and recovery easier. Federico Peri collaborated with Bentley to create furniture using Paper Factor, an innovative paper-pulp surface material developed by Riccardo Cavaciocchi. This material, crafted by hand, offers a luxury aesthetic similar to marble, with organic coloring and intricate veining, but with significantly reduced waste and water usage during production. This initiative is part of Bentley's broader sustainability efforts, emphasizing the durability of the material when treated. Chinese designer Fengfan Yang's 'Light on Lives' project explores plant-powered electricity generation using microalgae contained in the lamp's base. While producing minimal power, it is sufficient for a night light, requiring regular water changes. Yang aims to integrate existing technology with everyday products to demonstrate the potential of plant power, highlighting the importance of interdisciplinary collaboration for future applications. Yuma Kano, a Japanese designer, created 'ForestBank' after being inspired by the Hida region's forgotten forest elements. This material combines organic waste such as small branches, leaves, and nuts with resin, showcasing the beauty and unique characteristics of these natural resources. Each design is distinct due to the organic variations and can be applied to various forms like tabletops. Estudio Rain, founded by Mariana Ramos and Ricardo Innecco, developed the 'Rícino' lighting collection from a plant-based castor oil resin. This project, which began in 2018, offers translucent amber fixtures as an ecological alternative to petroleum-based resins. The material is cold-pressed and manufactured without water consumption, indicating a significant step towards sustainable material innovation in design. Honoka Design Lab, a collective of Japanese designers, presented the 'Tatami Refab Project,' a furniture series made from discarded Tatami mats combined with bioplastic to form a green resin-like substance. By transforming Igusa grass mats into striking furniture and lighting with the help of 3D-printing experts ExtraBold Inc, the project seeks to reintroduce the beauty of traditional Tatami to younger Japanese homeowners influenced by Western design trends. #SustainableDesign #EcoMaterials #CircularEconomy #BioplasticFurniture #RecycledMaterials #PlantPoweredDesign #TraditionalCraftsmanship #InnovationInDesign #GreenArchitecture

The latest John Reed health club in Vienna, Austria, represents RSG Group's ongoing commitment to integrating fitness with art, design, and music. This high-end fitness brand targets a contemporary audience seeking a distinctive workout experience. The newly opened Vienna Schwedenplatz club, occupying 2,800 square meters in a historic former main post office, offers a comprehensive range of facilities including a large cardio area, a group fitness zone, a wellness area with saunas and relaxation spaces, and various social areas. The interior design successfully merges the building's historical architectural elements with modern features and lighting. The uniqueness of each John Reed club is a core brand tenet, with the design team drawing inspiration from local surroundings and commissioning site-specific art installations. For instance, the Vienna club features works by local illustrator Nadine Werjant, Berlin-based graffiti artist Christoph Häßler, Ukrainian painter Alexander Isakov, and Belgian street artist KYMO One, embodying the brand’s slogan: “More than a gym – it’s a living work of art.” RSG Group's late founder, Rainer Schaller, articulated that John Reed provides a specialized fitness experience for individuals who appreciate music, art, fitness, and lifestyle. He emphasized that each global John Reed location is designed to reflect the local community's ethos, a principle that continues to guide new developments. Josip Radovic, Chief Creative Officer at RSG Group, further elaborated on the design philosophy for the Vienna Schwedenplatz club, stating that the city itself was a primary inspiration, allowing the club to perfectly complement its urban environment. A significant challenge during the project involved harmoniously blending the listed historic architecture with the contemporary fitness studio concept, a goal the team believes was successfully achieved. Despite each John Reed club being uniquely designed, certain unifying elements persist across all locations. A strong emphasis on music is evident through the presence of a DJ booth in every studio, reflecting the brand's club-like atmosphere. While effective training remains paramount, the design aims to add a “clubby glitter,” reinforcing the motto: “the best club in town is a gym.” This design-led approach is intended to enhance member motivation, as an aesthetically pleasing and inspiring environment encourages more frequent gym attendance. Rainer Schaller's vision was to create interiors that would surprise and delight visitors. Looking ahead, RSG Group plans to open another John Reed club in Vienna in early 2026, which is currently under construction, and has initiated ideation for a new location in Stuttgart. This ongoing expansion underscores the brand's dedication to its unique, art-infused fitness model.

Philip Oloo, an Architectural Designer, Virtual Reality (VR) for Architecture specialist, and Licensed General Contractor, discusses his journey into entrepreneurship, the unique aspects of his design firm SPACIALISTS, and the lessons learned along the way. His decision to start his own business was driven by a combination of frustration with traditional employment, dissatisfaction with his work, and a desire for personal growth and recognition. Influenced by his entrepreneurial father and supported by his wife, he embarked on this path to overcome career stagnation. SPACIALISTS stands out in the architectural industry by integrating virtual reality for architectural design. The firm creates immersive visual experiences and handles comprehensive construction documents and plan submissions to Building and Safety departments. A key innovation is enabling real-time reviews of buildings, allowing for immediate design adjustments. This approach has fostered collaborations with architectural firms across the United States. Oloo's success is attributed to continuous learning, practice, and the mastery of tools like Unreal Engine, which led him to connect with talented game designers globally. He emphasizes that achieving mastery is a gradual process, akin to compound interest, requiring daily dedication over several years. Oloo highlights that many struggles arise from a lack of solutions, advocating for continuous learning, experimentation, and questioning to cultivate innovation. SPACIALISTS' philosophy centers on constant improvement and a proactive adoption of AI in architecture, aiming to simplify clients' lives, ensure sound design decisions, and promote sustainable and innovative solutions that benefit both projects and the environment. Beyond his professional life, Oloo shares some of his favorite local spots and travel ideas, including a scenic drive along Highway 1 from Santa Barbara to San Francisco, a visit to Redwood National Park, and the vibrant atmosphere of Las Vegas. He also expresses appreciation for authentic Mexican cuisine from local establishments. He concludes by acknowledging the significant role of his family—his wife Jen, children Zuri, Amani, and Jaidyn—and his parents, Portash and Heddah, for their unwavering support and inspiration. He also thanks his brother for encouraging a Kaizen mindset of continuous, incremental growth and credits 'The Great Courses' for broadening his understanding of human nature and achievement. #ArchitecturalDesign #VirtualReality #GeneralContractor #Entrepreneurship #SPACIALISTS #UnrealEngine #BusinessInnovation #AIinArchitecture #SustainableDesign

The article introduces the Ardea side table by Apulian designer Giuseppe Campanale, highlighting it as a prime example of essential design and innovation. This piece of furniture, designed for DesignWanted's Ideas for Business competition, exemplifies the principle of focusing on core functionality and elegant simplicity, a philosophy championed by design masters like Achille Castiglioni. Castiglioni, about 70 years ago, emphasized reducing designs to their fundamental components, transforming everyday objects into iconic pieces through their unadorned utility. Good design, in this context, is about meeting essential needs with clarity of purpose, a significant challenge in contemporary design. The Ideas for Business competition, launched by DesignWanted, seeks projects that reinterpret past design principles to address modern living challenges, prioritizing unconventional aesthetics, fearless creativity, and essentiality. The inaugural call for entries focused on redesigning the often-overlooked side table. Giuseppe Campanale's Ardea side table was recognized for its ability to infuse poetry into functionality, elevating a common household item beyond its typical role as a mere surface for objects. The jury praised Ardea as "a calm presence in the chaos of contemporary interiors," acknowledging its subtle yet impactful contribution to living spaces. Campanale’s design features a minimalist structure that integrates an innovative LED lighting system seamlessly within the furniture. This lighting is powered by a rechargeable battery, eliminating the need for wires and allowing the table to be placed flexibly throughout a home. This wire-free design enhances the table's versatility, enabling its use in various settings without physical constraints. The Ardea side table embodies essentiality and creativity derived from real-world needs, eschewing superficial stylistic flourishes in favor of thoughtful solutions to contemporary living. Campanale uses design to tell simple yet profound stories, and Ardea's narrative centers on a piece of furniture that can become integral to daily rituals. The integrated spotlight redefines the side table's function, transforming it into a versatile companion for relaxation, inspiration, and social interaction, gently enhancing the atmosphere of any space. The Ardea side table successfully met the criteria of the Ideas for Business Call, demonstrating that a side table can transcend its traditional peripheral role. It can be designed to function as a compact workspace, a personal retreat, or an inviting lounge element. Through its clear intent and innovative features, the Ardea side table illustrates how a seemingly small object can significantly influence and reshape domestic environments, proving that true innovation often lies in returning to the essential. #FurnitureDesign #MinimalistDesign #ProductInnovation #GiuseppeCampanale #SideTable #LEDLighting #ContemporaryDesign #DesignCompetition #EssentialDesign

Village Handcrafted Cabinetry, a company based in Lansdale, Pennsylvania, has been creating custom cabinetry and wood products for over three decades. Founded by Joseph Trave, the business specializes in designing, building, finishing, and installing a wide range of custom items, including bathroom vanities, cabinet doors, kitchen cabinets, pantries, and walk-in closets. The company caters primarily to mid- to high-end residential clients, working with designers, builders, remodelers, and a small percentage of retail customers. Joseph Trave's passion for woodworking began at a young age, leading him to establish the company in 2000. Starting from a 400-square-foot garage, the business has expanded significantly to occupy over 60,000 square feet of manufacturing space. In 2003, Trave acquired another local cabinetmaker's business, Village Woodshop, integrating its machinery and employees. The company later moved to Lansdale in 2006, establishing a showroom and a larger production facility. Over the years, the company has navigated economic challenges, including recessions and a pandemic, through the dedicated efforts of its four-person management team, which includes Joseph Trave as CEO, his wife Gina as director of marketing, Gary Marks as director of finance and purchasing, and Jennifer Marks as director of Human Resources/payroll. Village Handcrafted Cabinetry prides itself on its ability to produce custom products entirely in-house. All cabinet construction utilizes mortise and tenon joinery. The company also produces its own moldings, offering an extensive library of 1,200 profiles and the capability to create custom profiles to match existing designs. The manufacturing process incorporates advanced technology, including CNC equipment for both panel processing and solid-wood machining. Automated loaders and unloaders are used with their Stratos 3-axis machining center and Weeke Vantage 2000 CNC processing center, facilitating efficient production of nested panels and raised panel doors. Further technological investments include TigerStop stations for producing stiles and rails, and a miter fold machine for creating precisely joined corners and face frames. For sanding, the company uses a Timesavers multi-head flat sander and an MB Roba Tech sander, which is capable of sanding both flat and profiled parts. A sophisticated dust collection system gathers sawdust, which is then burned to provide heat for the facility during winter, showcasing an environmentally conscious approach to waste management. The company also features an in-house finishing lab, referred to as the “finishing kitchen,” where skilled artisans perform custom color matching. Clients often present complex finishing challenges, and the team meticulously creates samples under bright lights to ensure exact color replication, with both the company and the client retaining a sample for consistency. A newer addition is a small in-house metalworking shop, which handles minor fabrication for items like hoods and floating shelves, ensuring proper separation from woodworking operations for safety. Despite its current 60,000 square feet of production space, the company produces approximately seven to ten kitchens per week and is exploring further growth opportunities, including potential acquisitions or additional facilities. #cabinetry #customCabinets #woodworking #CNCManufacturing #residentialDesign #kitchenDesign #handcraftedLook #productionEfficiency #woodDustCollection

Eindhoven graduate Aaron Preyer, a designer known for his interest in movement and transformation, has developed the "Blooming Furniture" project. This collection features transformative objects and furniture designed to react to touch and interaction. The innovative aspect of these pieces lies in an internal mechanism that responds to pressure and weight changes. This mechanism allows furniture to shift between different forms; for instance, a pouf or side table can transform into a lounge chair. The inspiration for Blooming Furniture stems from an exploration of mechanics and a deep fascination with the natural processes of plants, specifically their ability to grow, bloom, and evolve. Preyer's design philosophy celebrates the technical elements that facilitate these transformations, making the mechanism an integral part of the aesthetic and form, rather than concealing it. One notable piece in the collection is a chair that seamlessly converts from an upholstered table or ottoman into a comfortable armchair. The base of this piece, constructed from aluminum, houses the transforming mechanism. The upper section is upholstered, offering customization options for both fabric and the color of the anodized aluminum base. The transformation is activated by pressure and weight applied to its surface, demonstrating a playful combination of functionality and design. Preyer's research and development for Blooming Furniture involved extensive experimentation with moving mechanisms within various furniture and object designs. The designer's ambition is to expand beyond a single chair and establish a comprehensive, recognizable collection. The series currently includes several test models, such as coffee tables, a candlestick, a wall shelf, and a fruit bowl. Each of these prototypes showcases how movement and functionality can converge to create innovative and playful designs. Early feedback on the project highlights varying perspectives. Some observers see the practical application of such furniture, particularly for individuals who frequently lean or sit on various surfaces. Others raise concerns regarding the practicality and comfort of the transformed states, suggesting potential issues with user experience or even safety. Despite these initial reactions, the project underscores a creative approach to furniture design that challenges conventional static forms and embraces kinetic possibilities. #KineticFurniture #TransformativeDesign #AaronPreyer #FurnitureDesign #ProductInnovation #InteractiveFurniture #DutchDesign #IndustrialDesign

Klopper and Davis Architects recently completed an award-winning extension for a 1970s family home in Western Australia. The project presented a unique challenge: designing a living environment that prioritises the comfort and accessibility needs of the family's eldest child, Owen, who has a rare genetic condition. Architect Sam Klopper's approach was grounded in universal design principles, aiming to create a highly functional yet non-institutional environment that supports Owen’s mobility and independence without compromising on residential warmth or the home’s mid-century aesthetic. Klopper emphasizes that the design holistically supports Owen and his family. The core considerations included ease of movement throughout the interior and exterior spaces and nourishing visual connections to the outdoors. Owen’s wing, which includes a bedroom, bathroom, and equipment storeroom, integrates a Guldmann ceiling hoist system for safe movement and to empower him in daily tasks. A large window seat in his room overlooks a courtyard garden, drawing in northern light and providing a tranquil view of a silver birch tree. This design also maintains sightlines with the family’s living area, fostering connection while allowing Owen moments of sensory calm. The project involved an alteration and addition to a 1970s home, and the design aimed to celebrate its mid-century architecture while introducing modern amenities. The original single-level structure, with its L-shaped configuration, allowed Owen’s new wing to be added near his parents’ suite for accessibility and support. The design addressed existing barriers, such as a threshold change to the backyard, by ensuring the internal concrete floor finish was flush with the external paving for seamless wheelchair movement. Archways and the front door were widened, with a generous 1.2-metre-wide glass entry door offering clear visibility to the back garden. Sensory considerations, including texture and color, heavily influenced material and product choices to maintain warmth and avoid a clinical aesthetic. It was crucial for Owen’s wing to feel comfortable and cohesive with the rest of the house. All three bathrooms were designed with earthy tones from nature, featuring ceramic wall and floor tiles from Original Ceramics. Owen’s bathroom, in particular, uses soothing matt khaki green tones that complement the garden view, creating a peaceful, non-institutional environment while meeting all accessibility requirements. Colour-blocked cabinetry in Laminex Possum matches the feature tiles, and an Omvivo Neo solid surface wall-hung basin with an integrated bench ensures ease of use and cleaning, allowing the tiles to be the focal point. Product sourcing included Phoenix tapware in a brushed gold finish, chosen to add warmth and personality. The clients, one of whom is a plumber, had existing brass tapware that inspired this selection. Phoenix's newly released Vivid Slimline mixers with an extended pin allowed for diverse needs to be met while maintaining a consistent design language. The clients played an integral collaborative role in the design process, providing valuable feedback on functionality, accessibility, and comfort, often with input from an occupational therapist. This close client involvement ensured the design truly met their lifestyle and needs. Future-proofing was a significant influence, balancing immediate needs with long-term adaptability. The design anticipates that Owen’s needs and interests may change, ensuring he can always feel supported and participate in family activities. An example is the special pool ledge included in the swimming pool design, allowing Owen to sit comfortably with his equipment, fostering an inclusive space for family time. The Mitchell Street Residence is designed to evolve, providing enduring independence, comfort, and connection. The project underscored the belief that thoughtful, inclusive design improves lives and empowers individuals. Klopper emphasizes the importance of collaborative client engagement to create spaces that celebrate diverse abilities and enhance daily life. Looking forward, there is a recognized need for innovations in the Australian accessible design market, particularly in understanding and designing for neurodiversity, moving beyond just mobility considerations. The design industry is encouraged to push boundaries by involving clients with diverse needs and integrating products and features that enhance quality of life without differentiating individuals. #AccessibleDesign #UniversalDesign #HomeExtension #ResidentialArchitecture #MidCenturyModern #InclusiveDesign #ClientCollaboration #ProductSpecification #FutureProofing