A Subway Ride Wrapped in Art

The New York City subway system is celebrated not only for its transportation utility but also for its distinctive artistic elements, particularly the intricate tile work and mosaic installations found throughout its stations. This article highlights 20 subway stops that showcase impressive public art, reflecting both historical craftsmanship and modern artistic expression. These pieces often result from collaborations between artists, fabricators, and the MTA, with some stations preserving the influence of the subway system's earliest architects. The South Ferry station, despite the loss of a major tile piece during Hurricane Sandy, still features ceramic ships by subway architects George Heins and Christopher LaFarge in its old section. The inaccessible Old City Hall station, closed since 1945, was renowned for its beautiful tile work by Rafael Guastavino, whose undulating ceiling can still be glimpsed near the Manhattan Municipal Building entrance. Bleecker Street (6) and Astor Place (6) stations, part of the original IRT line, display Beaux Arts-inspired tile work and beaver tiles by Heins and LaFarge, with Astor Place also featuring a modern mosaic by Milton Glaser that draws inspiration from the station's existing architecture. Squire Vickers, who worked on over 300 NYC subway stations for nearly 40 years, introduced a more simplified yet intricately patterned and color-coordinated tile design, exemplified at the 28th Street (1) station. At 34th Street-Herald Square, Michele Oka Doner's 1991 installation, 'Radiant Site,' uses over 10,000 gilded tiles to offer commuters a moment of reflection. The newer 34th Street-Hudson Yards (7) station features Xenobia Bailey’s 'Funktional Vibrations,' two vibrant glass tile mosaics initially rendered in crochet. Elizabeth Murray's 'Blooming' at Lexington Avenue-59th Street (4/5/6/N/R/W) uses glass mosaic murals that cascade through tunnels, incorporating poetry and symbolizing passage. The 81st Street-Museum of Natural History (B/C) station is adorned with animal-inspired art, 'For Want of a Nail,' utilizing various materials to depict flora and fauna. The 86th Street (Q) station on the Second Avenue subway features Chuck Close’s 'Subway Portraits,' a series of 12 intricate mosaics. Sarah Sze’s 'Blueprint for a Landscape' at 96th Street (Q) is a massive 14,000-square-foot installation of porcelain tiles depicting elements of city life. The 161st Street-Yankee Stadium (4/B/D) station, designed by Vito Acconci, features tile work that creates an illusion of a sliding wall and even serves as seating. Further examples include Wopo Holup’s subtle ceramic bird shapes at Dyckman Street (1), Andrea Dezsö’s vibrant 'Community Garden' mosaic at Bedford Park Blvd-Lehman College (4), and Soonae Tark’s uplifting 'Have a Happy Day' geometric glass tile piece at Buhre Avenue (6). Ik-Joong Kang’s installation at Flushing-Main Street (7) consists of 2,000 ceramic tiles, each depicting a unique aspect of the Flushing community. The Eastern Parkway-Brooklyn Museum (2/3) station displays pieces from demolished buildings, framed by rich blue and gold mosaics. Susan Tunick’s ceramic flora installation at Prospect Park (B/Q/S) draws inspiration from the nearby park and the Arts and Crafts movement. Finally, Rita MacDonald’s optical illusion tile work at Avenue M (Q) and DeBorah Goletz’s 'Postcards From Sheepshead Bay' at Sheepshead Bay (B/Q) capture historical recreational moments, completing this diverse collection of subway art. #NewYorkSubway #PublicArt #TileArt #MosaicMurals #SubwayStations #NYCArchitecture #MTAArtsAndDesign #UrbanArt

French artist duo Zim & Zou have unveiled their latest paper installation, "Flying Faubourg," for the Hermès window display in Tokyo’s Ginza Mitsukoshi. This intricate paper sculpture pays tribute to Hermès’ equestrian heritage by featuring a floating, hybrid creature, part horse and part machine, rendered in warm, sunset-inspired hues. The artwork integrates elements of Hermès' iconic Parisian storefront at 24 Faubourg Saint-Honoré, reimagining it as a structure soaring above the cityscape of Tokyo. Zim & Zou, who refer to themselves as "paper pirates," constructed this complex installation specifically for the opening of the Hermès Ginza Mitsukoshi store. The central sculpture represents their most elaborate creation to date, meticulously assembled in their studio in France before being transported and installed in Japan. The piece is innovatively held together by magnets, supporting both smaller vessels suspended above and miniature buildings below. The artists describe "Flying Faubourg" as a potent symbol of intellectual freedom and artistic expression. The installation features the horse-like figure gazing forward, its mane seemingly flowing in the wind, which evokes Hermès' foundational origins in saddlery and equestrianism. Below this fantastical flying structure, viewers can identify iconic landmarks of Tokyo, such as the Tokyo Skytree, the Rainbow Bridge, and the Tokyo Tower, inviting an imaginative exploration of the city. The artists conveyed that the "Flying Faubourg" is momentarily static within the window display, yet it perpetually invites bold exploration of both the real world and the boundless realm of imagination. The artwork showcases Zim & Zou's signature use of paper as a primary medium, demonstrating their expertise in transforming two-dimensional sheets into detailed, three-dimensional forms. Their previous collaborations with Hermès and other notable brands highlight their unique approach to art and design, which often involves crafting entire fantastical worlds from paper. The choice of paper for such an elaborate installation also emphasizes the artists' commitment to a material that is both versatile and environmentally conscious, aligning with contemporary interests in sustainable art practices. The installation serves not only as a promotional display for Hermès but also as a significant artistic statement, merging luxury branding with imaginative craftsmanship and cultural storytelling. #PaperArt #Hermes #ZimAndZou #WindowDisplay #PaperSculpture #TokyoArt #EquestrianSpirit #InstallationArt #GinzaMitsukoshi

Interior decorator Starrett Zenko Ringbom and artist Happy Menocal collaborated on a whimsical, hand-painted mural for the entryway of Ringbom’s Upper East Side Manhattan apartment. Their working relationship, which began with Ringbom's branding materials, evolved into a friendship, making them an ideal creative pair due to their shared bright, playful aesthetics and willingness to take design risks. Ringbom expressed implicit trust in Menocal's understanding of her aesthetic point of view. The mural serves as a central focal point in the newly redecorated two-bedroom residence, which exudes significant character. The design inspiration for the home, and consequently the mural, stemmed from bold hues and the surrealist design of a Fornasetti umbrella stand situated in the entry. Ringbom describes her interior decor theme as neo-traditional, envisioning an Italian aristocrat who, after facing financial hardship, moved into a smaller pre-war apartment but still sought to live grandly and eccentrically. This concept underscored her desire for a mural in the entry. Ringbom was committed to realizing her dream of a tailor-made, hand-painted entry, emphasizing that small spaces should not limit style. She cited the entrance to L’Institut Guerlain, designed by Jean-Michel Frank with wall murals by Christian Berard, as a long-standing inspiration for her own mural project. The collaboration with Menocal involved incorporating themes from the rest of the home into the personalized painting. Menocal noted that Ringbom’s apartment and overall aesthetic blend "zippy Italian mid-century" with "classic old-guard formality." To honor this, and Ringbom's admiration for writer and illustrator Ludwig Bemelmans, Menocal integrated elements like topiary and cypress trees to evoke an Italian feel, alongside stylized color fields and a limited palette for a 1960s mod touch. The resulting mural is a spirited, celestial depiction of Ringbom and her family, featuring ethereal foliage and a muted background. Each family member is represented in portrait-painted medallions, reminiscent of characters from Bemelmans’ famous creation, _Madeline_. Achieving her vision of luxury and customization, Ringbom encourages others to consider mural painting in their own homes. She suggests it as an excellent alternative to wallpaper for spaces like entries or powder rooms. Ringbom advises embracing bold design choices, stating that "half-measures and fear will only restrain what could be glorious. Be brave!" The article highlights how a personalized artistic element can transform a space, making it both unique and deeply reflective of the homeowner's personality and inspirations. #InteriorDesign #MuralArt #EntrywayDecor #PersonalizedDesign #HomeDecor #ArtistCollaboration #UpperEastSide #NeoTraditional

The Metroboard is a unique piece of wall art that visualizes real-time train location data for several major U.S. cities, including Los Angeles, New York, Chicago, Washington D.C., Boston, and San Francisco. Designed by the Los Angeles-based team at Design Rules Company, this device transforms the often-frustrating reality of public transit into an interactive, aesthetic display. The product, priced at $229, features a traditional metro map with LED lights that illuminate to indicate the real-time movement and location of trains. The Metroboard functions as a dynamic infrastructure infographic, mimicking a switchboard that can be mounted on a wall or placed on a desk. It integrates the various lines and stations of metropolitan subway systems, with the LED lights illustrating the ebb and flow of train traffic. During peak hours, the board becomes a vibrant display of blinking lights, reflecting the high volume of commuters. In contrast, during slower evening hours, fewer lights are active, providing a visual representation of reduced service. The device is powered by a single USB-C cable and requires a connection to home internet to access real-time data from municipal transit authorities. It creates its own Wi-Fi network for initial setup, allowing users to configure settings such as LED color (color or plain white), brightness, and whether to display trains in transit or only at stations. The Metroboard is available in different sizes, with smaller transit areas presented in an 11x11-inch format, while New York and Chicago maps are larger, measuring 11x16 inches. Each Metroboard is constructed with a walnut frame and an all-aluminum face, featuring precisely drilled holes for the LED lights. Artists Kirill Safin and Emily Perkins, who lead the design team, drew inspiration from a cross-country train trip. Their vision was to portray cities as “truly live organisms,” with each light not merely representing a train but also symbolizing the thousands of commuters moving through the system daily. Safin confirmed that the device sources its information directly from the respective municipal transit agencies, incorporating data from onboard train equipment and track infrastructure. While accuracy can vary slightly between agencies, the team has tested the Metroboard on-site, verifying its ability to accurately reflect train movements. The Metroboard is expected to launch in September, with a preorder option available for $189 for those who make a $3 reservation, offering an $80 discount off the full retail price. The Design Rules Company has expressed aspirations to expand its offerings to include international train systems, such as London's Tube and potentially Tokyo's highly efficient metro system. #Metroboard #WallArt #RealTimeData #PublicTransit #UrbanDesign #LEDLights #HomeDecor #SmartHome #Gadgets

In 2018, Argentinian racing driver Pablo Perez Companc, in collaboration with Pagani founder Horacio Pagani, executed a unique project: installing a Pagani Zonda Revolucion as an art installation and room divider in Companc's Miami apartment. The vehicle was carefully lifted into the living space using a crane. This unconventional display is not an isolated incident, as other wealthy individuals have similarly incorporated luxury vehicles into their high-rise residences. An Australian businessman previously arranged for a McLaren Senna GTR to be hoisted into his penthouse, and a Seattle resident had a McLaren Elva lifted 48 stories into his apartment. Pablo Perez Companc, a prominent figure in the racing world, is the son of the late Argentinian businessman Gregorio Pérez Companc, who possessed an estimated net worth of $2.5 billion. Companc initiated his racing career in 2000 and is an avid car collector. His extensive collection includes high-performance vehicles such as a Pagani Huayra, a Lamborghini Huracán Super Trofeo Evo, a Porsche 911 GT2 RS, and a Dodge Demon. Beyond merely garaging these exotic cars, Companc chose to integrate a Pagani Zonda Revolucion into the aesthetic of his living room. With direct assistance from Horacio Pagani, the special-edition Zonda was successfully maneuvered into Companc's apartment and securely mounted to a wall, serving as a distinctive architectural feature. However, a significant detail regarding this installation emerged later. Companc clarified that the Zonda was not a fully functional, road-going vehicle. It was an empty chassis, designed specifically for display purposes and not capable of being fitted with an engine or mechanical components. Companc addressed public speculation about the car in a now-deleted Instagram post, emphasizing that the displayed Zonda was a work of art and not his operational Pagani Zonda Revolucion "Black Minion." He explicitly stated that he would never relegate a genuine, driveable race car to a static display within a living room, reinforcing his belief that race cars are meant for driving. This distinction highlights that while the car serves as a striking visual element, its primary purpose is artistic and decorative, rather than representing a functional, incarcerated supercar. #PaganiZonda #Supercars #LuxuryLifestyle #ArtInstallation #MiamiCondo #PabloPerezCompanc #AutomotiveArt

Subway tile, a design element both timeless and contemporary, has been a staple in interior design for over a century, tracing its origins back to the first New York City subway station in 1904. Architects George Lewis Heins and Christopher Grant Lafarge specifically created the 3-by-6-inch rectangular tile for this purpose. Its enduring popularity in homes, particularly in bathrooms and kitchens, stems from its affordability, practicality, and minimalist aesthetic. While the classic white subway tile remains a valid choice, interior designers are now exploring alternatives that expand upon its fundamental appeal. Laura Helveston of Belong Economy emphasizes the importance of style restraint even when design possibilities are vast, noting that simple ceramics like subway tile can become outstanding when pattern is incorporated. She highlights six alternative options that maintain the essence of subway tile while introducing new textures, colors, and materials. These alternatives include stone tiles, such as Bianco Carrara Polished Marble Tile, which offers a sophisticated look and can be arranged in patterns like vertical herringbone for added elegance. Hand-painted tiles, exemplified by Mayan Blue Tile from Fireclay Tile, provide deep heritage and artisan quality through their hand-glazed crackle finish, ideal for creating striking kitchen backsplashes when paired with white cabinets and brushed gold hardware. Glass tiles, like the Loft Ash Gray Frosted Glass Tile, offer a masculine interpretation of a delicate material. These are recommended for minimalist master bathroom vanities, set in a stacked brick pattern and complemented by brass fixtures and concrete basin sinks to enhance a modern aesthetic. Cork tiles, specifically Stick Bricks from Sustainable Materials, introduce a sustainable and natural element. They are suggested for adding natural vibes to rooms, such as a Hollywood Regency-inspired dining room, when combined with lush tropical foliage and vibrant velvet chair cushions. Vintage options also present a unique way to rethink subway tile. Green Beveled Edge Rectangular Tile Sets, for instance, can serve as a focal point above a cooktop, surrounded by glossy white subway tile and rustic wood base cabinets. Reclaimed white subway tiles from the 1920s offer an authentic historical feel, perfectly suited for a vintage bathroom setting with a clawfoot tub and a saturated Persian rug. These suggestions demonstrate that while the classic subway tile remains iconic, there are numerous ways to innovate and personalize this versatile design element, extending its relevance and appeal in contemporary interiors. #SubwayTile #InteriorDesign #HomeDecoration #TileAlternatives #DesignTrends #KitchenDesign #BathroomDesign #ArchitecturalHistory #MaterialInnovation

Mischief PR and McVitie's collaborated to create an innovative and unique installation: the world's first lickable wallpaper. This edible wall covering was composed of 1,325 McVitie's Jaffa Cakes, a popular type of cookie. The concept for this unusual design drew inspiration from the imaginative world of Willy Wonka, particularly the fantastical elements found in his chocolate factory. The lickable wallpaper was strategically installed within an elevator, which was subsequently dubbed the "Lick-able Lift." This installation took place in the offices of Engine, a communications company based in London. The project required extensive planning, reportedly spanning four weeks, to bring the vision to fruition. The goal was to transform a mundane elevator ride into a novel and immersive sensory experience for its passengers. The creative team behind the project also addressed the practical considerations of hygiene for such an interactive installation. To maintain cleanliness and ensure a pleasant experience for all users, a system was put in place: once a Jaffa Cake was licked by a passenger, it was immediately removed by a designated bellboy. This protocol prevented multiple individuals from licking the same cookie, thus mitigating any potential hygiene concerns associated with a shared edible surface. The "Lick-able Lift" aimed to provide a momentary, whimsical escape, offering a playful and memorable interaction for those traversing the building's floors. #LickableWallpaper #JaffaCakes #LondonInstallation #ExperientialMarketing #WillyWonkaInspired #EdibleArt #OfficeInnovation #InteractiveDesign

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

While traditional white subway tiles have been a popular choice for kitchen backsplashes and bathroom installations for a long time, the article suggests that many homeowners and designers are experiencing "subway tile fatigue." The article explores a fresh alternative to this ubiquitous material, focusing on a new product from Island Stone. The featured product is called Patina Glass, specifically the "Bright Side" option. This collection of glass subway tiles offers a unique aesthetic that departs from the standard white rectangle. The "Bright Side" tile features a sky-inspired design, characterized by milky white and baby blue surfaces with cloudlike wisps. This distinctive pattern is achieved by blending metallic oxides with reactive chemicals during the manufacturing process, giving the tiles a hand-painted appearance. One of the key advantages of these artful tiles is the variation in their patterns. This allows for the creation of a unique and dynamic display that interacts with the changing light conditions in a room throughout the day. This characteristic contributes to a more modern and personalized look compared to uniform, mass-produced tiles. In addition to their artistic appeal, the Patina Glass tiles offer practical benefits. They are double the length of a standard 6-inch subway tile, which provides a contemporary scale and a different visual rhythm. The tiles are also designed for durability, featuring a protective coating that enables them to withstand moisture, making them suitable for wet environments such as tub or shower enclosures. While the article highlights their suitability for kitchens, where a sleek and unique surface can create a focal point, their moisture resistance extends their application to bathrooms as well. The Patina Glass tiles retail for $40 per square foot and are available through various vendors, with a dealer locator provided for convenience. The article positions these tiles as a solution for those looking to update their interiors with a stylish and distinctive material, asserting that subway tile as a concept is not disappearing but rather evolving through creative makeovers. The introduction of such products suggests a trend towards more expressive and individualized design choices in home renovation, moving beyond highly standardized options. #SubwayTile #TileDesign #KitchenDesign #BathroomDesign #HomeRenovation #InteriorDesign #GlassTile #IslandStone #DesignTrends