ákos huber carves reclaimed wood into monolithic bench reminiscent of native totem poles

Roc H Biel, a designer and Royal College of Art alumnus, has created a sculptural furniture collection named "Dust Order," which redefines sustainability by utilizing wood dust, typically considered a waste product. The collection transforms this fine offcut material into monumental forms, drawing inspiration from classical columns and challenging traditional perceptions of weight and material. The design aims to evoke a sense of ancient history while maintaining a modern and otherworldly aesthetic. The "Dust Order" series comprises two primary objects: a sculptural chair and a modular desk system. Both pieces showcase the unique, granular texture of compacted wood dust, reminiscent of raw stone or sand casting, yet they possess a surprising lightness. Biel's approach reinterprets classical motifs through a contemporary lens, creating pieces that feel both familiar and futuristic, aiming to generate a moment of wonder where material, memory, and perception converge. The sculptural chair in the collection is constructed entirely from compacted beech wood dust. Its design features negative space that creates a visual rhythm, and its geometric profiles transition from octagon to circle to square, giving a modern edge to the classical column silhouette. The chair's surface texture belies its unexpected lightness, making it a conversation piece that challenges expectations of its composition. The modular desk system offers versatility and functionality. It consists of three 3D-printed components made from a bonded mixture of magnesium and beech wood dust. These components are designed to represent the classic elements of columns—shaft, capital, and entablature—but are reimagined for contemporary use. The modular nature allows for various configurations, transforming the desk into a stool, a bench, a bench with a side table, or a dining table. This adaptability is paired with a grainy texture that evokes compacted earth or pressed sediment, connecting its modern function with ancient materials. Biel's work in "Dust Order" highlights intentional contrasts: between weight and weightlessness, waste and refinement, and earth and atmosphere. The project serves as an example of how unconventional materials can be elevated into sophisticated design, proving that surrealism can manifest in powerful physical forms beyond digital realms. The designer's innovative use of wood dust not only promotes sustainability but also challenges the aesthetic and tactile expectations of furniture, transforming discarded material into objects of artistic and functional value. #FurnitureDesign #SustainableDesign #WoodDust #SculpturalFurniture #ModularFurniture #ClassicalModernFusion #MaterialInnovation #RocHBiel

The AESTUS series of stratified wooden vases represents a fusion of traditional materials and contemporary technology, drawing inspiration from the dynamic interplay between nature and machinery. These vases, designed by architect and wood researcher Oliver David Krieg, are characterized by their soft natural curves and a futuristic, warm aesthetic, achieved through the precise alignment, combination, and gentle sculpting of hundreds of layers of beech wood. Each vase incorporates a stainless-steel internal cavity, which serves both as a water-resistant repository and a stable base. Oliver David Krieg's design process for AESTUS intentionally blurs the lines between handcrafted artistry and automated manufacturing. The vases are carved by an industrial robot, capturing the fluidity of the machine's movements within the intricate texture of the wood. This approach yields unique, custom-made pieces, fabricated in Germany from premium beech wood, intended to highlight the emerging aesthetic possibilities within modern wood design. The project aims to celebrate the innovative application of technology to natural materials. While not explicitly following trends, the AESTUS collection aligns with a broader movement in design influenced by digital design and fabrication processes. This trend allows for the creation of complex, three-dimensional shapes that were previously unattainable. AESTUS distinguishes itself through its dialogue between natural materials and advanced technology, prompting reflection on contemporary technological advancements and natural forms. The development phase presented challenges in balancing natural, physical, and digital elements, particularly in integrating the robot's movements as a primary design tool. Parametric software and digital simulation tools were developed to explore design possibilities and seamlessly incorporate robotic fabrication, complemented by the production of prototypes to understand robotic constraints and ensure consistent quality. The future direction for AESTUS involves increasing exposure for Krieg's studio and attracting clients interested in either the specific product line or the underlying manufacturing process, which has potential applications across various surfaces and materials. Current efforts include developing new versions of AESTUS with alternative materials. From the perspective of interior design, wood, as one of humanity's oldest and most natural materials, continues to hold allure for designers and architects. Despite a past perception of being outdated, wood has recently seen a resurgence in interest due to its sustainability, adaptability, and inherent tactile and visual depth. This renewed appreciation for natural materials coincides with the emergence of innovative digital technologies that empower designers to engage directly with novel fabrication methods. Consequently, the interior design and interior products sectors are increasingly prioritizing sustainability and responsible manufacturing. This shift does not necessarily signal the emergence of specific new styles but rather a renewed focus on modern and classic design solutions that incorporate wood. #HomeDecor #ArtDesign #InnovationDesign #WoodenVases #DigitalFabrication #RoboticsInDesign #SustainableMaterials #InteriorDesign #BeechWood

Robert Greene, known as Bob and affectionately called Hugger by his Bonacker friends, is a renowned decoy carver residing in Springs. His exceptional skill elevates decoy carving to a museum-worthy art form, as recognized in Harvey J. Lewis's book, “Artistry of Louisiana Decoy Carvers: Old and Contemporary.” Greene's masterpiece, a life-size red-tailed hawk, demonstrates his meticulous attention to detail, having taken him 550 to 600 hours to carve. This piece, complete with a chipmunk emerging from a stump and intricately carved oak leaves and acorns, showcases his ability to transform a block of wood into a lifelike sculpture. His home is a testament to his artistic passion, featuring taxidermied animals, his own vibrant landscape and animal paintings, and display cases filled with carved ducks like red-breasted mergansers, green-winged teal hens, and mandarins. Greene's creative process begins in his shed, where he carves the wooden forms, and continues in his basement workshop, where he applies paint. Both spaces are filled with a mix of taxidermied birds he has hunted and his own carved creations, covering nearly every surface. His tools range from band saws for rough cuts to fine-pointed wood burners and Gesswein devices with tiny diamond drill bits for intricate feather detailing. He employs gesso for priming and an airbrush for blending colors, often adding bright dashes of color to secondary feathers, such as the green in a green-winged teal. Greene also crafts “smoothies,” decoys that achieve texture through painting rather than carving. His current project, a group of six lesser yellowlegs, exemplifies his progression toward photorealistic detail, a stark contrast to his earlier, blockier sanderling carvings. He studies books to accurately capture bird outlines, colors, and textures, creating practice pieces like individual duck heads. Decoy carving, an art form originating over 2,500 years ago with Native Americans, now encompasses two main categories: hunting decoys and decorative decoys. Greene specializes in decorative decoys, which demand lifelike detail. He emphasizes that being a successful decoy carver requires knowledge of wood, carving proficiency, painting skills, and an artistic eye. Greene's journey into carving began during his time as a heavy equipment operator, inspired by a fellow worker. Starting with basic tools like a jackknife and coping saw, he refined his craft over five decades, becoming one of the last carvers from his local group. He participated in national duck carving shows, earning ribbons and advancing through classes, and even competed in the prestigious Ward World Championship, though he eventually withdrew due to perceived political biases in judging. Despite his achievements and the museum-quality of his work, Greene views carving primarily as a hobby. He does accept commissions, with his reputation spread through word-of-mouth, as evidenced by a recent request for a $1,500 black duck. His passion for the outdoors extends beyond carving; he started duck-hunting with his father as a teenager and, at nearly 85, continues to fish and hunt with his son and grandson. His yard contains a fishing boat, lobster traps, and a camouflage duck blind trailer, highlighting his deep connection to nature and traditional outdoor pursuits. #DecoyCarving #WoodSculpture #WildlifeArt #RobertGreene #ArtisticProcess #TraditionalCraft #HomeDecor #NatureInspiredArt

The article describes the process and benefits of repurposing decommissioned timber power poles into various architectural products, highlighting a sustainable practice in the building industry. In Australia alone, approximately 60,000 to 80,000 timber power poles are removed from service annually. Historically, these poles were either sent to landfills or used as low-grade landscaping materials. However, a growing trend in sustainable building practices has led to innovative ways of transforming these discarded poles into high-value construction materials. After their removal from the grid, these timber poles undergo a meticulous process to be converted into usable architectural products. The first step involves careful inspection to assess their condition and suitability for repurposing. Poles that meet specific criteria are then transported to specialized facilities where they are de-nailed and sawn into various dimensions, such as planks, beams, and posts. This transformation allows them to be utilized in a wide range of applications, including flooring, cladding, decking, and structural elements. One of the primary advantages of using reclaimed timber power poles is their environmental benefit. By diverting these poles from landfills, the process reduces waste and minimizes the demand for newly harvested timber, thereby conserving forests and reducing the carbon footprint associated with logging and processing new wood. Furthermore, reclaimed timber often possesses a unique aesthetic appeal, characterized by its aged appearance, rich patina, and distinctive grain patterns, which can add character and warmth to architectural projects. In addition to environmental and aesthetic benefits, reclaimed timber from power poles can offer superior durability. These poles are typically made from dense hardwoods like Jarrah and Tallowwood, known for their inherent strength and resistance to decay. Over decades of exposure to the elements, the wood undergoes a natural seasoning process, which can enhance its stability and longevity. This makes the repurposed timber well-suited for both internal and external applications in residential and commercial buildings. The article also touches upon the economic viability of this practice. While initial processing costs may be involved, the long-term benefits of using a sustainable and durable material can outweigh these expenses. For architects, designers, and builders, specifying reclaimed timber power poles provides an opportunity to incorporate environmentally responsible materials into their projects, meet green building standards, and offer clients unique and high-quality finishes. The growing market for sustainable building materials suggests that the repurposing of timber power poles will continue to gain traction as a valuable resource in the construction industry. #ReclaimedTimber #SustainableBuilding #ArchitecturalProducts #TimberRecycling #HardwoodFlooring #EnvironmentalBenefits #ConstructionMaterials #EcoFriendlyDesign

The "Bolete" table series, a collaboration between Hong Kong-based architect and sculptor Henry D’Ath and design-art duo Batten and Kamp, introduces a family of limited-edition coffee and side tables. These pieces are distinguished by their mushroom-like forms, crafted from hand-carved solid wood and natural stone. The design integrates the sculptural weight typical of permanent furniture with a flexible, modular approach that features configurable, overlapping surfaces. The genesis of the Bolete series traces back to a custom commission where Batten and Kamp recognized a natural synergy between D’Ath’s carved wood creations and their signature raw stone bases. This initial insight led to the formal collaboration and the development of the Bolete collection, emphasizing a harmonious blend of two distinct material elements. Each table in the Bolete series is meticulously carved by Henry D’Ath, who allows the intrinsic patterns of the wood grain and the natural contours of the stone to guide the creation of subtly organic shapes. The wooden tops are available in two finishes: a natural, sealed varnish that highlights the wood's inherent beauty, or a glossy black finish achieved through layers of calligraphy ink. The choice of wood for the tops is Camphor, a variety prevalent in China and Japan, known for its aromatic properties and natural insect-repellent qualities. For the bases, raw Taishan Granite stones are used. These stones are culturally significant, often featured in Zen gardens, and are admired for their grey-white hues, reminiscent of the dramatic Karst Mountains. Each granite base is individually sourced and intentionally left untreated, ensuring that every table possesses a unique character. The collaboration is deeply rooted in the shared heritage and mutual admiration among Alexandra Batten, Daniel Kamp, and Henry D’Ath, all originally from New Zealand but now working together in a Hong Kong studio. This shared background is reflected in the design philosophy, which embraces natural materials, robust forms, and simplicity—elements integral to New Zealand aesthetics—while also incorporating local materials and subtle Zen influences. Alexandra Batten describes the collaboration as effortless, stemming from a lifelong connection and shared artistic vision. Initially launched as a side table in 2023, the Bolete series has expanded to include coffee tables. The modular nature of the design is key, allowing for diverse configurations and sizes through the arrangement of overlapping surfaces, which enhances the collection's adaptability and aesthetic appeal. The tables are produced in limited editions, with eight pieces plus four artist proofs available per configuration, highlighting their exclusivity. Plans are underway to exhibit the series in major art and design hubs, such as New York or Paris, in 2025, further solidifying its presence in the global design landscape. The project was submitted through a DIY submission feature, reflecting a direct engagement with the creative community. #FurnitureDesign #Woodwork #StoneCraft #TableDesign #ModularDesign #LimitedEdition #DesignCollaboration #NaturalMaterials #HandCarved

The article showcases the work of Jared Abner, a 2021 Furniture Design graduate from RIT, focusing on his distinctive approach to creating furniture and sculptures. Abner's artistic philosophy is characterized by a unique combination of subtraction and addition, a process he describes as "creation through destruction." He begins by engaging in subtractive methods, such as turning, carving, and cutting raw materials, and then reassembles these modified pieces to form new creations. This methodology highlights a dynamic interplay between deconstruction and reconstruction in his design process. One prominent piece featured is a walnut and fiber rush bench from 2020. This work exemplifies his ability to blend traditional woodworking materials with contemporary design principles, resulting in a functional yet artistic piece of furniture. Another significant creation is an abstractly shaped chair crafted from stack-laminated cherry wood, also from 2020. This chair demonstrates his innovative use of lamination techniques to achieve complex forms and textures, transforming solid wood into a visually fluid structure. The intricate layering of cherry wood not only adds to the aesthetic appeal but also speaks to the meticulous craftsmanship involved in its construction. The article also presents a series of "Suspension Study" sculptures, which further illustrate Abner’s exploration of form, balance, and material interaction. "Suspension Study One" features a wood sculpture connected to a large blue ball, utilizing walnut, poplar, and milk paint from 2020. This piece suggests an investigation into equilibrium and the tension between different elements. "Suspension Study Two," from the same year, continues this theme with a wood sculpture incorporating a rope to hold a blue ball, again using walnut, poplar, and milk paint, alongside the addition of rope. The inclusion of rope introduces an element of flexibility and dynamic force, contrasting with the rigidity of wood. Finally, "Suspension Study Three," created in 2020, consists of a black sculpture where two large wood pieces sandwich a blue ball, made from ash, poplar, and milk paint. This piece explores containment and compression, with the blue ball acting as a focal point that is simultaneously supported and constrained by the wooden components. Collectively, these works underscore Abner’s versatility in transforming raw materials into pieces that challenge conventional notions of furniture and sculpture, emphasizing both aesthetic innovation and a thoughtful engagement with the physical properties of his chosen media. His portfolio reflects a deep understanding of material manipulation and an artistic vision that merges functionality with sculptural expression. #FurnitureDesign #Sculpture #JaredAbner #RITAlumni #Woodworking #MaterialManipulation #ArtisticProcess

Erik Wyckoff, a professional woodcarver operating out of Minneapolis for 28 years, specializes in creating bespoke wooden elements that add unique character and timelessness to homes. His interest in wood carving began in childhood, inspired by the intricate details of historic homes like the James J. Hill House. Wyckoff's parents encouraged his passion for traditional craftsmanship, leading him to pursue formal training. He honed his skills under the tutelage of master carver Konstantinos Papadakis, who passed down artistic, historical, and practical knowledge, including tool handling, carving efficiency, and the fundamental decorative styles. Papadakis's instruction covered various motifs such as birds, flowers, grapes, and the scrolling acanthus leaf, which forms the basis for numerous historical carving styles. This comprehensive training has enabled Wyckoff to undertake a diverse range of projects, from Italian-style wine cellar doors and French mantels to Black Forest-style mantels for rustic cabins. Wyckoff's portfolio includes notable projects such as a Renaissance-Revival-style carved paneled study featuring hidden loons, deer, and beavers, inspired by the Minnesota State Capitol. He also replicated missing wood carvings for the restoration of the Donaldson Mansion in Minneapolis and created a French-style relief carving over a door in Medina, incorporating the owner’s industrial symbols. Wyckoff places significant emphasis on research, drawing inspiration from historic decorative arts ranging from medieval churches to French tapestries, ensuring historical accuracy and a sense of permanence in his creations. Among his favorite projects are the doors and panels for a Maplewood home's wine cellar, which were inspired by France's Château de Chambord, designed to immerse the owner in a French aesthetic. This project also included a unique bar top under glass, carved with mythical beasts and foliage, conceived as a conversation-starting "cabinet of curiosities." Another deeply sentimental piece involved a carved panel with vines and a pair of cardinals for an older couple, symbolizing their lifelong partnership. Wyckoff collaborates frequently with design professionals, integrating his custom carvings, which often feature Old World decorative art motifs like animals, flowers, and scrollwork, seamlessly into the overall architecture and interior design. He ensures historical accuracy and tasteful integration, often being part of a larger design team to achieve the client's vision. Clients like Steve and Susan Rudolph of Orono attest to Wyckoff's ability to create custom pieces that perfectly match existing architectural details, as demonstrated by the eight unique willow corbels he carved for their Spanish Revival home's entry gallery. These corbels not only highlighted the groin vault ceiling but also subtly incorporated the initials of each family member, adding a personal touch while maintaining historical consistency. Wyckoff expresses profound satisfaction in knowing his work brings joy and lasting beauty to clients' homes. #Woodcarving #BespokeDesign #InteriorDesign #CustomCraftsmanship #HomeDecor #ArtisticWoodwork #HistoricalAccuracy #Renovation #ArchitecturalDetails

This blog post focuses on the 'Antica Reclaimed Teak Wood Dining Bench Hudson Grace,' highlighting it as a featured product available for purchase. The bench is presented within the broader context of indoor dining benches, emphasizing its suitability for various home settings including dining rooms, kitchens, living rooms, and entryways. The product is advertised at a price of 46.00 USD, with options for earning Komari Points upon purchase with a Komari Card. The article outlines convenient purchasing options, including in-store pickup with varying preparation times based on order placement, and home delivery, with an estimated delivery date around December 2, 2025, for in-store orders and December 6, 2025, for direct delivery. Payment methods for delivery are specified as credit or cash on delivery. The availability of the product is clearly indicated, showing whether it is in stock at nearby stores or requires ordering. The online platform facilitates a user-friendly shopping experience, allowing customers to check stock at various store locations, add items to a wish list, and proceed to cart for purchase. Beyond the specific product, the content serves as a comprehensive catalog for a wide array of home and garden products, tools, and materials. It organizes items into distinct categories such as Tools, Hardware and electrical materials, Building materials, wood, and plumbing materials, Agricultural materials, fertilizers, pesticides, Gardening and Plants, Clothing, shoes, and work gloves, Interior/Furniture/Storage, Home appliances and lighting, Leisure, Bicycles, and Car Accessories, Pet supplies, Household products and daily necessities, Health & Beauty, Handicrafts/Japanese/Western Clothing, Senior Care, Perfume, Postal service related, Reading glasses and glasses, Stationery and office supplies, DIY books, and Food. Each category is further subdivided, showcasing an extensive selection of products from power tools and electrical wiring to garden furniture, pet food, and cleaning supplies. The article also promotes additional services provided by the platform, such as digital flyers, how-to information, store and flyer search, kerosene delivery, and power tools and machine rental. It includes customer engagement features like product reviews, with a high recommendation level based on over 2000 reviews, and social media integration for sharing products. The article reinforces the brand's commitment to customer satisfaction through detailed information on usage guides, inquiry options, and clear policies regarding terms of use, privacy, and commercial transactions. Specialized sites for specific needs like direct-from-farm products, home reform, and professional features are also highlighted, indicating a diverse range of offerings for both general consumers and professionals. #IndoorDiningBenches #HomeDecor #TeakWoodFurniture #HudsonGrace #FurnitureSales #OnlineShopping #HomeFurnishings #ReclaimedWood

The article explores current trends in outdoor furniture, emphasizing a shift towards sculptural silhouettes, artisanal materials, and curated collections rather than matching sets. It highlights how designers are moving away from conventional outdoor decor, integrating pieces that would traditionally be found indoors, thereby creating more personalized and sophisticated outdoor living spaces. The focus is on selecting items that offer both functionality and a distinct narrative, transforming outdoor areas into extensions of a home’s interior. The article provides specific examples of innovative outdoor furniture pieces, each chosen for its unique design and material qualities. It introduces the Fornasetti Capitellum Outdoor Chair, a reinterpretation of classical ruins using matte-painted stainless steel, available in limited editions. Another featured item is the Santa Barbara Designs Double Decker Parasol, noted for its bold, two-tiered structure that adds charm and modern flair to any outdoor setting. The Molteni & C Pantalica Daybed by Elisa Ossino is presented as a sculptural piece inspired by Mediterranean design, crafted from weatherproof polypropylene rattan for versatility and elegance. Further examples include the Oxley Outdoor Coffee Table, which features a sculptural silhouette and a reactive glaze finish on reinforced concrete with spherical legs, bringing an artistic presence to outdoor spaces. The GUBI Copacabana Outdoor Lounge Chair, a modern take on a mid-century design, is highlighted for its swirling elegance, 360-degree swivel seat, and weather-resistant materials. The Minotti Andrée Outdoor Dining Table, designed by Hannes Peer, reimagines 1970s Milanese minimalism with its tiled ceramic surface and geometric form. Additionally, the Jamb Saltram Garden Bench is showcased as a reproduction of an 18th-century design, featuring intricate fretwork and sandblasted English oak that embodies classical elegance. The Dedon Papyon Wing Chair, designed by Arnd Küchel, is described as a high-backed piece with a sculptural, butterfly-wing-inspired silhouette, offering comfort and visual interest. The MOUS Libra Bench combines brutalist geometry with meditative stillness, crafted from weather-resistant plaster and evoking an ancient altar or modernist bench. The Visual Comfort Esker Single Fold Sconce by Kelly Wearstler is presented as a minimalist light fixture that uses angular metal to create a sculptural interplay of light and shadow, suitable for various outdoor aesthetics. The McKinnon and Harris Thirza Drinks Cart is noted for its Mediterranean elegance, featuring handwoven rush baskets and a high-performance aluminum frame. The Poltrona Frau Sherazade Rugs, designed by Simona Cremascoli, are double-sided, yacht-inspired pieces made from weather-resistant polypropylene braid, offering understated elegance in ecru, blue, and rust. Finally, the Toogood Cobble Low Side Table and Stool by Faye Toogood is described as a relic-like piece with an asymmetrical silhouette, hand-sculpted plaster, and ceramic, functioning as a stool, sculpture, or table. The Woodard Cane Chaise Lounge, designed in-house, provides textural, Mediterranean charm suitable for poolside or garden use. These selections collectively emphasize the importance of texture, unique design elements, and weather-appropriate materials in creating inviting and distinctive outdoor environments. #OutdoorFurniture #HomeDecor #InteriorDesign #SculpturalDesign #ArtisanalMaterials #PatioDecor #LuxuryLiving #ExteriorDesign

This article highlights two innovative wall panel collections that redefine traditional wall surfaces through geometric patterns and material experimentation. The first collection, Sfera, by New York-based designer Alison Rose in collaboration with Artistic Tile, offers a modern take on stone mosaics. Sfera features circular, waterjet-cut quartz layered with disks of Carrara, Calacatta, and Nero marble. The seemingly random arrangement of these stone elements actually forms repeating triplets, a design approach reminiscent of Rose’s previous Bauhaus-inspired mosaics. The inspiration for this geometric pattern play, available in Grafite, Lilac, and Verde colorways, stems from biological cell movement, imbuing the orbs with a dynamic, almost bouncing visual effect across the surface. These mosaics are versatile and can be specified for various applications, including walls, floors, and wet zones like showers, offering a refreshing update to conventional stone mosaic designs. The second collection introduces new mosaic-style wood panels from The Wood Veneer Hub, a family-owned U.S. manufacturer. These Hex Wood Mosaic wall panels infuse traditional wood paneling with geometric vitality. Measuring approximately 12.5 by 11 inches, these tile-like units are made from hemlock and Douglas fir. A key feature of these wood panels is their thermal modification process: they are treated at super-high kiln temperatures instead of being chemically treated to enhance resistance to insects, moisture, and rot. This environmentally conscious manufacturing process also includes the recycling of sawdust and wood scraps, demonstrating a commitment to sustainability. These innovative wood panels are designed to add visual interest to both exterior and interior walls, providing a unique blend of natural material and modern geometric design. Both collections showcase a creative approach to surface design, moving beyond conventional materials and applications to offer unique aesthetic and functional solutions for architectural and interior spaces. #WallPanels #StoneMosaics #WoodVeneer #GeometricDesign #InteriorDesign #SustainableMaterials #AlisonRose #ArtisticTile #TheWoodVeneerHub

The article highlights a growing trend away from mass-produced items towards unique, handcrafted furniture and home decor pieces that emphasize creativity, craft, and time-honored techniques. It showcases 15 such items from various global makers, positioning them as collectible interiors pieces that are worth investing in now for their potential to become future design classics. The featured items begin with a modern take on a classic: the Canopy Armchair from Marchmont Workshop, a handcrafted stickback chair inspired by woodlands and priced at £3,600. This piece reflects a return to traditional craftsmanship with a contemporary aesthetic. Following this, the article introduces hand-painted lampshades by Spanish artist-designer Alvaro Picardo, which can be custom-matched to interior paintwork and wallpaper using Farrow & Ball paints, starting from £110. These lampshades are presented as artistic finishing touches for living spaces. Another innovative item is the Vine Vase by Wobbly Digital, a Glasgow-based artist who creates eccentric 3D-printed objects from recycled and bioplastics, priced at £350. This vase is noted for its viral potential, akin to the popular Gluggle Jug, and is recommended for dried flowers only. Scarlett Farrer, a rising star in hand weaving, is featured for her rustic textiles, specifically wall hangings made from undyed British wool. Her work, ranging from £250 to £1,800, gained recognition after she won the 2024 Young Weaver of the Year award. The article then presents a statement chair designed by Esto Estudio in Madrid, which combines a tubular steel frame with vibrant orange fabric, blurring the lines between furniture and sculpture, starting from approximately £800. Rich Miller, a ceramic artist and judge on 'The Great Pottery Throw Down,' offers unique cone-shaped pendant lights inspired by antique sugar cones, each priced at £2,425. These lights explore the history of the sugar trade and Miller's cultural ancestry. Sustainability is a key theme, exemplified by Jacob Marks' resin lamps, made from pine resin, with the Red RF Lamp I priced at £730. These lamps were a highlight at the London Design Festival for their use of unusual sustainable materials. Xanthe Somers, a Zimbabwean ceramic artist, contributes surrealist stoneware from her 'Sisters Toil' series, which explores women's work and crafts, with pieces ranging from £6,500 to £9,000. Loney Abrams and Johnny Stanish of Wretched Flowers create mesh murals and chain mail lamps, drawing inspiration from diverse sources such as museum archives and medieval armor. These shimmering wall hangings are available on application. James Shaw's sustainable seat, priced at £2,000, is crafted from recycled plastic waste like milk cartons and shampoo bottles, transforming discarded materials into unique, organic forms. The master plasterers Ffion and Steven Blench, known as Chalk Plaster, produce marbled, fluted sidetables using scagliola, a 16th-century technique imitating marble, priced at £7,800. Freya Bramble-Carter, a ceramicist, offers wheel-thrown pots in earthy shades, blending traditional techniques with an expressive approach, starting from £900. Maria Sigma, a textile designer and weaver, focuses on zero-waste wares using natural, often undyed, fibers for her throws and cushions, with her 'Apricity' throw priced at £890, though it has an eight to ten-week waiting period. Joe Sweeney's terracotta stoneware butter dish, priced at £300, is described as a charming and functional addition to the breakfast table. Emsie Sharp, a glassblower, presents candy-colored drinking glasses made in her Dorset studio, priced at £38 each, as a modern alternative for smart dinner tables. Finally, the article highlights Matthew Raw's tiled bedside table from his 'Welcome' collection, inspired by tiled facades of train stations and buildings. These pieces, featuring handcrafted and glazed tiles, are priced at £5,180 for a sidetable with a drawer, indicating a growing presence in contemporary home design. #FurnitureDesign #HomeDecor #HandcraftedItems #SustainableDesign #CollectibleArt #InteriorDesignTrends #Craftsmanship #ArtisanalProducts #LuxuryInteriors

This article presents 15 different DIY outdoor bench plans, catering to a range of skill levels from beginner woodworkers to those with intermediate experience. The compilation aims to provide readers with rewarding weekend projects that result in functional and aesthetically pleasing outdoor furniture. The first featured plan is the 'Aldo Leopold Bench,' named after the conservationist. This 48-inch by 29-inch wooden garden bench requires minimal tools, primarily a drill, though a miter saw can simplify the process. The downloadable plans include detailed instructions, diagrams, images, and a comprehensive materials list. Another option is the 'Simple Bench,' a sturdy and easy-to-construct design that uses basic lumber. The instant-download plans for this 70-inch by 18-inch bench come with material, cut, and tool lists, along with clear instructions and images. For those with tree-filled yards, the 'Compact Tree Bench' offers a hexagonal design that wraps around a tree, maximizing space and adding visual appeal. Suitable for all skill levels, these plans guide the construction of a 70-inch diameter, 36-inch high bench, complete with shopping and cut lists and step-by-step directions. The 'Indoor/Outdoor Bench' is a versatile option made from 2x4s, measuring 48 inches long and 18 inches tall. This traditional wooden bench requires only a hammer, drill, miter saw, and pocket-hole jig, allowing for personalization with paint or stain. A 'Bench With Table' provides a comfortable two-person seating solution with a central table, ideal for outdoor relaxation. These 20-page plans, for intermediate skill levels, include tool and material lists, detailed drawings, and instructions for building the 66-inch by 35-inch bench. For enhanced seating and a decorative element, the 'Benches With Planter' design features two benches extending from a central triangular planter. This large piece, measuring 98.5 by 98.5 by 16.5 inches, includes step-by-step instructions, visual guides, and all necessary lists in a downloadable PDF. The '2x4 Bench Plans' offer a simple design for a 48-inch by 17.5-inch bench, with flexibility to adjust dimensions. This bench can complement an outdoor table or serve as a garden resting spot, with clear directions and material lists provided. Another combined option is the 'Garden Bench With Planter,' an attractive 79-inch-wide bench with a side planter. The 14-PDF plan includes an eight-step construction process, material and cutting lists, and diagrams. The 'Outdoor Patio Bench' is a spacious 79-inch-long design that is both cost-effective and satisfying to build. The plans include easy-to-follow instructions, 3D illustrations, and lists for tools, materials, and cuts. A 'Simple Outdoor Bench' made from standard 2x6s measures 50 inches by 20 inches, suitable for gardens, patios, or decks. Downloadable plans provide step-by-step instructions, drawings, and all necessary lists. The 'Classic Garden Bench' adds charm with its traditional wooden design, featuring armrests and a slatted back. The PDF includes clear directions with illustrations, and lists for tools, materials, and cuts. The 'Hexagon Tree Bench' offers a spacious and shady seating area around a tree, utilizing otherwise wasted yard space. These plans feature detailed instructions, diagrams, and comprehensive lists. For beginners, the 'Farmhouse-Style Bench' plans guide the construction of a roomy 96-inch by 18-inch bench for multiple adults. Only a drill, tape measure, clamps, and a miter or circular saw are required. The 'Star Bench' provides a unique star-shaped design by repurposing old wood pallets. These beginner-friendly plans result in a 40-inch wide, 50-inch tall, and 50-inch deep bench that seats two. Finally, the 'Stylish Planter Bench' combines an inviting design with a planter for flowers, making it suitable for gardens, patios, or front porches. This design, with one side gently curving to the ground, is accessible for beginners using power tools. #DIYProjects #OutdoorFurniture #BenchPlans #Woodworking #GardenDesign #HomeImprovement #PatioDecor #BeginnerFriendly

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

This article from T Magazine highlights a range of cultural and lifestyle recommendations, featuring a former N.F.L. player turned furniture designer, a new art gallery in TriBeCa, a botanical-inspired wallpaper collection, an Athens restaurant showcasing contemporary Greek art, a homey Seattle hotel, and a hand-painted apparel line. Each section provides details about the featured subject, including their background, inspiration, notable works, and practical information for visitors or consumers. Michael Bennett, a former N.F.L. player, founded Studio Kër after retiring from football in 2020. His furniture designs are deeply inspired by his activism work for racial justice, his upbringing in Louisiana and Texas, and his ancestral roots in Senegal. Bennett’s inaugural exhibition, “We Gotta Get Back to the Crib,” features an 11-piece collection of sculptural furniture that reinterprets objects found in communal Black spaces. Key pieces include the Gumbo lounge chair, a sophisticated take on the monobloc chair, and the Pew couch, inspired by church benches, crafted from leather and ekki wood. The exhibition debuted at Theaster Gates’s Rebuild Foundation in Chicago and is scheduled to travel to Houston. In TriBeCa, New York, gallerist Jack Shainman opened a new 20,000-square-foot gallery called The Hall in the historic Clock Tower Building. This Beaux-Arts space, built around 1898 and formerly home to the New York Life Insurance Company, has been renovated and restored. The gallery serves as a new cultural center offering free exhibits, allowing visitors to appreciate both contemporary art and the historic Manhattan architecture, including its preserved bank vault and 29-foot-high coffered wood ceilings. The Hall plans to officially open in September with a 16-foot-tall bronze sculpture by artist Nick Cave. Currently, it features Richard Mosse’s immersive 74-minute multi-spectral video installation, “Broken Spectre,” which addresses the destruction of the Amazon rainforest. Mosse emphasizes the historical connection between the building’s past, built on wealth from enslaved people, and ongoing global issues like environmental destruction. Marian McEvoy, a former fashion and design editor, launched a new wallpaper and fabric collection with Schumacher, inspired by her botanical collages and illustrations. After nearly 30 years in Paris and Manhattan, McEvoy moved to a cottage on the Hudson River, where she creates her art. Her collaboration with Schumacher features six wallcoverings and four fabrics, including prints like Thistle Vine, Polka-Dot Jungle, and Bow-Wow-Wow, all reflecting her signature use of strong colors and lines. McEvoy has incorporated these designs into her own home, showcasing her personal approval of the collection. In Athens, entrepreneur and art collector Philippos Tsangrides opened Gallina, a restaurant designed by Objects of Common Interest. The interiors blend diverse materials such as red marble, pink leather, terrazzo, and wood, creating an unexpected aesthetic. Gallina also displays pieces from Tsangrides’s private art collection, including a silk tapestry by Jannis Varelas and a neon sign by Olga Migliaressi-Phoca. A notable design element is a sinuous white light tube by the architects. The menu, curated by chef Pavlos Kiriakis, features dishes with no specific provenance, such as chicken with miso beurre blanc and truffle, and wild mushrooms with white chocolate béarnaise. Tsangrides intends to open a wine bar nearby. Julian Hagood and Jake Santelli opened Harry’s Guest House, a two-room hotel in Seattle’s Capitol Hill, inspired by their neighbor Winnie. The Dutch Colonial home was purchased from Winnie, whose drawings and wooden writing desk are now integrated into the hotel’s design. One suite is named after Winnie, and the other after the couple’s dog, Lucy. The interiors combine vintage and contemporary furniture and textiles, featuring a 1940s hand-carved wardrobe and Zak+Fox fabrics. Guests can also enjoy in-room dining from Harry’s Fine Foods, Hagood’s adjacent restaurant. Artists Julia Dault and Hannah Whitaker launched Signs Point to Yes, a line of hand-painted apparel. Their sweatshirts and pants feature designs like metallic tulips, sherbet-hued confetti, and smiley (and sad) faces, often painted using ketchup bottles to achieve a gestural, imperfect style. The brand name, inspired by a Magic 8 Ball, conveys a sense of optimistic humor. The artists selected comfortable cotton garments as their canvases, recognizing their popularity during the pandemic and their continued appeal beyond loungewear. #SculpturalFurniture #ArtExhibition #Design #ArtGallery #InteriorDesign #HomeDecor #Restaurants #Hotels #Fashion

Expanded Eye, an artistic duo composed of Lisbon-based artists Jade Tomlinson and Kevin James, is exploring the divine feminine and the 'peaceful power of the Earthmother' through their recent sculptural works. Their art blurs the lines between abstraction and figuration, incorporating characteristic geometric and figurative elements. The duo is well-known for their unique approach to tattoos and assemblages, which often utilize wood and repurposed materials to create bold and textured compositions. They have temporarily paused their tattoo practice to dedicate their focus to developing these sculptural reliefs. Ceramic work has become a central part of their artistic process, drawing inspiration from Portugal's rich tradition of azulejo tiles, which symbolizes cross-cultural exchange. The artists aim to use this ancient, earthy material to depict serene guardians in earth-toned colors, seeking to evoke a sense of stillness and calm in contemporary society. Their compositions represent a convergence of past and present, exploring themes of timelessness and continuity through traditional techniques of working with clay, carving, and building. The graphic elements and fragmented features within their work also draw parallels to early 20th-century art historical Modernism, particularly the Cubist movement. Tomlinson and James highlight that the fusion of traditional materials with a modern artistic approach is a significant source of inspiration for them, serving as a connection between historical practices and the present day. Expanded Eye is currently undertaking their largest tile commission to date, and they intend to further integrate ceramics with other aspects of their diverse artistic practice. Their work continues to evolve, pushing the boundaries of material and form while maintaining a consistent thematic thread of earthy connection and timeless spiritual presence. #ExpandedEye #CeramicArt #WoodSculpture #Assemblage #FigurativeArt #AbstractArt #PortugueseArt #EarthMaterials #ContemporaryArt

Edenic Design introduced its inaugural product, the Teâshí Coffee Table, a piece of furniture characterized by its unique branching structure. Limited to a production run of 100 units, the table's design draws inspiration from natural forms, resembling limbs, veins, or lightning bolts. Each table is meticulously hand-welded, ensuring that its distinct silhouette and the original creative vision are honored. The name 'Teâshí' itself is derived from the Japanese word for 'limb,' reinforcing the organic inspiration behind its aesthetic. Beyond its structural novelty, the Teâshí Coffee Table was conceived with the intention of serving as a three-dimensional canvas for artistic collaboration. The first such collaboration features Montreal-based artist Callen Schaub. Schaub's expressive style is applied directly to the table's base, transforming the functional furniture into a piece of sculptural art. His technique results in vibrant, swirling colors that create an illusion of motion, as if the paint is still fluidly moving around the table's foundation. An example of this artistic integration is the Callen Schaub Teashi 1 (CST1), which has been acquired by a private collector. This particular piece exemplifies the synergy between Edenic Design's unique furniture and Schaub's dynamic artistic contribution. Due to the success and distinctiveness of this initial collaboration, Edenic Design and Callen Schaub plan to continue offering made-to-order commissions, allowing clients to acquire personalized versions of these art-infused coffee tables. In addition to the collaboration with Callen Schaub, Edenic Design has also partnered with Los Angeles-based artist Chris Trueman on another iteration, the Edenic x Chris Trueman 1 (CTT1). This project marked Trueman's first foray into painting on a three-dimensional surface. His approach involved a combination of gestural painting and spray painting, utilizing squeegees and brushes to achieve his desired effects. The result is a table with a dark, cosmic-like finish, characterized by deep blues and fluorescent orange accents, further demonstrating the Teâshí Coffee Table's versatility as a medium for artistic expression. #CoffeeTable #FurnitureDesign #ArtisticCollaboration #SculpturalArt #EdenicDesign #CallenSchaub #ChrisTrueman #HomeFurnishings #InteriorDesign