Artist Noé Sendas puts a surreal twist on this season's black and white classics

The perception of faux finishing has evolved, transitioning from a once-popular home décor trend to a more nuanced practice now referred to as decorative painting. Initially, faux finishing gained traction for its ability to transform interiors, such as making a contemporary condo kitchen resemble a Tuscan villa. However, this aesthetic eventually became associated with dated styles, leading to a rebranding of the craft. Decorative painting distinguishes itself by focusing on subtle applications and sophisticated techniques. Unlike its predecessor, which sometimes produced overtly themed environments reminiscent of commercial establishments, modern decorative painting aims for understated elegance. An example includes using subtle glazes on kitchen islands or paneled walls to add warmth and depth, rather than creating garish, overtly distressed or textured surfaces. The distinction is crucial for understanding the current relevance of these techniques in contemporary design. Today's design trends frequently incorporate finishes on various surfaces, including furniture, cabinetry, walls, and flooring. Decorative painting techniques are instrumental in achieving these desired looks. For instance, the widespread use of gray tones—ranging from blue-gray to Belgian gray—as a neutral base in modern interiors can be enhanced or achieved through specific painting methods. This color palette is prevalent across windows, upholstery, walls, and wood, signifying a departure from older beige schemes and representing a fresh, current aesthetic. Decorative painting also offers practical solutions for updating existing furniture. Heavy, dark-stained Mediterranean-style pieces, often purchased to complement Tuscan-themed interiors, can be modernized by sanding and applying new paint, tinted waxes, or contemporary gray stains. This process lightens the visual weight of furniture, altering the overall ambiance of a room without requiring entirely new pieces. The ability to refresh items like chairs and tables with paint and aging glazes transforms them into elements suitable for contemporary, elegant spaces. Conversely, a resurgence of vibrant colors from the 1970s Palm Beach style, such as Kelly green, bright yellow, coral, and turquoise, is also observed. These bold hues are featured in lacquered furniture, mirrors, and chests, making strong statements. Geometric patterns like modern trellis, Moroccan, and chevron are appearing in textiles and wallpapers. While wallpaper has traditionally been an alternative to paint, it now often complements painted surfaces, particularly textured and patterned walls, bringing them back into design focus. The article also addresses the use of stencils, which have evolved significantly due to technological advancements. Modern stencils, created with laser-cutting technology, allow for customizable designs, colors, and sizes, enabling the incorporation of intricate patterns into décor, a marked improvement from older, often simplistic stencil applications. Economically, decorative painting provides a cost-effective alternative for homeowners who may not be able to undertake major renovations. Refurbishing items such as melamine cabinets or factory-produced dining sets with paint and glazes can significantly update a kitchen or dining area without the expense of a full remodel or new purchases. The quality of DIY decorative painting products, such as Valspar’s Antiquing Glaze and Annie Sloan Chalk Paint, has improved, making these techniques more accessible for consumers. Annie Sloan Chalk Paint, in particular, is highlighted for its user-friendliness, non-toxic nature, and durability, requiring no priming and offering an easy cleanup process. This product effectively transforms older furniture pieces, such as 1990s armoires, giving them a refreshed and updated appearance. The evolution of decorative painting mirrors fashion trends, where certain styles endure as classics while others are best left in the past, positioning current techniques as versatile and timeless design tools. #DecorativePainting #HomeDecorTrends #FauxFinishing #InteriorDesign #FurnitureRefurbishment #PaintTechniques #GrayInteriors #ColorfulInteriors #DIYHomeDecor

The article showcases a solo installation titled 'If Chairs Could Talk' by London-based artist and designer Yinka Ilori, presented in collaboration with The Shop at Bluebird. Ilori is known for his work with upcycled furniture, and this particular collection draws inspiration from his Nigerian heritage, specifically traditional Nigerian parables and African fabrics. The chairs are characterized by their vibrant colors and narrative elements, aiming to tell stories through their design. This installation is part of the London Design Festival and will be on display until November 27th, 2015. The collaboration highlights a fusion of cultural storytelling with contemporary design practices, where discarded furniture is transformed into unique, culturally rich pieces. Ilori's creative process involves selecting chairs, often found or discarded, and then reimagining them with new upholstery and paint, integrating patterns and themes derived from Nigerian culture. Each chair in the 'If Chairs Could Talk' collection is intended to represent a specific parable or aspect of Nigerian tradition, effectively giving a voice to inanimate objects. This approach not only provides an aesthetic transformation but also imbues the furniture with deeper cultural meaning and narrative. The use of traditional African fabrics, known for their bold colors and intricate patterns, plays a crucial role in conveying these cultural narratives. Through his work, Ilori bridges the gap between art, design, and cultural heritage, offering a unique perspective on sustainability and storytelling through repurposed objects. The exhibition at The Shop at Bluebird provides a platform for these discussions, inviting viewers to engage with the chairs not just as functional items but as pieces of art that carry historical and cultural weight. The installation underscores the potential of upcycling to create new value and foster cultural appreciation. The project demonstrates how design can serve as a medium for preserving and reinterpreting cultural narratives, making them accessible to a wider audience. The chairs, once ordinary, become extraordinary artifacts, each speaking to a rich tapestry of Nigerian wisdom and artistry. This initiative reflects a growing trend in design towards sustainability, cultural authenticity, and storytelling, presenting furniture as more than just utilitarian objects but as carriers of memory and meaning. #UpcycledFurniture #NigerianDesign #AfricanFabrics #YinkaIlori #LondonDesignFestival #CulturalHeritage #SustainableDesign #ArtisticFurniture #InteriorDecoration

Edmund de Waal, a renowned ceramicist, is showcasing a significant departure in his work with his upcoming solo exhibition, 'Ten thousand things,' at Gagosian Beverly Hills. De Waal, who started potting at age five and is known for his elegant, ceramic-filled vitrines, describes this new body of work as 'a huge departure, quite a scary one, actually.' His previous works often featured white, black, or colored vitrines filled with Japanese-influenced pots, plates, or cups, meticulously arranged in his South London studio. While black porcelain is not entirely new to his practice, having been featured in earlier shows, the current exhibition delves deeper into the material. Over the past two and a half years, de Waal has extensively experimented with black glazes, aiming to discover 'new shadows, gaps and spaces in his work' and explore their impact 'at scale.' This exploration culminates in hundreds of black vessels, crafted with copper-and-tin-flecked glazes. These vessels are presented in conversation with raw materials such as Cor-Ten steel, gold, lead, and plaster, all encased within various black aluminum-and-glass vitrines. The genesis of this darker thematic focus can be traced to de Waal's response to the revolutionary compositions of John Cage, particularly his mid-century piece, _The ten thousand things_. De Waal was particularly inspired by Cage's brief residency in the early 1930s at Rudolph Schindler's King's Road House in West Hollywood. He views this period as a crucial point where Cage's iconic sonic experiments began to take shape. De Waal draws parallels between the architectural innovation of the Schindler House—with its unexpected combination of concrete and timber—and Cage's radical approach to art, which involved freeing himself from conventional knowledge and experimenting publicly. This ethos of public experimentation has influenced de Waal's current artistic process, leading him to create, glaze, and arrange his works with greater looseness and intuition for his exhibition. He likens his new, more improvisational method to composing a musical score, noting that he 'just picked up these blocks of Cor-Ten steel and thumped them down very rhythmically, in a very random way.' This newfound artistic freedom, though occasionally leading to unexpected outcomes, is described by de Waal as 'a lot more fun' compared to the borderline over-determinacy he admitted characterized his earlier installations. The exhibition also marks a pivotal moment in de Waal's long-standing fascination with vitrines. Historically, vitrines served as 'safe containers' to prevent the dispersal of his collections. However, in 'Ten thousand things,' the vitrine takes on a much more sculptural role, fostering an 'elbows-out kind of relationship between what’s going on with structure and objects.' This represents a rebellion against the protective barriers and the pursuit of whiteness that defined much of his work, as documented in his book _The White Road: Journey Into an Obsession_. In this book, de Waal chronicled his journeys to significant historical sites of porcelain production in Jingdezhen, China; Dresden, Germany; and Cornwall, England. His interest in black glazes stemmed from the historical attempts in Meissen to create white porcelain, which initially resulted in black porcelain due to technical challenges. De Waal sees this historical context as a profound metaphor: 'you’re trying to get to white but you have to go through black.' He emphasizes that his exhibitions are not arbitrary but are carefully conceived as a body of work for a specific location, time of year, and quality of light. The choice of Los Angeles for 'Ten thousand things' is deliberate, as he views the city as a hub of exiles, aspiring artists, and experimentation, intrinsically linked to figures like Schindler and Cage. This confluence of influences provided the impetus for de Waal to embark on this new artistic direction. #EdmundDeWaal #Ceramics #ArtExhibition #GagosianGallery #BlackGlazes #JohnCage #ModernArt #Sculpture

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

The article explores the collaboration between designers Stephen Burks and Malika Leiper of Stephen Burks Man Made, and the Italian wood veneer company Alpi, to translate the intricate patterns of Kuba cloth into a contemporary design product. Kuba cloth, a raffia textile handcrafted by the Kuba people of the Democratic Republic of Congo, originated in the 17th century and served as a significant status symbol among the ruling class. While it was once thought that the tradition of Kuba cloth declined after the kingdom's fall due to internal rebellions and colonization, Burks and Leiper discovered during a visit to Kinshasa that this ancient art form is, in fact, thriving among a new generation of artists and makers in villages. Burks clarifies that the perception of Kuba cloth as a 'dying artform' is a Western misconception, often influenced by the commodification of 'prestige cloths.' His and Leiper's practice, Stephen Burks Man Made, is dedicated to demonstrating the current vitality of Kuba art, emphasizing that for Kuba to have a future, it must have a present. Their efforts include producing a documentary, curating an exhibition in Japan, and designing the scenography for an upcoming show at the Mint Museum in Charlotte, North Carolina, all centered on their research into Kuba cloth. A pivotal project in their endeavor is the collaboration with Alpi, a company established in 1919 and renowned for its designer collaborations with figures such as Ettore Sottsass, Alessandro Mendini, Konstantin Grcic, Patricia Urquiola, and Ron Arad. Alpi's president, Vittorio Alpi, expresses a passion for experimentation and invites designers to create unique pieces that push the boundaries of industrial production, granting three-dimensionality to Alpi surfaces. At Design Miami 2025, Burks and Leiper unveiled their collection of sculptural furnishings, titled 'Lost Cloth Object,' which translates the geometric patterns of traditional Kuba textiles. This collection, presented as part of the fair’s 2.0 section curated by Glenn Adamson, serves as a conceptual starting point for a commercial veneer that will be developed with Alpi. Burks highlights that their practice consistently investigates the intersection of craft, community, and industry. The design process involved creating a Kuba-inspired motif using thousands of laser-thin sheets of FSC-certified poplar veneer, a technique that embodies both repetition and variation, mirroring the inherent qualities of Kuba cloth. Leiper explains that each motif in Kuba cloth carries social meaning, indicating the maker or wearer, and often mimics natural shapes, acting as a language in itself. The use of variegated veneers from Alpi’s Legacy Collection adds another layer of significance, as these veneers replicate the appearance of endangered wood species like ebony, teak, rosewood, and zebrawood, without contributing to deforestation. Vittorio Alpi notes that this collection allows for the reproduction of rare woods sustainably. The 'Lost Cloth Object' collection features a curved platform, round stools, and a circular partition with integrated shelving, designed to evoke both Alpi’s postmodern collaborative tradition and the sacred, ceremonial contexts in which Kuba cloth is traditionally used. While the specific sculptural objects will not be mass-produced, the 'Lost Cloth Object' pattern is intended for further development as a commercial veneer. Burks concludes that the project honors the traditions of the Kuba Kingdom by combining African patterns with natural wood in a sculptural, modern application, connecting to Alpi's legacy of surface design. #AfricanTextile #KubaCloth #StephenBurksManMade #Alpi #DesignCollaboration #VeneerDesign #Craftsmanship #DesignMiami #CulturalPreservation

Artist and architect Inés Esnal has unveiled her Prism installation, transforming the lobby of a new residential building in New York City. The artwork utilizes colorful elastic ropes to create intricate triangular formations that serve to filter light, producing a dynamic interplay of vivid colors and optical illusions. This installation provides a stark and compelling contrast to the lobby's existing concrete walls, injecting an element of artistic vibrancy into the otherwise stark architectural setting. The Prism installation is characterized by its use of stretched elastic ropes, meticulously arranged to form geometric patterns. These ropes, varying in color, intersect and overlap, creating a complex web that interacts with the ambient light. As light passes through these colored strands, it is fractured and dispersed, casting a spectrum of hues across the lobby space. This optical phenomenon changes throughout the day, depending on the angle and intensity of natural light, offering a constantly evolving visual experience for residents and visitors. The design intention behind Prism is to introduce an element of surprise and visual engagement within a functional architectural space. By contrasting the inherent rigidity and monochromatic nature of concrete with the fluidity and vibrant palette of the elastic ropes, Esnal challenges conventional perceptions of lobby design. The installation effectively redefines the entrance area, transforming it from a transitional zone into an immersive artistic environment. Esnal's work often explores the relationship between art, architecture, and human perception. In Prism, she employs principles of geometry and optics to manipulate space and light, thereby creating an illusory depth and movement within a static structure. The triangular shapes formed by the ropes evoke the concept of prisms, which are known for their ability to refract light into its constituent colors. This not only imbues the space with aesthetic appeal but also invites viewers to contemplate the scientific and artistic principles at play. The installation aims to enhance the sensory experience of the building's occupants, offering a momentary escape from the urban environment. The selection of elastic ropes as the primary material allows for flexibility in form and an ethereal quality that belies the material's strength. This choice also contributes to the lightweight and seemingly gravity-defying appearance of the artwork, further emphasizing its illusory nature. The vibrant colors chosen are intended to evoke a sense of energy and warmth, counteracting the potentially cold aesthetic of modern concrete architecture. The overall effect is one of harmony between the artistic intervention and the architectural context, demonstrating how art can profoundly alter and enrich built environments. #ArchitecturalInstallation #PublicArt #LobbyDesign #InesEsnal #OpticalIllusions #ElasticRopeArt #NYCArchitecture #ColorTheory #GeometricArt

Nikki Chu, an interior designer with over two decades of experience, has launched her inaugural tile collection exclusively with The Tile Shop. Despite not having previously designed tiles, Chu leveraged her extensive knowledge of incorporating tiles into various rooms to create a line that reflects her signature “global modernism” aesthetic. Her collection stands out by focusing on organic, impactful patterns rendered in versatile, earthy neutral tones, a departure from the often brightly colored or overly patterned options she found lacking in the market. Chu emphasizes that while vibrant colors are readily available, finding sophisticated neutral patterns has historically been a challenge. The inspiration for Chu's tile collection, much like her previous lines of decorative pillows, bedding, and rugs, is rooted in her global travels. She specifically cites Africa, Indonesia, and Bali as primary sources, drawing from the textiles and cultural patterns observed in bazaars and markets. These elements are then simplified and refined to be palatable for a wide range of decor styles, maintaining a clean, soft, and contemporary feel without an abundance of color, aligning with her brand's established reputation for neutral textures. The collection features three distinct tile designs: Zulu, Tangier, and Luxor. The Zulu ceramic tile is praised for its modern versatility, allowing for various layout configurations—alternating horizontal and vertical patterns—to create eclectic visual texture while maintaining a peaceful, subtly colored aesthetic. Chu is installing this tile in her own home, highlighting its longevity and classic appeal. Zulu is available in Graphite, Pumice, and Cement colorways, all offering quiet, understated hues. Tangier, a porcelain pattern, showcases loose, concentric diamonds that deliver a bold impact. Its hand-drawn quality lends it a timeless simplicity, preventing it from feeling dated. Chu notes that Tangier's patterns are “flowy, easy-to-understand,” and substantial enough to make a statement without being overwhelming. She plans to use Tangier on a lanai floor for a celebrity client, bordered by Zulu tiles, to create a durable, rug-like effect. Luxor comprises ceramic subway tiles designed to complement Zulu and Tangier. These tiles, available in Winter White, Cement, and Pumice, feature an organic, handmade feel with intentional inconsistencies in texture and slight color variations. Chu’s aim with Luxor was to provide a clean yet artisanal option that enhances the collection's overall aesthetic. Her overarching design philosophy for this collection was to achieve a balance between extremes, creating patterns that are modern and contemporary without being excessively so, thus occupying a “sweet spot” that she intends to build upon in future designs. #NikkiChu #TileDesign #GlobalModernism #InteriorDesign #NeutralTones #PatternedTile #HomeDecor #TheTileShop #CeramicTile #PorcelainTile

The upcoming game, *Squeakross: Home Squeak Home*, aims to integrate nonogram puzzles with interior decorating elements, appealing to players who enjoy cozy games. The game initiates with a character creation process, allowing players to customize a mouse avatar. This personalized character serves as a mascot throughout the gameplay and resides in the home that players will decorate. The character creator offers various customization options for ears, eyes, mouth, nose, tail, and fur, adding a personalized touch to the experience. The core gameplay revolves around nonogram puzzles. These puzzles, which involve filling in grid spaces to reveal an image, start simply and gradually increase in complexity. The game presents puzzles on a grid that resembles lined paper, providing an aesthetic similar to building instructions. Players identify boxes to fill based on numerical clues provided for each row and column. A 'cheese' highlight indicates correct placements, and players can also mark boxes that should remain empty. The game offers a hint system to assist players when needed. Completing these nonogram puzzles rewards players with decorative items that can be used to furnish their mouse's home. Initially, the rewards are basic items like a plain wooden chair or a cardboard box. However, as players progress and tackle larger and more intricate puzzles, they unlock more elaborate and detailed furnishings. This progression system provides a clear incentive for players to engage with and solve the puzzles. The preview build of *Squeakross: Home Squeak Home* demonstrates a substantial collection of nonogram puzzles. The interior decorating aspect serves as a visual and tangible reward for puzzle completion, allowing players to see their unlocked items rendered in 3D within the mouse's house. This combination of puzzle-solving and decorative customization is designed to enhance player motivation and engagement, particularly for those who might typically complete such puzzles quickly or require additional incentives to play. The game is being developed by Alblune and is scheduled for release on PC in 2025. It is positioned as a puzzle game that aims to blend established nonogram mechanics with appealing cozy game features, creating a unique experience for its target audience. #Alblune #Squeakross #Nonograms #InteriorDecorating #CozyGame #PCGaming #GamePreview

Artist Stephanie Dillon and her husband, Reilly, were captivated by a model home in Eden Prairie, which boasted a blend of whitewashed shiplap and shakes on its exterior, creating a timeless and airy aesthetic. The interior featured light-filled communal spaces, each with a distinct character, moving away from conventional floorplans. The color scheme ranged from calming charcoals and pale neutrals to deep greens and rich terra-cotta, evoking a European atmosphere. Kelli Fontana Vogelgesang, owner of West Bay Homes and the designer behind the model, drew inspiration from her travels to Paris, characterizing the style as French contemporary farmhouse. She envisioned the kitchen as a French pastry shop, integrating multiple layers of meticulously detailed materials throughout the 5,000-square-foot residence. The kitchen's design incorporates three types of glazed tiles for the backsplashes, with a small hexagonal tile chosen for its light-reflecting properties, contributing to an elevated visual experience. Dillon, an acrylic and mixed-media artist known for painting her emotions, found a kindred spirit in Vogelgesang, whose design philosophy also prioritized passion and feeling. Dillon retained Vogelgesang to complete the interior design of their new home. The designer expressed enthusiasm for incorporating Dillon's extensive rug collection. Elements like shiplap and painted charcoal, seen on the exterior, were repeated inside on the basement's fireplace wall and the vaulted ceiling of a lounge area adjacent to the kitchen, along with charcoal-colored square tiles extending from counter to ceiling in the kitchen backsplash. This repetition of color ensures cohesiveness and a holistic progression throughout the home, where all environmental elements relate to one another. Vogelgesang skillfully managed the abundance of materials, preventing a busy or cluttered appearance, much like Dillon blends colors on her canvases. Some design choices stand out, others recede, and some shimmer, collectively defining the mood of each space. The materials coalesce into a balanced and proportionate composition, resulting in a home tailored for an artist. Vogelgesang aims to create spaces that are timeless and elegant without being overly delicate or cost-prohibitive. The lower-level bar area features charcoal shiplap around the fireplace, painted in Sherwin-Williams’s Dorian Gray, and steps down into a sunken media room, showcasing the designer’s preferred brass and gray combination. Brass hardware also adorns the front entry doors. Light fixtures, including those from Mitzi on the library ladder, were strategically chosen. The unexpected entry leads to a "dining hall" that functions as a grand foyer, as described by Vogelgesang. This space features nine-inch-wide-plank white oak floors laid in a herringbone pattern, with ceiling beams bisecting its soaring height, allowing ample natural light. The built-in bar features a backsplash of alternating light and dark neutral tiles, custom cabinetry with dental molding, and a marble sink skirt. Open shelving in the kitchen displays two sizes of backsplash tiles from The Tile Shop, with custom alder wood cabinetry finished with a clear whitewashed stain and brass hardware for an enhanced shimmer. The kitchen, inspired by Parisian pastry shops, includes two islands for ease of navigation, with only one housing a sink to allow for uninterrupted dining on the other. The mudroom boasts large-format heated tiles combined with white oak cabinetry, finished in a whitewash stain, offering an industrial concrete look harmonized with French country cabinetry. A basement guest bath incorporates vibrant color through whimsical floral tiles from The Tile Shop on one wall and Sherwin-Williams’s Perfect Periwinkle on the adjacent wall. The library features a bold mix of Sherwin-Williams paints: Canyon Clay on the walls and Gauntlet Gray in a high-gloss enamel finish on the moldings and doors, complemented by chartreuse chairs. A wide-plank whitewashed cedar wall on the rear deck provides privacy. The prep kitchen off the mudroom embraces color with Waverly Classics wallpaper by York, cabinets painted in Sherwin-Williams’s Green Onyx, and a hammered copper sink, showcasing how personal touches can enhance practical areas. The powder room dazzles with an antiqued mirrored glass tile wall from The Tile Shop, a custom white oak vanity with a marble shelf, and Savoy House sconces. The floors throughout the home incorporate patterned ceramic tiles from The Tile Shop. The home's floor plan, while a traditional rambler, diverges into an unconventional layout where the front entry opens into a vaulted foyer and dining room, serving as a pass-through to the kitchen and great room. #HomeStyle #InteriorDesign #HomeTours #FrenchContemporaryFarmhouse #CustomCabinetry #TileDesign #ArtisticHome #ArchitecturalDetails #EuropeanInfluence

This article details the transformation of a 1950s ranch home in Nashville, owned by painter Elizabeth Stern, into a vibrant and personalized living space. The renovation, led by local architecture firm Pfeffer Torode with lead architect Erin Cypress and interior designer Liz Bonesio, focused on enhancing natural light and integrating a distinctive color palette inspired by the homeowner's artistic vision. Initially, the ranch lacked sufficient light and color, presenting a blank canvas for the design team. A primary objective was to open up the internal structure to allow more natural light to penetrate. Cypress achieved this by designing a series of cased openings that connect the private sleeping quarters with the public entertaining areas. These public spaces were conceived to be free-flowing, suitable for parties, pool, and mah-jongg. A significant addition was a sunroom extension off the kitchen, living, and dining rooms, designed with numerous windows and high ceilings to create a seamless connection with the garden and patio, making the outdoors feel like an integral part of the interior. Stern also expressed a preference for minimal recessed lighting. Bonesio addressed this by sourcing various flush-mount fixtures throughout the house, ensuring an even distribution of light without relying heavily on overhead recessed lights, except for a few essential ones in the kitchen. The color scheme played a crucial role in reflecting Stern's artistic sensibility. A recurring earthy, pink-toned terra-cotta, found in the plaster walls of the dining room and reclaimed French _parefeuille_ floors of the sunroom, became a central theme. This warm hue was harmoniously paired with blues, primarily Farrow & Ball Skylight, a pale blue-gray, which served to highlight the warmth of the terra-cotta tones. This deliberate choice of colors created a harmonious and personal atmosphere, aligning with Stern's artistic preferences. The renovation extended to various rooms, each featuring carefully selected details and materials. The living room showcases built-ins painted in a combination of mineral paint and fine paints, flanking an original marble mantel. Custom elements like a Remains Lighting Company flush mount, a Materia's Forchette 24 Chandelier, custom Lee Jofa fabric curtains, and an Erden custom rug contribute to its unique character. The kitchen features an oak island designed without plumbing, along with cabinets painted in Domingue Architectural Finishes' Chapel and Cristallo Azul quartzite countertops. Barber Wilsons & Co. faucets and Balsamo pendants complete the look. The butler's pantry, converted from a storage room, includes a deep Kohler sink for flower arranging, complemented by pendants from Remains Lighting Company and London Silk quartzite countertops. Its cabinets are painted in Benjamin Moore Sandblast and Sherwin-Williams Blustery Sky, with Zak + Fox wallpaper backing Stern’s ceramic collection. The sunroom, referred to as the “catbird seat,” is an idyllic dining area with a Soane pendant, Zak + Fox fabric shades with Bruder trim, and a custom banquette. The dining room, intended for parties, features paneling painted in Farrow & Ball Skylight, allowing for art salon-style displays, and includes a dining table that doubles as a pool table, alongside a piano. The mudroom incorporates a vintage Facebook Marketplace sink with de-plated Chicago Faucets, and walls painted in Benjamin Moore's Seapearl, Pilgrim Haze, and Blue Note, with Currey & Company pendants. The primary bedroom features a Dennis Miller bed upholstered in Rose Tarlow fabric, a Brett Design nightstand, a Soane sconce, and Libeco Home bedding. The guest room uses Peter Fasano wallpaper to inspire a natural palette, with custom beds lacquered in Fine Paints of Europe GC603, Made Goods nightstands, and custom Osborne & Little fabric coverlets. Bathrooms are equally detailed; the primary bathroom includes a gilded papier-mâché Fisher Weisman chandelier, a Victoria + Albert bathtub with Barber Wilsons & Co. tub filler, custom Etamine fabric café curtains, and an Eliko Rugs rug. The guest bathroom, a jack-and-jill style, features a Lacava trough sink, Farrow & Ball De Nimes paint, Tabarka Studio wall tile, a Remains Lighting Company ceiling light, and a Circa Lighting sconce. Lastly, a Hartley Botanic Victorian plant house serves as a greenhouse and potting shed for garden herbs, reflecting Stern's personal touch throughout the entire property. #HomeRenovation #InteriorDesign #NashvilleHomes #ColorPalette #SunroomDesign #KitchenDesign #ArtistHome #HistoricRanch #PfefferTorode

Solange Knowles, known for her unique creative intuition, discusses her diverse projects and artistic philosophy in an interview. The artist recounts a recent performance in a former oil reservoir in Sydney, Australia, highlighting her preference for unscripted presence over conventional entertainment. This experimental approach, where she aims to simply exist rather than perform, reflects her ongoing inquiry into the nature of performance and its service to her as an artist. Her multidisciplinary endeavors, spanning a glassware line, a book on architect Amaza Lee Meredith, global performance partnerships, and composing for the New York City Ballet, are all managed under her creative agency, Saint Heron. This agency also houses a library of Black creative texts and serves as a collaborative hub. Friends and collaborators, such as fashion designer Grace Wales Bonner and Brooklyn Academy of Music president Gina Duncan, commend Solange's integrity and ability to cultivate a loyal community across various artistic fields. Her wide-ranging interests, from drums and Black classical composers like Julia Perry to bird-watching, underscore a restless and curious artistic imagination. Solange's work often delves into the past, exploring both broad themes of Black history and the intricacies of family lineage, particularly significant given her background in a prominent musical family. She moved to a small East Coast town seeking a closer connection to nature, believing that immersion in the natural world clarifies answers she has sought throughout her life. The interview takes place in a public library, emphasizing Solange's deep connection to archives and history. She acknowledges her long career as a performer, starting with child acting and her first album at 16, but distinguishes her current approach as performing authentically rather than through persona. This shift aligns with the philosophy of artists like Felice Rosser, who embraced punk's liberation from the pressure of perfectionism. Solange found similar permission to exist authentically in performance through her collaboration with artist Autumn Knight, who helped her overcome the "disease of perfectionism" she experienced during years of touring. Her Grammy-winning album, "A Seat at the Table" (2016), is recognized as a significant cultural and political statement, continuing a tradition of impactful R&B albums. Solange consistently prioritizes artistic self-determination over commercial gain, a challenging path in an algorithm-driven industry. While she expresses few career regrets, she humorously notes missing an opportunity to collaborate with comedian Katt Williams on "A Seat at the Table." Even prior to this album, Solange was recognized for her artistic credibility, with her 2008 album "Sol-Angel & the Hadley St. Dreams" marking an artistic breakthrough. Collaborator Tyler, the Creator praises Solange for her authentic artistic vision, stating that her work is not driven by trends or a need to prove herself, and predicts her lasting impact on the music landscape. Solange's fascination with history is also linked to her upbringing in Houston's Third Ward, where the Sankofa symbol—representing the importance of looking to the past to move forward—was prevalent. She discusses how "A Seat at the Table" explored generational history, while her recent focus has been on understanding and forgiving her younger self through therapeutic work. She reflects on the impact of a childhood where her personal history was often documented by others due to lost family photos. Solange emphasizes the importance of creating tangible evidence of her legacy, particularly for Black artists, expressing concern over the vulnerability of digital archives. This desire for material legacy extends to her collaboration with glassblower Jason McDonald, where the process of glassblowing taught her to surrender control and imbue objects with spirit. Her latest artistic obsession is the tuba, which she finds embodies a raw, undeniable space and feels inherently Black, even contemplating releasing music written for the instrument despite potential skepticism. This ongoing exploration signifies her commitment to an authentic and evolving artistic journey, prioritizing personal meaning and enduring legacy over external expectations. #SolangeKnowles #ArtisticIntuition #MultidisciplinaryArtist #SaintHeron #BlackArtists #CulturalLegacy #CreativeProcess #PerformanceArt #MusicIndustry #AmazaLeeMeredith

Stillmade, a Brooklyn-based furniture manufacturer and designer known for its support of emerging designers, has launched its inaugural Collaborative Series. This new initiative combines Stillmade's manufacturing capabilities with the creative visions of four distinct artists and designers: Danny Kaplan, Pat Kim, Michele Quan, and Stillmade's founder and creative director, Paul Mignogna, through his Mignogna Studio. The series features a collection of furniture pieces, including a sofa, credenza, hutch, side table, and two coffee tables, each reflecting a blend of artisan craftsmanship and a modern aesthetic. The collaboration with Pat Kim, a celebrated industrial designer and artist, introduces a playful and sculptural element to the series. His contributions include the Kim Coffee Table and Kim Side Table. These pieces are distinguished by their organically shaped bases, finished in hand-troweled, lime-based plaster. Sculpted wooden arms support circular tabletops, adding warmth and a natural touch to the contemporary designs. The interplay of materials and forms highlights Kim's unique aesthetic. Ceramicist Michele Quan's involvement marks her first foray into furniture design. For the Collaborative Series, her iconic celestial ceramic half-moon sculptures have been reimagined as functional cabinet pulls for two large-scale cabinet pieces: the Painted Credenza and the Painted Hutch. These pieces showcase a seamless integration of fine art into functional furniture, offering a distinctive and artistic approach to home storage. Danny Kaplan's Jane Coffee Table draws inspiration from Roger Capron's ceramic inlay tables. Kaplan designed a set of unique tiles that are set into the top of Stillmade’s minimalist solid wood table base. This design creates a compelling visual contrast between the base's clean lines and the organic geometry and textured surfaces of the rounded and oval-shaped tiles. The table exemplifies a harmonious blend of classic inspiration and modern execution. Paul Mignogna's own design practice, Mignogna Studio, contributes the Clifton Sofa to the series. This sofa prioritizes comfort and lounging while maintaining a sleek and minimal aesthetic. The design purposefully highlights Stillmade's manufacturing expertise through an exposed wooden frame and intricate joinery, demonstrating the brand's commitment to quality craftsmanship and thoughtful design. The Clifton Sofa embodies a contemporary approach to comfort and structural integrity. The Collaborative Series underscores Stillmade's decade-long commitment to making high-quality production accessible to smaller, innovative designers. By partnering with these artists, Stillmade not only showcases diverse creative talents but also reaffirms its dedication to producing furniture that embodies both artistic expression and functional elegance. The collection is a testament to the power of collaboration in the design world, resulting in unique and well-crafted pieces that bridge art and utility. #Stillmade #CollaborativeSeries #FurnitureDesign #ArtisanCraftsmanship #ModernAesthetic #HomeFurnishings #PatKim #MicheleQuan #DannyKaplan #MignognaStudio

Bru Textiles, an international fabric supplier founded in 1995, has established itself by prioritizing quality, service, and strategic investment in technological advancement. Recognizing the increasing adoption of augmented and virtual reality in design and manufacturing, and the growing consumer trend of online purchasing, Bru Textiles launched Bru Digital in 2017. This dedicated digital research and development arm, comprising developers, CG artists, designers, and stylists across offices in Belgium and Ukraine, aims to bridge the 'imagination gap' between digital visualizations and physical products. The team's innovative venture, TwinBru, provides a service that offers photorealistic digital twins of Bru's extensive fabric library, rendered onto a diverse range of interior furnishing models. By leveraging the scalable computing power of Amazon Web Services (AWS), Bru has successfully generated hundreds of thousands of high-quality rendered images, solidifying its position as a digital leader within the industry. TwinBru's services extend beyond pre-configured content to include model creation, scene configuration, and rendering. This allows Bru's broad customer base, including manufacturers, designers, architects, wholesalers, and retailers, to apply digital materials from Bru’s fabric library to any model and integrate them into various 3D scenes. The resulting photorealistic images are nearly indistinguishable from professional catalog layouts and can be utilized in both online and offline applications. These applications encompass printed collateral, digital furniture configurators, and virtual reality environments. Ben Brabant, Bru Innovation Consultant, highlighted that TwinBru is setting a new industry standard for digital fabrics. He noted that the ability to quickly render realistic visuals on AWS significantly reduces the decision-making timeline for consumers, particularly for high-value purchases, as projects can be conceptualized without requiring physical fabric samples. Beyond sales, these high-caliber visuals are also valuable for marketing, customer validation, and rapid prototyping, enhancing efficiency for brands. To date, Bru has digitized over 10,000 distinct fabrics through a high-resolution scanning process and offers approximately 40 customizable pre-built assets. Customers also have the option to provide their own models, which TwinBru artists rebuild and optimize for the bespoke digital fabric application process. For each TwinBru render, models and scenes are typically created using Autodesk Maya on local Linux-based workstations. The rendering itself is performed using Chaos Group’s V-Ray on Amazon Elastic Compute Cloud (EC2) Spot Instances, with render management handled by Deadline, an AWS Thinkbox software. Assets are managed via a proprietary internal system and stored on Amazon Simple Storage Service (S3). Koen Verwimp, Bru Lead Software Engineer, emphasized the suitability of AWS for their batch rendering needs, enabling easy scaling without the burden of maintaining physical compute infrastructure. He noted that they have peaked at 400 simultaneous instances on AWS, a significant increase from their five local machines, illustrating the newfound functionality and efficiency gained since migrating from solely on-premises resources. Jurgen Goris, Bru Senior Software Engineer, further elaborated on the increased experimental capacity provided by AWS. He explained that new approaches can be tested by firing up an EC2 instance with minimal cost, eliminating the need for hardware investment and allowing continuous fine-tuning of their AWS usage and workflow integration. #DigitalTextiles #AWSCloud #VirtualReality #AugmentedReality #3DRendering #FabricInnovation #HomeFurnishings #InteriorDesign #ScalableComputing

The exhibition 'Malware' at London's Pippy Houldsworth Gallery features artist Qualeasha Wood's tapestries, tuftings, and videos, which explore the concept of the digital glitch and its implications for the Black female experience. Wood, based in Philadelphia, focuses on internet malfunctions as a metaphor for vulnerability and change within systems. She merges contemporary digital culture with traditional crafts, translating digital pixels into stitches in her tapestries and creating intentional glitches in her video works through data compression. Wood notes that in the pursuit of authenticity, many fabricated images are produced, and her work aims to highlight imperfection and decomposition as more natural states. Her artistic process also involves incorporating strings of code into her images, shifting the focus from her physical body to its interaction within digital spaces. Wood's work investigates the disruption caused by 'glitches,' interpreting them both as digital viruses and as the presence of the Black female body within established systems. Her webcam self-portraits, in particular, consider the body as a site for both exploitation and resistance. Her interest in these themes began during her studies at the Rhode Island School of Design, where she observed the pervasive influence of social media. She found that online platforms provided a space for conversations about her experiences as a Black woman, which then informed her art. This led to her first tapestry, 'Cult Following,' which likens social media to a cult or religion due to its ability to simultaneously exalt and scapegoat individuals, a duality Wood experienced as one of the few Black students on campus. The artist's personal experiences with doxing, where her personal information was published online, further solidified her artistic direction. These incidents, occurring before she began creating her tapestries, motivated her to reclaim control of her narrative by weaving her own image into her artwork. Wood sees the digital and traditional realms not as opposing forces but as interconnected systems. Her childhood exposure to her great-grandmother's and great-aunt's crocheting sparked her interest in craft and textiles, recognizing their familiar and accessible nature. Similarly, she views computers as integral to her generation's experience, shaping pervasive relationships with technology. She identifies commonalities between traditional crafts and digital systems, both having inherent rules and offering opportunities for exploitation and creative manipulation. Wood employs a computerized loom to create her artworks, which interprets digital files to produce woven replicas of images. This method was inspired by a tapestry depicting her brother and cousins, a gift that demonstrated how images could be woven without strict adherence to stylistic conventions, utilizing scanned and collaged digital images. The most labor-intensive part of her creative process involves sifting through an extensive collection of personal phone screenshots, numbering in the tens of thousands, to select images for recreation. The actual weaving process, conversely, is less hands-on and typically takes a few weeks, often resulting in unexpected outcomes. She describes this as a release of control, relying on prayer for the desired result. As an avid consumer of digital content, with approximately 14 hours of screen time daily, Wood emphasizes the need for rapid artistic production to keep pace with the fast-evolving internet culture. Her use of pixels in her work deliberately moves beyond conventional beauty standards, embracing an aesthetic that is imperfect and raw. She views her tapestries as a 'double-edged sword,' allowing her to control the perception of her body while also being conscious of the voyeuristic gaze it might attract. The glitch, in this context, serves as a symbol of vulnerability, yet it also empowers her by subverting expectations of perfection and femininity, thereby creating a space for artistic expression and exploration. 'Malware' will be on display at Pippy Houldsworth Gallery in London until April 26. #QualeashaWood #DigitalArt #TextileArt #LondonExhibition #PippyHouldsworthGallery #BlackFemaleExperience #SocialMediaImpact #DigitalCulture

The article explores current and emerging wall art trends, emphasizing art's crucial role in interior design. It highlights how art, often a significant investment, shapes the mood, texture, and personality of a home. Designers such as Amy Lau and Natalia Miyar view art as a foundational element, using it to introduce color and build a cohesive design narrative. The piece focuses on several key trends that are gaining traction or experiencing a resurgence in popularity. One prominent trend is the revival of vintage neon signs, which add a distinctive character and retro charm to interiors. Originating from advertisements in the 1960s, these brightly lit artworks are now seeing a boom, partly fueled by social media platforms like TikTok. Designers like Molly Torres Portnof utilize custom neon signs to create visual interest and infuse energy into living spaces, demonstrating how they can be tastefully integrated into modern decor. Textured tapestries and wall hangings are another significant trend, moving beyond their traditional associations to find a place in contemporary settings. Designers, including Pablo López Navarro of Casa Josephine, are incorporating textiles like patchwork, Asian textiles, and historical tapestries to bring warmth, coziness, and depth to rooms. This approach challenges the conventional use of tapestries, proving their versatility in blending with modern pieces and creating a unique aesthetic. The article also discusses the growing interest in line-drawn frescos, which transform walls into canvases for minimalist and elegant art. By eliminating traditional framing, these murals, exemplified by the work of Florence Bamberger, offer an architectural and graphic quality, reflecting the surrounding environment or specific design inspirations. This trend provides a unique, personalized artwork that becomes an integral part of the interior's structure. Abstract and colorful art is presented as a strong trend, driven by its psychological impact and ability to uplift spirits. Celine Erlam from Indie & Co notes that clients are increasingly seeking vibrant, block-color prints to brighten their schemes. The article advises thoughtful integration of these pieces, ensuring they either complement or deliberately contrast with the room's existing color palette to create focal points. The use of colorful art to invigorate subdued or neutral palettes is highlighted as a strategic design choice. Mead Quin’s design, featuring a Damien Hirst piece in a white room, illustrates how bold art can provide expression and personality within a restrained interior. This allows homeowners to invest in art that holds personal meaning, regardless of the artist's renown, as a means of personal expression. The growing emphasis on establishing personal art collections, rather than solely focusing on well-known pieces, is also discussed. Kati Curtis encourages homeowners to collect art that resonates with them, including affordable finds from charity shops or antique stores. This approach prioritizes personal narrative and style, allowing individuals to curate a diverse collection that reflects their life experiences and artistic preferences. Ceramic wall art, featuring tastefully hung plates and bowls, offers a rustic yet modern aesthetic. This trend, seen in high-profile homes like Gwyneth Paltrow's, brings texture and a sense of local craftsmanship to interiors. Pablo López Navarro explains that this trend evokes traditional decoration while maintaining a contemporary feel, conveying casualness and relaxation through handmade ceramics. Finally, the article touches upon the trend of incorporating tongue-in-cheek and playful wall art, aligning with a broader appreciation for kitsch and vintage styles. Designs like Studio HÁM's colorful Andy Warhol-inspired kitchen piece demonstrate how art can introduce humor and upliftment. The article concludes by stressing the importance of adventurous framing, suggesting that mixed frames and thoughtful use of negative space can enhance each artwork's identity and visual impact. #WallArtTrends #InteriorDesign #HomeDecor #NeonSigns #Tapestries #FrescoArt #AbstractArt #ArtCollection #CeramicArt

Designer Clive Lonstein, based in Manhattan, showcases his philosophy of creating balance through contrasts in the transformation of a bedroom with a sitting area in a New York City suburb. Lonstein's approach blends antiques with contemporary elements, Old World craftsmanship with modern colors, and fosters intimacy within expansive spaces. His design for this project heavily features Italian-made luxury fabrics, rugs, and wall coverings from Coraggio, along with a custom area rug from Thibaut and throws from Rosemary Hallgarten. A key aspect of Lonstein's design is the strategic use of texture over overt patterns. He highlights that texture is a hallmark of his work, and Coraggio's sumptuous, to-the-trade offerings were ideal for fulfilling the client's desire for an intimate room that avoided feeling dark or cluttered. The Coraggio Elevato Wallcovering, a basket-weave raffia, was chosen for its ability to add detail and warmth while maintaining a sophisticated, minimalist palette. Lonstein notes the dual scales at play: the macro scale of large squares composed of much finer strands, creating a rich yet uncluttered aesthetic. The natural variations in the 100-percent-raffia fibers contribute to a variegated color and dimensional texture, particularly around corners and the bed's bump-outs. Despite the room's cathedral ceiling and inherent openness, the wallcovering imparts a sense of coziness and intimacy, transforming the overall feel of the bedroom. Another principle applied by Lonstein is clothing traditional shapes in modern colorways, aiming for a rich appearance without excessive complexity. He appreciates the material integrity of Coraggio's offerings, even in simple, solid colors, which lend a contemporary feel. For a classic armchair in the sitting area, he selected a shimmering cognac-colored Royal Silk Mohair Fabric from Coraggio, enhancing it with accessories in similar shades but different fabrics, such as a Solaro fabric pillow in Cognac and a Pebble Strie throw in Camo from Rosemary Hallgarten. For an adjacent loveseat, Lonstein opted for green, a favored shade for its freshness and versatility, using Coraggio’s linen-cotton blend Solaro fabric in Olive. Throw pillows in Astratto and Burano fabrics, along with other accessories like a jade lamp base and bed bolster, maintain a monochromatic, tone-on-tone scheme within this zone. Lonstein emphasizes the paramount importance of quality in textiles, noting that Coraggio's materials are crafted by master weavers in Italy, ensuring luxurious finishes and drape. Lonstein also focused on marrying timeless style with practical, modern elements. The bedroom features an eclectic mix of antiques and new acquisitions, including vintage wood doors hung on roller tracks that serve as a visual anchor and subtly connect to the loveseat's fabric and outdoor greenery through their remnants of green paint. While mostly vintage tables dot the space, they are accessorized with contemporary ceramics. A practical addition is the neutral-colored, highly textural Sonoma AREAS Rug from Thibaut. Made from synthetic PET, this rug is both soft underfoot and durable, as well as easy to clean. This versatility is crucial to Lonstein’s design process and influences his material choices. He asserts that high-quality, high-design lines like Coraggio’s provide significant design agility. Lonstein believes that environments profoundly impact human well-being, and transforming a home to reflect its inhabitants creates immense harmony. Coraggio products are available to the trade, with information on their offerings and services accessible online. #InteriorDesign #LuxuryFabrics #BedroomDesign #CliveLonstein #DesignContrasts #Coraggio #Thibaut #RosemaryHallgarten #TextureInDesign

Moniomi, the Miami-based design firm led by husband-and-wife team Monica Santayana and Ronald Alvarez, embraces a fashion-forward approach to interior design, blending avant-garde pieces with traditional motifs to craft spaces that are both artistic and elegant. Their current mood board, part of Business of Home's "What I Love" series, draws inspiration from the colors of sunset and dusk, utilizing a harmonious mix of eye-catching linework and soothing blush tones. The design aims to evoke the serenity, transient beauty, and peace associated with watching the sun set. The flat lay features a variety of luxurious finishes, including ceramic zellige tile and concrete terrazzo, alongside vibrant graphic prints and bold silhouettes. Santayana and Alvarez emphasize that geometry, playful pattern interaction, and saturated colors unify the design, creating a sense of modernity, sophistication, and artistic flair. They offer a detailed breakdown of the 18 elements that constitute their mood board, each contributing to the overall aesthetic and emotional impact. The selection begins with Portola Paints' Etcetera Limewash Paint, chosen for its soft blush tone that creates a serene and elegant atmosphere, and its unique texture that adds warmth and sophistication. Concrete Collaborative's Pacifica Slice Concrete Counter Slab in Pink is another key element, valued for its ability to introduce character with its blend of blushes and burgundies, suitable for both flooring and countertops. Zia Tile's Radian Inline 1 Mosaic Zellige Tile, with its geometric patterns, is incorporated to add a dynamic and modern statement. Accent pieces include Reinaldo Sanguino’s Metallic Sculptural Chair, a vibrant ceramic stool with a multicolored finish and gold accents, serving as a chic and functional design enhancer. Moniomi's own Umpire Locker Dry Bar Cabinet, available at 1stDibs, is highlighted for its seamless integration into any space, featuring mirror art, contrasted wood veneer, and hair hide inserts that make it a standout for entertaining. Prateek Jain & Gautam Seth's Goa House Chandelier from Studiotwentyseven is admired for its tropical foliage design, which infuses any room with glamorous and exotic elegance through intricate craftsmanship. Textiles and floor coverings play a significant role, with Mohebban's Tactile Rose Rug, a hand-carved piece, adding an artistic and luxurious touch with its gradient of purples, blushes, and neutrals. Métaphores' Nomade Fabric in Nymphe, featuring a subtle micropattern, is selected for its ability to introduce sophistication and refined texture without overwhelming the design. Custom Hide Rug Samples by Kyle Bunting, particularly in Mango, Mauve, Periwinkle, and Oink, are celebrated as masterpieces of saturated color, intricate design, and luxurious material, providing a lavish element to any space. Smaller decorative items include Moniomi’s 10 Anniversary Candle from Sensual Candle Co., valued for its delightful grapefruit fragrance that elevates a room's ambiance. Gaetano Pesce's Nugget Vase in Amber & Salmon by Fish Design, available at Corsi Design, is praised for its aesthetic appeal and practicality as a flexible resin vase, offering a modern, playful touch without the fragility of glass. Chris Wolston's Kimora Chair, a woven rattan piece from The Future Perfect, brings a whimsical yet refined vibe to any interior. Room dividers and wall treatments further enhance the curated space. Draga & Aurel's Red Violet Reverso Partition Screens from Artemest are described as functional art, saturating the room with vibrant colors while providing beautiful separation. Porter Teleo's Refracted Hand-Painted Wallcovering in Cadmium, with its graphic qualities and customization options, creates a dynamic and personalized backdrop. Finally, two fabrics from Toyine, Phinda Ré Vingt-Cinq in Ivory and Rose, and Phinda Ré Dix-Huit in Peach and Mauve, are chosen for their ability to add softness, depth, richness, and coziness to upholstery projects, enhancing both visual appeal and tactile experience. The collection also includes unique items like Moniomi's Lux Mini Basketball Hoops, crafted in Italy from onyx and marble with copper-plated rims and hemp nets, representing a blend of art and function. Their Small Ottoman in Raptor Onyx & Pink Mohair, with its four-tiered design, scalloped fringe, and swivel capability, is perfect for conversation areas, adding a luxurious and dynamic touch. Overall, Moniomi's flat lay is a testament to their philosophy of balancing avant-garde and traditional elements to create spaces that are both visually captivating and emotionally resonant. #InteriorDesign #Moniomi #MoodBoard #HomeDecor #LuxuryFinishes #DesignInspiration #TextileDesign #FurnitureDesign