Design Discovery: Getting Comfortable with Jon Davis and Dan Shelton

Stephanie Jackson, a former fine artist, transitioned from an unlucrative art career to become a successful entrepreneur in sensory interior design. For two decades, Jackson dedicated herself to painting and writing, even founding art spaces in San Francisco and New York City, and living in Mexico for an artist's residency. Simultaneously, she became a licensed massage therapist, building a business called Practical Bodywork focused on pain relief. The financial crisis of 2008 and the birth of her daughter prompted a significant shift in her career path. Recognizing that art alone could not support her family, Jackson pivoted to learning business skills. The turning point came when a client, impressed by the art in Jackson's massage office, requested she paint her staircase risers. This project, initially declined due to Jackson's decision to leave art, became a revelation. By integrating her understanding of the client's personality, space characteristics, chosen colors, and desired outcome, Jackson found a natural aptitude for design. This experience led her to launch Practical Sanctuary, Sensory Interior Design, a business dedicated to creating spaces for highly sensitive individuals, including those on the autism spectrum. Jackson, a highly sensitive person herself, observed a significant gap in the architecture and interior design industry regarding spaces accessible to people with sensory issues. Her mission is to address this gap, drawing on her accidental expertise in neurodivergence, cultivated through close relationships with neurodivergent friends and family. Building Practical Sanctuary presented numerous challenges, particularly the lack of initial capital. Jackson started both her businesses out of passion and necessity, acting as her own IT, web designer, marketing, sales, bookkeeper, strategic planner, client fulfillment, and janitor. This self-reliance allowed for slow, organic growth and experimentation without risking the entire enterprise. A personal crisis, including a marriage implosion and subsequent debt, further complicated her journey, taking five years to overcome. By 2020, debt-free and credit repaired, she remained cautious about business loans. The pandemic prompted a shift to virtual client work, and a small EIDL grant provided the first experience with capital, enabling her to hire professionals and expand her network. A primary ongoing challenge is convincing institutional decision-makers that sensory interior design is a necessity, not a luxury, despite general enthusiasm for the concept. Jackson's approach to sensory interior design integrates her diverse creative skills. Her background as a painter informs her understanding of color and light's emotional impact. As a dancer and massage therapist, she gained insights into the human nervous system and how environmental cues like sounds, textures, layout, and light influence well-being. Her experience as an early blogger honed her ability to craft engaging narratives that inspire clients' transformations. She takes pride in achieving significant positive changes for clients through subtle adjustments. Jackson is also launching a book titled "The Eccentric Genius Habitat Intervention." An unexpected detail about her past includes creating a blogger persona named Pretty Lady in the mid-2000s, who disarmed right-wing extremists online with charm and unconditional love, ultimately empowering herself and others. #SensoryInteriorDesign #NeurodivergentSpaces #StephanieJackson #PracticalSanctuary #EntrepreneurshipJourney #CreativeBusiness #AccessibilityInDesign #StartupChallenges #PersonalTransformation

Chencong Zhang, an interior designer and spatial experience designer, embarked on her creative journey driven by a deep desire to create spaces that evoke a sense of belonging. Her personal experience of longing for comfort and familiarity, stemming from being away from her family since the age of 11 and being unable to see them for over 4.5 years due to the pandemic, fueled this aspiration. Initially, Zhang pursued civil engineering as an undergraduate, a popular field in China at the time. However, after two years, she realized it was not her true calling and took a gap year to explore modern arts, design, and other creative avenues. This period ignited an urge to pursue work that resonated emotionally and could impact others' feelings positively. Her first significant step into interior design came in 2015 when she had the opportunity to work on a 7000 sq ft office in Shanghai. The project's goal was to create a comfortable, communicative working environment that seamlessly integrated with its spacious outdoor terrace. Zhang's creative input, particularly her use of colors and materials in material boards and Photoshop renderings, was highly praised. She also collaborated on designing and installing a ceiling installation made of stone and wood, a challenging but rewarding experience that solidified her passion for design. In 2016, Zhang officially began her interior design education at RISD (Rhode Island School of Design). There, she learned about transforming old spaces, gaining inspiration from successful case studies, and connecting with like-minded peers and professors. A pivotal experience was a 2018 visit to Morocco with the Architecture and Ceramics department, where she immersed herself in Islamic art, rich colors, and intricate patterns. This trip, and the subsequent creation of pieces reflecting cross-cultural exchange, broadened her perspective and reinforced the impact of cultural fusion in design. Zhang views storytelling as the core magic behind creating distinctive and tailored spaces. She emphasizes that interior design is about imbuing spaces with personality and crafting a journey for occupants. Her process involves extensive research and imaginative exploration of possibilities. She cites a hotel rooftop design project in Miami, where she integrated elements inspired by the local subtropical climate, lush landscapes, and Bahamian murals, resulting in a bold and unique space that garnered positive online reviews. Zhang attributes her ability to be a good storyteller of spaces to her sensitive nature, which allows her to deeply feel and, in turn, enable others to feel. Her time at RISD, interacting with artists from various disciplines like digital art, glassmaking, furniture design, and textiles, further enriched her understanding of different media and their application in expressing a space's personality. While acknowledging the challenges of bringing creative designs to fruition, including time, cost, and durability, Zhang highlights the importance of problem-solving. Her experience leading the construction administration for a 200-key, $50 million hotel renovation project taught her invaluable lessons in collaboration with consultants, contractors, and clients, and in making informed compromises to deliver high-quality results. She defines her role as a designer as helping clients realize their dreams, emphasizing listening to their needs, offering options, and respecting their perspectives. Zhang's personal journey underscores the message of following one's heart to discover one's true self and purpose. #InteriorDesign #SpatialExperienceDesign #CreativeJourney #StorytellingInDesign #RISDAlumni #CulturalExchange #ProjectManagement #DesignPhilosophy #Entrepreneurship

Universal Design Studio (UDS), an architectural practice founded in 2001 by Edward Barber and Jay Osgerby, is celebrating two decades of groundbreaking work. Documented in their new book, 'Inside Out' (Phaidon), the studio’s success is attributed to its collaborative spirit, involving over 240 individuals throughout its history. Unlike traditional design firms that emphasize a singular artistic vision, UDS operates as an “experimental playground” where multiple thinkers contribute to a diverse portfolio of projects. These projects span retail spaces for luxury brands like Stella McCartney and Mulberry, hospitality ventures such as the Ace Hotel in Shoreditch and a cocktail bar for Fortnum & Mason, exhibition designs for the V&A Museum and Frieze Art Fair, and workspaces for IMB and Jimmy Choo. Barber and Osgerby initially established UDS to differentiate their architectural and interiors work from their product and furniture design studio. They recognized that while a multidisciplinary approach was common in Italy, it was less understood in the UK. This led them to create a new division focused on architecture and interiors, with a strong emphasis on collaboration. The studio maintains an egalitarian approach, where no single author dictates a project's direction. Instead, teams work collectively, valuing diverse perspectives to break new ground and challenge conventional thinking in each sector. UDS is also known for its commitment to reusing and repurposing existing buildings, prioritizing how spaces are utilized and how they serve their communities over demolition and new construction. Despite being an architectural practice, Osgerby notes that they primarily focus on interior and adaptive reuse projects rather than constructing new buildings from the ground up. Jason Holley, director of UDS, explains that the studio's principle is to work 'from the inside out,' focusing on human experience and the specific context of a building. This ensures that every design solution is tailored to its site and users, rather than adhering to a signature stylistic approach. Key projects illustrate UDS's impact. The Stella McCartney stores in New York and London, completed in 2003, were early successes, demonstrating the seamless integration of bespoke product, industrial design, and interior architecture. The custom-made tile used in these stores exemplifies the studio's philosophy of bringing the detail of furniture design to architectural spaces. In 2012, the interactive Google Web Lab at the Science Museum showcased UDS's ability to blend physical and digital worlds, creating an engaging space for technological exploration and storytelling. The Ace Hotel in Shoreditch, completed in 2013, marked a pivotal moment for both the studio and the surrounding neighborhood. UDS, despite having no prior hotel experience, embraced the challenge and collaborated closely with the Ace team. This project, which blended hotel functionality with local culture and casual workspace, became a significant contributor to the area's identity. This success led to a long-term partnership with The Office Group, for whom UDS designed Tintagel House and other workspaces. Looking ahead, co-director Paul Gulati identifies future areas of focus, including improving experiences in healthcare for the aging community and revitalizing high streets, leveraging their expertise in creating community-focused spaces. Mobility and electric vehicles are also areas of interest. Holley emphasizes the studio's goal of creating spaces that people deserve, seeking clients and collaborators who share their passion for openness and innovation. Osgerby reflects on the studio's core aim as recreating a 'campus atmosphere,' reminiscent of his time at the Royal College of Art, where interdisciplinary collaboration fostered productive and exciting exchanges of ideas. #UniversalDesignStudio #ArchitecturePractice #InteriorDesign #CollaborativeDesign #SustainableDesign #EdwardBarber #JayOsgerby #HospitalityDesign #RetailDesign

This blog post features an interview with Dana Romeis, the managing principal at Castle Design, who brings over 25 years of experience to the design industry. The interview delves into various aspects of her work, offering insights into her design philosophy, challenges, and preferences. Romeis emphasizes that client input is highly valued in her design process, stating that the best outcomes result from collaborative relationships between the client, designer, and contractor. She highlights the importance of open communication and mutual understanding in achieving successful design projects. When asked about local artists, Romeis expresses her admiration for Charley Blood of Charles Blood Artistic, particularly for his trompe l’oeil work. She praises his willingness to tackle any artistic challenge, noting that he has never refused a request, no matter how complex. This appreciation for skilled craftsmanship and creative problem-solving underscores her professional values. Regarding overlooked spaces in a home, Romeis identifies the guest bedroom as the most frequently under-decorated room, sometimes including the powder room. She sees the powder room as an opportunity for creative expression and urges clients to pay attention to details in guest bedrooms, such as providing comfortable seating, reliable Wi-Fi, and convenient luggage storage. Her advice extends beyond aesthetics, focusing on practical functionality and guest comfort. Romeis discusses the diverse challenges encountered in her career, stating that every project offers a new learning experience. These challenges can range from integrating home automation systems into overall designs and resolving construction issues to navigating interpersonal dynamics with clients. She highlights the importance of understanding client patience levels and interpreting body language to ensure their wishes are met. This adaptability and continuous learning are central to her professional development. Finally, Romeis shares her preference for alternating between designing new builds and renovating historic homes. She finds that variety keeps her creativity and energy levels high, preventing her from falling into "cookie-cutter solutions." This desire for diverse projects reflects her commitment to innovative and unique design solutions, ensuring each project remains fresh and engaging. The interview concludes by referencing the St. Louis At Home November/December 2017 issue, suggesting that this discussion provides a glimpse into the broader trends and insights within the local design community. #InteriorDesign #HomeDesign #DesignInterview #ClientCollaboration #DesignChallenges #DanaRomeis #CastleDesign #StLouisDesign #CreativeProcess

The perception of 'bad' design, often seen as a failure, can paradoxically lead to profound insights and greater engagement than 'good' design, which tends to be invisible due to its seamless functionality. Experiences of discomfort or difficulty, such as sitting in an ill-designed chair, compel individuals to pay closer attention and understand the designed world around them. This heightened awareness transforms passive consumption into active introspection. Historically, figures like Enzo Mari advocated for a 'design-it-yourself' approach, deliberately making processes more challenging to encourage creativity and independent thought, rather than simply providing finished products. Mari believed that by making things harder to use or understand, people would be forced to engage critically with their environment, thereby challenging the norms of passive consumption. This philosophy posits that while good design operates unobtrusively, bad design demands attention, fostering engagement and introspection. Mari’s legacy is rooted in his dissent against the conventional idea of 'good' design, visible only when it rebels against the norm. This embrace of 'bad' design is not a new phenomenon. Throughout art and design history, various movements have intentionally rejected prevailing aesthetics to provoke thought and engagement. Dadaists and Brutalists, for instance, embraced ugliness and absurdity to challenge tradition, pushing audiences out of their comfort zones. Similarly, fashion designers like Rei Kawakubo used clothing to distort the human form, interrogating conventional notions of beauty. In cinema, the Dogme 95 movement imposed strict, unconventional rules to deconstruct and rethink mainstream filmmaking. Architects Arakawa and Madeline Gins extended this concept into physical spaces with their Bioscleave House, designed to disorient and provoke occupants, demanding constant conscious navigation and questioning, rather than offering an invisible, comfortable experience. Athens-based architect Katerina Kamprani further explores discomfort-based design through her work. Contemporary design studios, such as Mother Design, also integrate 'bad' design elements as a strategic tool for disruption and engagement. An example is their brand identity for Eyebeam, an art and technology center, which employs vibrating color combinations, visually challenging graphic patterns, and unconventional typefaces that disrupt the flow of text. This approach forces viewers to engage with the medium itself before fully processing the message, thereby subverting the traditional expectation of design as a transparent vessel for content. In essence, the 'failure' of design, or its deliberate deviation from convention, can be a catalyst for success by enabling the emergence of new ideas. Embracing 'bad' design is presented as a necessary step to uncover 'good' design. In a world increasingly dominated by frictionless experiences, 'bad' design acts as sandpaper, challenging complacency and forcing individuals to question and think. Movements like the Bauhaus, Marcel Duchamp, Kool Herc, the Sex Pistols, and the Memphis Group initially faced criticism for their unconventional approaches but ultimately reshaped cultural and aesthetic landscapes. Therefore, 'bad' design is not something to be avoided but rather a crucial element of the creative process and personal growth, encouraging learning, purposeful exploration, and self-discovery. It suggests that by celebrating the unignorable—the uncomfortable chairs, frustrating interfaces, and confusing doors—we can learn more about our world and ourselves than through the pursuit of perfection. #DesignPhilosophy #BadDesign #GoodDesign #DesignEngagement #CreativeProcess #DesignHistory #ArchitecturalDesign #FashionDesign #ArtisticRebellion

This article introduces Dana Gibson, a designer known for her fresh and vibrant home accessories, textiles, and art. Her design philosophy centers on a new traditional approach, blending historical influences with a modern sensibility. Gibson started manufacturing home accessories in 1993, drawing inspiration from ancient ikats, Chinese vases, painterly florals, and curvaceous ogees. Her work is characterized by bright colors and bold, hand-painted patterns that reflect a relaxed and lighthearted aesthetic. The article highlights Gibson's ability to imbue traditional forms, such as ginger jars, with a new identity through her distinctive use of color and pattern. Her artistic lineage is noted, as she is the great-granddaughter of Charles Dana Gibson, creator of the iconic Gibson Girl drawings, suggesting a family tradition of artistic expression. This legacy contributes to her unique perspective on beauty in the world. Gibson's loose, painterly style is evident across her diverse product range, which includes textiles designed for Stroheim, as well as collections of furniture, wall coverings, art prints, and various home accessories. She has successfully transitioned from an artist focused on pottery to a multifaceted designer, expanding her creative output into a wide array of home decor items. The article emphasizes that Dana Gibson's designs are recognizable and stand out, aiming to bring a sense of cheerfulness and modern flair to any living space. Her approach offers a way to enhance home interiors with elements that are both rooted in tradition and strikingly contemporary, appealing to those who appreciate vibrant and distinctive decor. The piece concludes by inviting readers to explore her refreshing designs and learn more about her unique contributions to the world of interior design. #DanaGibson #HomeDecor #InteriorDesign #Textiles #HomeAccessories #TraditionalDesign #ModernAesthetic #BoldColors #PatternDesign

Krysti Lyn, a whole home designer, discusses her career journey, design philosophy, and personal experiences. She reveals that her career in design began at the young age of seven, identifying it as an innate gift for "seeing in scale." This ability allows her to visualize how objects fit within a room beyond their aesthetic contribution, a skill she considers a designer's superpower. Despite not actively choosing this path, she expresses gratitude for the opportunity to fulfill her purpose daily, serving clients who benefit from her unique perspective. Lyn specializes in a transitional design aesthetic, which involves blending and merging various design styles and periods. She emphasizes her versatility and ability to select appropriate materials for her clients, attributing her success to this client-centric approach. Her professional journey, however, has not been without challenges. She openly shares that her personal and work life was significantly impacted by domestic violence. This experience, while difficult, ultimately strengthened her resolve, teaching her the importance of self-advocacy and re-focusing on her future. She highlights that this period of adversity made her more determined and taught her to establish boundaries, including learning to say "no." Her professional goals include maintaining her status as an authority on design options, continuously integrating new products, tools, and styles into her practice. She prides herself on creating timeless designs for her clients, understanding that her work involves a significant degree of responsibility and trust. These two elements, she notes, are fundamental to her profession. She considers the ability to build and maintain trust with clients as paramount to her success. When asked about her recommendations for a friend visiting Los Angeles, Lyn outlines a personalized itinerary. This includes a casual meal at In-N-Out Burger, followed by a three-day staycation at her home in Palm Desert, complete with a hot tub, private massages, charcuterie, and Malbec red wine. The trip would also feature a short visit to Las Vegas for a show and a stay at a luxury hotel, interspersed with visits to quaint local spots for improv or murder mystery dinners. A morning drive to Malibu for breakfast to enjoy the scenic views is also on the list. For those interested in Hollywood, she mentions a visit to a famous celebrity cemetery. Significantly, she emphasizes introducing her friend, Kathy, to as many clients as possible, revealing Kathy's integral role as a faithful assistant, confidante, and source of support throughout her career. This acknowledgment underscores the importance of personal relationships in her professional life. Lyn also touches upon the role of mentorship in her career, stating that she did not have a traditional mentor. Instead, she navigated her early career through prayer and faith. She acknowledges one instructor from Harrington design college who authored a notable Modern Furniture Resource Book, and expresses that being recognized by Harpo Studios for her participation in "The Ugliest Room Contest" was a pivotal moment, making her feel understood and appreciated early in her career. This recognition served as a validation of her unique talent and approach to design. #InteriorDesign #HomeDecor #TransitionalDesign #DesignPhilosophy #Entrepreneurship #PersonalJourney #CreativeProfession #ClientRelationships #LosAngeles

Cuff Studio, based in Los Angeles, has unveiled its Common Ground collection of furniture and lighting as part of the Virtual Design Festival (VDF) x Sight Unseen collaboration. This collection is featured in Offsite Online, a virtual exhibition curated by Sight Unseen, a digital magazine focused on contemporary design. The Common Ground series includes two tables, a bench, an armchair, and a light, all designed to showcase the studio's distinctive design philosophy that merges angular, architectural forms with playful, feminine elements. The studio's co-founder, Kristi Bender, explains that Cuff Studio consistently integrates curves and edges, formality with casualness, and femininity with a sense of 'testosterone' into their designs. This approach is evident in the Arc bench, chair, and console table, which incorporate the classic architectural arch. For the seating designs, this typically masculine architectural element is softened by luxurious leather or pink velvet upholstery. The Arc console table, while possessing a solid volume, features brass-filled channels that allow light to pass through and hand-chiselled grooves on its exterior, providing an organic counterpoint to its geometric shape. Another piece, the Paddle table, modernizes a traditional material, solid oak. The oak is bleached to achieve a clean white tone, and its thick edges are rounded, giving it a playful, substantial silhouette. The Five Track Surface Light, conversely, utilizes a flexible material—rope—which is meticulously wrapped around a rigid, tubular frame. This light fixture can be installed on walls or ceilings and is available in natural white cotton, as well as a variety of other colors. Wendy Schwartz, the other half of Cuff Studio, emphasizes that the collection aims to demonstrate how contrasting design elements can coexist harmoniously, reflecting a broader message of unity. The studio believes that the creative process can bring people together, particularly in a world marked by political polarization. The Common Ground collection was initially launched in early 2020 at the duo's new studio in Hollywood. This launch was intended not just for press or buyers but as a celebration with fellow makers and artisans, fostering in-person connections within the design community in Los Angeles. This initial gathering highlighted the value of direct interaction and shared passion among creatives. #FurnitureDesign #LightingDesign #CuffStudio #VirtualDesignFestival #SightUnseen #InteriorDesign #ContemporaryDesign #ProductLaunch #DesignPhilosophy

Ellen Van Dusen, the designer behind the fashion and homeware line Dusen Dusen, operates from a 600-square-foot studio in Williamsburg, Brooklyn. She moved into this space approximately five years ago, seeking a more interactive and creatively stimulating environment than working from home. Previously, working from home led to feeling isolated and dealing with practical issues like fabric scraps and pins. The studio serves as a dedicated space for her creative endeavors, addressing the challenges she faced in her previous home-based work setup. Van Dusen’s studio is a vibrant display of repetitious shapes, lines, arches, and squiggles, characterized by a bold use of primary colors combined with unexpected hues. The space showcases numerous examples of her brightly colored graphic prints across various products. These include silky dresses, linen jumpsuits, color-blocked jackets, dog beds, patterned throw pillows, graphic bath and beach towels, fruit-printed bed linens, and cozy blankets. Poster boards featuring her most popular prints are also displayed throughout the studio, highlighting the consistent aesthetic of her brand. Despite the abundance of items, the studio maintains an organized chaos. There is a clear sense of order within the colorful environment. For instance, scissors are neatly hung, and books, though seemingly disarranged, are easily located by Van Dusen. She references a book on the principles of geometry, noting its exploration of mathematical patterns, including tessellations—repeating shapes that fit together seamlessly. She observes that some of these geometric principles resemble prints she has independently created, highlighting an intuitive connection to mathematical design. Van Dusen's approach to design is inherently analytical, stemming from her academic background. She has no formal fashion or design training. Instead, at Tufts University, she created her own major, "Psychology of Design," which explored art history through the lens of neuroscience. Her studies focused on how the brain perceives color, culminating in a senior thesis on the use of color by artists Mark Rothko, Morris Louis, and Ellsworth Kelly. Her lifelong fascination with color drives her inquiry into its visual appeal, its role in human perception, and the success of color-centric art. Her interest in art and design began in childhood, influenced by frequent visits to museums in Washington, D.C., and craft projects with her architect parents. This upbringing fostered a diverse range of interests that shaped her aesthetic, which she describes as drawing from many different worlds. As a teenager, Van Dusen began designing her own clothing, using a sewing machine to reconstruct thrift store garments. She often favored bright, unexpected color combinations and graphic patterns, creating her own printed textiles by laboriously sewing patterns onto fabric, as she initially did not know other methods. After moving to New York, Van Dusen received an opportunity to stock her designs in an East Village boutique, prompting her to rapidly learn professional skills like grading, pattern-making, and finishing. She launched Dusen Dusen in 2010, hand-sewing her initial collection from a makeshift workspace in her bedroom. In 2015, she expanded her brand into home decor, including pillows, blankets, bed linens, towels, and pet beds, adapting her clothing prints to different scales for these items. She notes that designing for home decor allows for individual object design, unlike clothing, where fabric patterns are cut from a larger piece. Van Dusen's design process incorporates technology, with her brothers helping her code patterns to generate variations. This method aids in brainstorming and developing new print ideas. However, she emphasizes the importance of unplugging and working with analog methods. Her studio is intentionally divided into a digital workspace and an "analog side" where computers are not allowed, enabling focused drawing and idea generation without digital distractions. Looking ahead, Van Dusen is renovating her home, which is influencing her thinking about larger-scale design. She is also collaborating with a furniture designer and developing upholstery fabric, considering its potential use in both home furnishings and unconventional clothing items. #DusenDusen #EllenVanDusen #BrooklynStudio #ColorPsychology #PatternDesign #HomeDecor #FashionDesign #TextileDesign #CreativeProcess

This interview features Jason Holley and Paul Gulati of London-based Universal Design Studio, known for their bespoke approach to design that prioritizes user experience and sensibility over fleeting styles. Both designers recall early inclinations towards creation; Holley's interest in architecture emerged from a desire to make things, while Gulati's obsession with drawing led him to understand design as a practical endeavor. Holley recounts a childhood anecdote where he convinced his grandfather to tear down a built-in wardrobe to create a more effective bedroom space, much to his parents' dismay. Gulati remembers drawing on old engineering prints, which instilled in him an understanding of design's functional purpose. Holley pursued architecture at Kingston University and Westminster University, drawn to their experimental approaches and interdisciplinary collaboration, particularly under the influence of David Greene of Archigram. Gulati's university studies transformed his perception of space and the built environment. When discussing how they imbue projects with distinctiveness while maintaining their signature, Holley emphasizes understanding social implications and defining experiences that respond to user needs, aiming to uplift spirits. This process, he explains, creates a unique voice for each project that reflects their signature approach. Gulati highlights the importance of embedding hotels within their local creative communities. They cite challenging projects they are particularly proud of. For Holley, the At Six Hotel in Stockholm presented the challenge of integrating a world-class art collection into a luxury hotel within a Brutalist building in a lesser-known area, ultimately succeeding in creating a social space centered on engagement and storytelling. Gulati points to the Ace Hotel in Shoreditch as a rewarding project, their first hotel, which demanded success due to its proximity and the desire to create layered, convivial, and informal spaces. The intention was to deeply integrate the hotel into the local creative community, yielding results that exceeded their expectations. Looking ahead, Holley is enthusiastic about their newly established New York studio, viewing it as a natural progression given their existing projects in the city and the strong collaborative spirit they appreciate there. Both designers share inspirations beyond their immediate field. Holley admires the Dutch artist Constant Nieuwenhuys's architectural project, New Babylon, which explored a future city model that put people at the center of their environments, allowing them to design their own spaces and selves. Gulati continues to be inspired by the work of Alvar Aalto. Their dream projects reflect these inspirations; Holley dreams of realizing New Babylon, while Gulati envisions planning and designing a new city or sector as part of a wider team. He believes collaboration and applying human-centered design principles on a larger, city scale are crucial for promoting wellbeing and democratizing knowledge. When asked about dinner companions, Holley chooses novelist J.G. Ballard, expecting conversations on psychology, time, and technological fetishism. Gulati would choose his late father to share updates and stories. They would dine at Odette in Singapore, a Universal Design Studio project, or an Ottolenghi restaurant in London, respectively. If not designers, Holley would run a bakery specializing in one perfected type of bread, while Gulati would create soundtracks for films or spaces, drawing on his electronic music background. #UniversalDesignStudio #HospitalityDesign #ArchitecturalDesign #InteriorDesign #LuxuryHotels #CreativeProcess #DesignPhilosophy #UserExperience #HotelDesign

The article offers a detailed look into the professional life of Kirsty Vance, Associate Director of Interior Design at I-AM, an experience design agency. Vance's role is characterized by its dynamic nature, covering diverse projects in hospitality, food and drink, and retail banking, with notable clients such as Hedinn Bar & Kitchen in Iceland, KFC, and Sides Restaurant. She emphasizes that there is no typical day in her profession due to the variety of tasks involved, from preparing workshop materials and building 3D models for concept visuals to managing technical details for drawing packs. Her work is significantly influenced by hybrid working arrangements, allowing focused individual work from home and collaborative team sessions at the Shoreditch studio, where designers, directors, and account managers converge to review ideas and create. The scope of her involvement spans the entire design process, ensuring a constant influx of varied challenges. Vance shares her pride in two particular projects. The first is a hotel experience inspired by creator culture, which she found fascinating for its creative brief that encouraged pushing boundaries and incorporating humor through a 'parody' theme. The second is the Hedinn Bar & Kitchen in Reykjavik, Iceland, where the design concept was directly informed by the site's history as a steel factory and the dramatic Icelandic landscape. She describes translating the contrast of 'man versus nature' into organic forms and radiating chainmail drapes, creating a breathtaking dining experience. Visiting the completed space after the global pandemic was a particularly special moment for her. A significant challenge Vance discusses is imposter syndrome, a common struggle among professionals. She highlights that a genuine belief in one's work can cultivate confidence, which clients recognize as passion and expert energy, ultimately adding value to projects. Her early career provided crucial exposure to multidisciplinary studio environments, where she collaborated with graphic designers, gaining insights into creating comprehensive 'brand worlds'—a concept that has since become second nature to her. Vance defines an on-brand space by its ability to match a brand's energy and guide customer experiences subtly. She stresses that effective branding in physical spaces goes beyond overt messaging, focusing instead on sensory details like material textures, ambient sounds, and interaction dynamics, which collectively trigger emotional responses and create memorable narratives. Customer journeys are crucial for identifying potential issues and opportunities for enhancement, and these journeys must be tested against customer missions to ensure not only fulfillment but also enhancement, often aligning with digital touchpoints. I-AM employs various in-house tools for preliminary project stages, including Customer Journey workshops for idea exploration, Brand Key workshops for defining brand positioning and expression, and the application of Brand Archetypes to shape tone of voice and behavior. A core aspect of their methodology is creating detailed customer profiles to inform 'People Inspired Experiences.' When faced with creative blocks, Vance turns to unconventional sources like articles, stories, and folklore for inspiration, finding that unusual references often spark new ideas. Her dream project involves community-based initiatives, as explored in I-AM's 'Life-Led trends report,' aiming to create spaces that are meaningful and positively impact collective well-being. Her advice to her younger self would be to continuously ask questions and share ideas, as discussions are instrumental in leading to innovative outcomes. #InteriorDesign #BrandExperience #CreativeProcess #ExperientialDesign #CustomerJourney #ImposterSyndrome #DesignPhilosophy #CareerAdvice #CommunityProjects

Dana Esser, an interior designer and creative, discusses her business, Dana Michele Design, and its profound impact on the daily lives of occupants in the spaces she designs. Esser highlights the significance of her work in creating therapeutic environments, such as offices for therapists and psychiatrists. These projects involved extensive research into layout, audio and visual privacy, color, texture, and furniture selections to ensure patients feel welcome, calm, comfortable, and safe. The insights gained from designing these therapeutic spaces are now applied to all her projects, ensuring they enhance the well-being of occupants and meet functional needs. Dana Michele Design distinguishes itself through an unwavering commitment to clients, with Esser acting as a 'client advocate.' With eight years of corporate interior design experience, she is now directly involved in every project, ensuring personalized attention and expertise for each client. The design process at Dana Michele Design integrates spatial intelligence with creative intuition, focusing on solving complex puzzles and understanding human needs to create spaces that resonate deeply. This process begins with in-depth client engagement to understand their aspirations and challenges, leading to designs that are not only aesthetically pleasing but also supportive of their present and future needs. Esser emphasizes the importance of professional integrity and personal well-being, stating a rule to only accept projects where her team is respected and valued, especially as a female entrepreneur in a male-dominated industry. Looking ahead, Esser plans to launch a non-profit arm of Dana Michele Design. This initiative will focus on community engagement by partnering with organizations that provide housing and support to vulnerable communities, aiming to create nurturing environments that empower individuals to thrive. The success of Dana Michele Design is attributed to human connection and the transformative power of thoughtful design, driven by a commitment to clients and the wider community. Outside of her professional life, Esser shares recommendations for enjoying Los Angeles with a visiting friend. Her ideal week would include coffee from Primo on Montana Street, brunch at Courtyard Kitchen in Santa Monica, leisurely strolls along the boardwalk, and beach volleyball. Nature excursions would involve hiking the Los Leones trail in Pacific Palisades for panoramic ocean views. Cultural experiences would include visiting the Broad or Hammer museum exhibits. Evenings would feature live entertainment at venues like the Hollywood Bowl or Aviator Nation’s Dreamland in Malibu, or attending a comedy show. Dining options range from Fia in Santa Monica to Osteria Mozza, followed by a night out in West Hollywood or Hollywood. Esser acknowledges several individuals who have significantly influenced her journey. She credits her family for providing essential physical and financial security and unwavering love. Her high school art teacher is recognized for channeling her creativity and introducing her to interior design at 16, a pivotal moment in discovering her passion. Lastly, she highlights the continuous inspiration, encouragement, and love from her closest friends, whom she considers her chosen family, calling them her backbone and biggest cheerleaders, especially when she experiences imposter syndrome. #InteriorDesign #CreativeEntrepreneur #TherapeuticSpaces #ClientAdvocacy #CommunityImpact #FemaleEntrepreneur #NonProfitInitiative #LosAngelesLifestyle #PersonalDevelopment

This article features an interview with Norwegian designer Daniel Rybakken, who discusses the trajectory of his career, from his childhood influences to his current projects in lighting, furniture, and electronics. Rybakken highlights a consistent vision across his work, despite evolving into various design disciplines. He attributes his early exposure to fashion and graphic design, through his parents, to shaping his aesthetic and compositional interests. Rybakken emphasizes that his primary motivation is the act of creation and inventing new products, rather than financial gain, a perspective he believes is supported by Scandinavia's robust social safety net. The interview delves into specific products that have marked significant milestones in his career. The Counterbalance light for Luceplan is identified as his first industrial piece and a particularly memorable design, pioneering the slender, graphical, and geometric silhouette that later became prevalent in lighting. He also discusses his recent forays into furnishings, including the 124° wall-mounted mirrors and the Kiila collection for Finnish manufacturer Artek. Rybakken notes the unique challenges of designing for Artek, given the company's rich heritage with Alvar Aalto, and his approach to balancing contemporary design with modernist principles. The Kiila collection, consisting of functional "domestic helpers" like a bench and coat tree, marked his initial venture into wood as a primary material, where he aimed for a logical and sober aesthetic, distinct from traditional Danish woodcraft. Rybakken also introduces the W172 Bokeh floor and pendant light for Wästberg, explaining his exploration of transparency and 'not transparency' using frosted glass to create a blurred effect, referencing the photographic term "bokeh." He reveals that he is currently engaged in collaborations with multiple furniture companies and a Japanese technology company, exploring new territories beyond his established work in lighting and furniture. The designer shares insights into his decision to live and work in Gothenburg, Sweden, explaining that it offered more opportunities for designers compared to Norway at the beginning of his career, and now serves as a retreat from the competitive design scene in Stockholm. He stresses the importance of avoiding common influences like design blogs to maintain originality in his work, finding inspiration instead through travel, particularly to places like Japan. Rybakken expresses admiration for designers like Dieter Rams and artists like Donald Judd, appreciating their minimalist approaches and the conceptual layers in their work. Finally, he discusses his interest in photography, considering the image—rather than the physical object—as the ultimate result of his design process, echoing his admiration for artist Thomas Demand, who creates stylized, strange images from cardboard models, blurring the lines between reality and artifice. His approach underscores the belief that design is fundamentally about communication, and the image is the primary medium through which this communication occurs, outliving the temporary nature of physical objects or installations. #DanielRybakken #ProductDesign #LightingDesign #FurnitureDesign #ScandinavianDesign #Artek #Luceplan #Wästberg #IndustrialDesign #DesignPhilosophy #InteriorDesign

Meredith Stern, an interior designer and home stylist, defines her legacy through the relationships she cultivates with clients and the personal, transformative spaces she designs for them. Her design philosophy extends beyond aesthetics, focusing on understanding each client's lifestyle, preferences, and aspirations to create spaces that are not only visually appealing but also uniquely tailored to their individual needs. Stern limits the number of large-scale projects she undertakes to ensure each receives her full attention and commitment. Her undergraduate background in psychology significantly influences her design approach, enabling her to create homes that positively impact her clients' mood, productivity, and overall well-being. She emphasizes that the functionality and appearance of a home profoundly affect happiness and quality of life, aiming for her projects to leave a lasting impression of joy, comfort, and inspiration. Meredith Stern Interiors is characterized by its meticulous approach to client understanding, eschewing 'cookie-cutter' designs for personalized spaces that enhance daily life. Stern's psychological background provides a unique insight into how environments shape emotions and well-being, which she integrates into every project. She takes pride in the trust clients place in her to actualize their visions, finding immense reward in transforming homes and the lives within them. The human connections forged during projects are as meaningful to her as the design itself. Starting her own business, Meredith Stern Interiors, was a significant life transition initiated during the COVID-19 pandemic after renovating her own home in Florida. This experience rekindled her passion for design, though the entrepreneurial journey presented challenges such as client acquisition, balancing creativity with business operations, and establishing her brand in a competitive industry. Perseverance, hard work, and the support of her husband, family, and the design community were crucial to her success. She learned the importance of patience, resilience, and maintaining her vision, along with prioritizing quality over quantity by selectively choosing projects to ensure dedicated attention to each client. Stern articulates that Meredith Stern Interiors is more than just about creating beautiful spaces; it is about designing homes that genuinely reflect their inhabitants. Her overarching goal is to craft spaces that are aesthetically pleasing, highly functional, and transformative, ultimately bringing joy, comfort, and daily inspiration to her clients. She views design as a service that profoundly impacts lives by shaping the environments people inhabit. The interview also delves into a personal anecdote, outlining a hypothetical week-long itinerary for a best friend visiting Florida, filled with activities centered around thrifting, vintage hunting, and design inspiration. This includes visits to World Thrift in Lake Worth Beach, various thrift stores in Delray Beach, followed by dinner at The Grove. The itinerary extends to Miami to explore vintage and antique shops on Biscayne Boulevard, particularly mentioning Avra Art, Robert Massello, Cur8ed Studio, Iconic Design Gallery, CastellArts, and Michel Contessa. Meals at Mandolin in the Design District are suggested, alongside exploration of Wynwood's street art and the Design District's architecture. A visit to the Morikami Museum and Japanese Gardens in Boca Raton is also included, highlighting its serene beauty and intentional design. Stern attributes much of her success and confidence to her husband, who has been her biggest supporter and cheerleader since the inception of Meredith Stern Interiors, providing unwavering belief and encouragement throughout the challenges and triumphs of entrepreneurship. #InteriorDesign #HomeStyling #MeredithStern #ClientRelationships #PsychologyInDesign #Entrepreneurship #FloridaDesign #PersonalizedSpaces

Kevin Jones, a former NFL running back, has transitioned from a successful career in professional football to a prominent role in industrial design. After retiring from the NFL in 2009, Jones pursued a bachelor's degree in industrial design and an MBA at Virginia Tech, subsequently founding his own design firm, Joba Studio, in 2015. His journey into design was unexpected, stemming from a desire to finish his degree and a newfound interest in the creative aspects of product development, which he discovered through his interactions with sports brands like Reebok, Under Armor, and Red Bull during his athletic career. Initially exploring fashion, he was guided towards industrial design, finding a deep connection with its diverse applications, from prosthetic legs to architectural models. During his time at Virginia Tech, Jones undertook an internship with USM, a Swiss furniture manufacturer known for its modular Haller shelving system. This experience provided him with a comprehensive understanding of USM's manufacturing processes, design philosophy, and the iconic Haller system's components, including tubes, ball joints, and panels. The internship exposed him to the company's ethos of maintaining an engineering-focused team while collaborating with external designers to foster innovation. This period was pivotal, culminating in Jones using the USM system as the subject for his senior thesis project. Years later, Jones, through Joba Studio, collaborated with USM and French designer Marc Venot to introduce a significant update to the Haller shelving system, unveiled at Salone del Mobile in Milan. This new iteration, called the Soft Panel system, aims to enhance the system's modularity, human connection, and adaptability for home environments. The core innovation lies in the introduction of felted, two-tone, reversible panels that attach magnetically to the existing Haller framework. This magnetic attachment eliminates the need for specialized tools, allowing users to easily customize, rearrange, and refresh their shelving units by simply flipping or sliding the panels. Jones emphasized that the update was driven by a desire to make the Haller system more user-friendly and less intimidating to modify post-purchase. The design philosophy behind the Soft Panel system centered on making the beloved utilitarian shelving feel "more connected, more human, and more modular." Addressing feedback that the original metal system could appear "cold" or overly industrial, the felted panels introduce a softer aesthetic, making the furniture more suitable for residential settings while still integrating seamlessly with existing metal components. The timing of this release coincided with USM’s 60th anniversary, marking a strategic move to offer new product variations that USM's extensive network of partners had been seeking. The collaboration embodies a "Connected By Our Dreams" theme, signifying a realization of design aspirations for Jones, USM, and its customers, ensuring the Haller system continues to evolve while honoring its foundational principles of modularity and timeless design. #KevinJones #JobaStudio #USMHaller #ModularShelving #IndustrialDesign #FurnitureDesign #ProductInnovation #SaloneDelMobile #DesignCollaboration

Lisa Davis, an interior designer known for her work on a Back Bay Mansion featured in Boston Home magazine, shares insights into her career, design philosophy, and a new virtual design program. Davis transitioned into interior design after a career in fashion/retail merchandising, taking courses at RISD in color theory, drafting, and architectural history. She highlights the Boston Design Center as an invaluable resource for its comprehensive offerings, from fabrics to floor coverings. Other favorite vendors include Donghia for modern furnishings, Schumacher for transitional fabrics and wall coverings, and Stark Carpet and Steven King for diverse floor coverings. Davis considers color an indispensable design element, emphasizing its individual impact and using clients' preferred colors as a starting point for projects. Her designs are deeply inspired by travel, which provides visual experiences that build her design consciousness. She recounts a recent trip to Iceland, noting the raw, dark, and textured beauty of the landscape and the ethereal quality of its light as influential. Davis describes her personal aesthetic as a blend of old and new, worn and fresh, and smooth and textured, with a subtle and classic use of textures and patterns. She advises against mixing too many animal prints in one room, stating "only one species per room." She introduces her 'Design by Post' virtual interior design service, aimed at making interior design more accessible. This program allows clients to provide dimensions and design concepts virtually, enabling Davis to assist with floor plans, color schemes, furniture and fabric selections, window treatment designs, and floor and wall coverings. Clients can also order trade-only fabric samples through her. Davis acknowledges the guarded nature of designers when it comes to sharing sources but reveals her go-to custom work specialists. These include Franks Custom Draperies for soft treatments, PHD (Paperhanging and Design) with Greg Kahler for wall covering installations, Partners in Design for re-upholstery and custom upholstery, Art Applications for custom builds and painting, and Boston Binding for carpeting installation and area rug binding. For DIY decorators, Davis advocates for a mindful approach: "choose well, not often." She encourages investing in quality and craftsmanship over time, accumulating a collection of lasting pieces rather than frequently replacing low-quality items. Her preferred projects are those that start from the initial structural elements, like floors, kitchens, and bathrooms, and extend to the final decorative details, such as window treatment trim. This allows her to fully engage her design skills across all aspects of a space, including color, paint, wallpaper, living space planning, electronics placement, lighting control, furniture, upholstery, and accessories. Currently, Davis is working on an office space on Boylston Street, where budget limitations have spurred creative solutions. She expresses impressive satisfaction with the versatility and appearance of IKEA cabinetry, specifically recommending their Besta wall units for various spaces like offices, media rooms, wardrobes, and dressing rooms. This project demonstrates her ability to deliver high-quality design even with cost constraints, leveraging accessible options effectively. #InteriorDesign #LisaDavis #DesignPhilosophy #VirtualDesign #CustomWork #HomeDecor #BostonDesign #DIYDesign #TravelInspiration