'I WANT IT WOW': Antolini's technology meets Terzini's art

Italian artist Edoardo Tresoldi has created a new permanent public installation named _Opera_ on the Lungomare Falcomatà seafront in Reggio Calabria, Italy. This historic promenade is renowned as ‘The most beautiful kilometre in Italy’ and offers extensive views across the Strait of Messina and the Sicilian coasts. The _Opera_ installation, commissioned two years ago by the local Municipality and the Metropolitan City, features 46 towering columns crafted from Tresoldi’s signature material: wire mesh, which he refers to as ‘Absent Matter’. The artist was deeply inspired by the contemplative quality of the Strait of Messina, which he considers the city's true eternal 'monument', aiming to celebrate this natural feature through his work. The columns, each reaching up to eight metres in height, are designed to be spectral and translucent, possessing a ‘shy and delicate physicality’ that allows them to frame the constantly changing backdrop of the seascape. _Opera_ is envisioned as a tribute to the fundamental archetypes of Western cultural heritage and is expected to become a significant new landmark for the region. Positioned within the 2,500 sq m via Giunchi park, the installation is illuminated at night, fostering a visual dialogue between the organic forms of the environment and the structured rigidity of the architectural columns. The interplay between Tresoldi’s ‘Absent Matter’, the dynamic environmental movements, and the traditional language of classical architecture imbues _Opera_ with both a sense of permanence and ephemerality. The artistic arrangement of _Opera_ deliberately contrasts with the existing layout of the surrounding park, creating a tension that Tresoldi likens to a musical counterpoint. In this analogy, each architectural system operates independently yet coexists in harmony, forming a melodic and rhythmic balance within the space. Through _Opera_, Tresoldi challenges viewers to engage with contradictions, exploring themes such as reality versus representation, presence versus absence, and static versus kinetic energy. He notes that the installation serves to monumentalise the connection between individuals and their environment, promoting simple yet profound actions like observation, listening, and contemplation. Tresoldi’s artistic journey includes several notable works that showcase his distinctive use of wire mesh. In 2013, he created _Il Collezionista di Venti (The Winds Collector)_ in Pizzo Calabro, depicting a ghost-like human figure gazing out to sea. In 2016, his _Basilica di Siponto_ earned him a Gold Medal for Italian Architecture for its resurrection of a 12th-century basilica using wire mesh, blending contemporary art with archaeological themes. Another significant project was _Etherea_ for the 2018 Coachella Valley Music and Arts Festival, a temporary installation featuring three monumental wire mesh buildings inspired by neoclassical and baroque architecture. These projects highlight Tresoldi’s unique ability to revitalise classical architectural forms and create new narratives, demonstrating the expansive potential of his chosen medium. Looking ahead, Tresoldi has launched two new creative ventures: ‘Tresoldi Studio’, a design studio that draws inspiration from his artistic language, and ‘Studio Studio Studio’, an interdisciplinary project dedicated to fostering and supporting contemporary art initiatives. These new undertakings reflect his ongoing commitment to exploring and expanding the boundaries of art and design. #EdoardoTresoldi #PublicArt #InstallationArt #WireMeshSculpture #ReggioCalabria #ItalianArt #AbsentMatter #ArtAndArchitecture #CulturalHeritage

The article reviews Tatiana Trouvé's exhibition, "The Strange Life of Things," at the Palazzo Grassi in Venice. Trouvé, an Italian-born artist residing in Paris, is known for transforming everyday objects and overlooked elements of reality into profound works of art. Her exhibition showcases a unique approach to art-making, where detritus and architectural components are recontextualized and re-materialized to challenge perceptions of value and beauty. The core of Trouvé's practice involves starting with aspects of reality typically not considered high in value, beauty, or importance, such as urban debris, discarded items, or mundane architectural elements. She collects these materials, which can include pieces of trash, leftover implements, piles of clothes, pieces of string, and even manhole covers. Instead of conventional artistic interpretations like representation or abstraction, Trouvé transforms these items by altering their site or material. For instance, dirty detritus is recast in bronze, elevating its status to that of sculpture. The original textures and forms of these materials are preserved in the bronze finish, imbuing the finished compositions with a monolithic and monumental quality. Beyond transforming found objects, Trouvé also engages with raw plaster, creating three-dimensional, expressive landscapes from what would typically be a smooth background. Her plaster works monumentalize the ordinary, turning simple surfaces into evocative art pieces through swirls and textures. This technique highlights her ability to flip traditional artistic hierarchies, making the background an active and central element of a composition. This transformative process demonstrates her unique vision in finding expressiveness in unexpected materials. The exhibition extends beyond object transformation to include spatial illusions and deconstructions of the gallery environment. Trouvé manipulates space using elements like angled mirrors and miniature doors. An angled mirror, for example, guides the viewer's eye to a smaller glass plane, creating an optical illusion that distorts perception. A child-sized door, complete with scaled-down hardware, invites contemplation of an artificial and unsettling space, questioning the reality of what lies beyond. These spatial interventions engage the viewer in a direct and experiential way, making them active participants in the artwork. Trouvé also critically engages with the architecture of the Palazzo Grassi itself. She deconstructs the gallery walls by removing their finished top layers, exposing the underlying construction—the slapdash paint or assembly of drywall. This act transforms the hidden, unfinished aspects of the building into intentional artistic compositions. Rather than adding or building up, she incises and reveals what is already present, making the inherent structure of the building a part of her artistic statement. This process highlights the often-overlooked history and materiality of architectural spaces. Another significant aspect of her work involves the poetic manipulation of light and material, such as stretching burlap over windows and walls in the upstairs gallery. This technique reduces light and dark, creating an inner façade that oscillates between scrim and object. By painting the surrounding walls and floor in a similar brown hue, she blurs edges and further integrates the fabric into the space. She also applies broad strokes of white paint to the burlap, enhancing its interplay with light and shadow. In some instances, she deliberately pries apart the fabric, creating a "zipper" effect that adds another layer of intervention. The exhibition's strength lies in its ability to inspire wonder through seemingly simple means and to reveal beauty in the 'abject'—items or elements typically deemed valueless or undesirable. #TatianaTrouve #PalazzoGrassi #ArtExhibitions #InstallationArt #MaterialTransformation #FoundObjects #SpatialIllusion #ArchitecturalDeconstruction #VeniceArt

This blog post showcases the intriguing work of Felice Varini, a Swiss-born artist renowned for his unique optical art installations. Varini's artistic approach involves creating geometric patterns that appear to float in space when viewed from a very specific vantage point. These ephemeral designs are often applied directly to architectural surfaces, both indoors and outdoors, transforming the perception of the environment. The article highlights that Varini uses a light projector to precisely plot these figures onto walls and other structures before meticulously painting or adhering them. The magic of his work lies in its dependence on the viewer's position; from most angles, the patterns appear as fragmented, illogical scribbles or disjointed shapes across various surfaces. However, upon finding the designated viewpoint, these disparate elements coalesce into perfect geometric forms, such as circles, squares, or lines, creating a powerful illusion of three-dimensionality. Several examples of Varini's work are presented, illustrating the diversity of his installations and the impact they have on their surroundings. One instance described involves an art piece in Cardiff Bay, where seemingly random markings on a structure resolve into a coherent design from a particular perspective. Another example shows abstract lines and shapes within a museum setting, which, from afar, form a unified artistic statement. The article also mentions a prominent red line running around a museum, suggesting how Varini integrates his art with existing architecture to alter spatial perception. Further examples include patterns applied to a piano, creating a fringed effect, and other seemingly chaotic lines that resolve into defined geometric shapes. The art is not confined to indoor spaces; the blog notes its appearance in townscapes, where large-scale installations interact with urban environments. The beauty of the reflections of these patterns on floors is also highlighted, adding another layer to the visual experience. The diverse illustrations demonstrate how these artworks, initially resembling mere sticky tape or random markings from a casual glance, reveal their intricate design and purpose when viewed from the correct angle. The blog concludes by encouraging readers to explore more of Felice Varini's extensive portfolio on his official website, providing links for further immersion into his captivating world of optical illusions and architectural interventions. #FeliceVarini #OpticalArt #GeometricPatterns #InstallationArt #ArchitecturalArt #Illusion #PublicArt #VisualPerception #ContemporaryArt

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

Willo Perron, a Los Angeles-based French-Canadian creative director and cultural polymath, launched an immersive installation called 'Checkered Future: Frequency Manifest' for the Vans footwear brand at the Triennale Milano during Milan Design Week 2025. This multisensory artwork served as a physical representation of invisible elements such as frequencies, waves, and vibrations, which inspired Vans' new Old Skool 36 FM shoe. Perron collaborated with musician Tim Hecker on the project. Perron's diverse background includes designing runway shows for Chanel and stage sets for artists like Rihanna, Drake, and Lady Gaga. He also co-founded the multidisciplinary studio Perron-Roettinger with Brian Roettinger. The installation aimed to explore the visual manifestation of sound frequencies and the architectural implications of different sound qualities. Perron, who grew up attending raves and warehouse parties in Montreal during the 1990s, posed questions such as 'In their purest elemental form, what do sound frequencies look like?' and 'If colour has an emotion, does frequency have an architecture?' He pondered whether a bright, tall, and narrow room would be associated with high-frequency sound, while a wider room with a taller ceiling and more floor space might correlate with bass and saturation. He also contemplated the concept of 'scoring a space,' suggesting that architects and designers should consider composing emotional cues and moods for architecture using music and sound, in addition to traditional elements like building, lighting, and decorating. A central feature of 'Checkered Future: Frequency Manifest' was a sloped, grid-work embankment designed for visitors to recline and observe the installation's smoke and mirrors spectacle. This ramped structure drew inspiration from Perron's memories of Norman Engleback's Southbank in London, a subterranean freeriding space that has been popular with skateboarders since the 1970s. Perron noted that the installation's grid was indeed 'skate-able,' connecting it to the skateboarding culture often associated with Vans. The Old Skool 36 FM sneaker, which the installation launched, features a modern take on Vans’ iconic waffle pattern. Its design incorporates a compartmentalized cupsole construction that mimics modular waveforms. The shoe is further enhanced with an engineered-knit upper, and a tongue and side stripe made from 3D-injected TPU. These design elements replicate the aesthetic of Vans' classic 'Old Skool' sneakers, which have long been a staple in footwear. The collaboration highlights a fusion of design, music, and fashion, brought to life through an innovative and immersive experience at one of the world's leading design events. #WilloPerron #Vans #MilanDesignWeek #TriennaleMilano #FashionFootwear #SoundArt #ImmersiveInstallation #DesignInnovation #CreativeDirection

Ranieri's New Lava Range introduces a novel application and evolution of the glazed aesthetic within the design world, leveraging volcanic stone as its core material. The Campania-based company's innovative approach highlights the material's unique and varied composition through diverse cutting styles, glazes, effects, finishes, and colorings. Each piece of lava stone is a solidified expression of geological formation, characterized by surfaces rich in minerals, apertures, metallic shards, and matte fragments, offering inherent variations in shades, colors, textures, and mineral compositions that make it inherently distinct from other materials. Lava stone's versatility and strength provide a broader range of technical possibilities compared to traditional materials like marble and ceramic. This makes it suitable for a wide array of applications in both interior and outdoor design, including tiles, wall claddings, bar and kitchen countertops, outdoor furniture, bathtubs, sinks, reception desks, spa and wellness areas, and swimming pools, given its natural heat-retention properties. Ranieri's focus on enhancing the stone's inherent qualities marks a significant shift in its utilization, moving beyond ancient applications to contemporary design. The design studio's pioneering treatment of lava stone honors and amplifies its natural state, building upon the rich tradition of craftsmanship in the Campania region. By emphasizing the stone's heterogeneity and rich surfaces, Ranieri has developed a new aesthetic that renders lava an innovative and multipurpose design material. Originating from extreme heat, lava stone uniquely endures the high temperatures required for glaze application, enabling vibrant and diverse color effects. Ranieri's cutting techniques allow for the creation of sculptural, three-dimensional tiles and elements that can be thinly glazed. The brand offers a variety of glaze options, which, in addition to the stone's natural chromatic peculiarities, are transformative. These options include the 'Bare' variant, where the stone is carved but unmanipulated; translucent colorings; and tinted, smooth, and deep colorings. Tinted surfaces apply a sheer veil of color, accentuating the natural scintillations and clefts of the lava. Smooth colorings result in a highly polished, enameled finish with dynamic reflections and varied chromatic intensity, while deep colorings involve dense enamel application, achieving solid, profound, and intense hues unique to lava stone. By challenging conventional perceptions of lava stone—whether used in its raw form or completely covered by enamel—Ranieri’s methodologies introduce new design philosophies. These trailblazing techniques deliberately accentuate the nuances of the magma, recontextualizing and rejuvenating the material for contemporary design applications. #Ranieri #NewLavaRange #VolcanicStone #GlazedAesthetic #InteriorDesign #OutdoorDesign #MaterialInnovation #ArchitecturalMaterials #ItalianDesign

Alessi is commemorating its centenary by reissuing a collection of iconic and playful pieces, featuring designs by Ettore Sottsass, Andrea Branzi, Kuno Prey, and Bertolani Becchelli Associati. The year-long celebration, spanning from May 2021 to April 2022, highlights Alessi's commitment to industrial craftsmanship and its rich design heritage. The initial phase of the celebration focuses on the historical 'Twergi' collection, characterized by special packaging that includes Alessi’s centenary logo and a small elf designed in 1989 by graphic designer Milton Glaser. The 'Twergi' collection, first introduced in 1989, was conceived to revive the traditional craft of wood turning prevalent in the Strona Valley, near Lake Orta, where Alessi's factory is located. This initiative underscores the company's strong connection to its local environment and traditions. The name 'Twergi' itself, meaning 'elf,' is derived from the local dialect spoken in the surrounding valleys. The reissued collection prominently features some of Ettore Sottsass's most notable turned wood projects from the 1980s, alongside a selection of objects designed in the 1990s by Andrea Branzi, Kuno Prey, and Bertolani Becchelli Associati. Ettore Sottsass's contributions to the 'Twergi' collection include various kitchen and table items such as jars, a corkscrew, a table centerpiece, and salt, pepper, and spice grinders. These pieces are distinguished by Sottsass's characteristic use of colorful, overlapping shapes, imbued with a playful aesthetic. The reissued items are available in their original color scheme of red, yellow, and black, as well as two new palettes: pink, yellow, and red; and white, black, and yellow. The table centerpiece, for instance, comes in two versions: one with a yellow base, mirroring the original design, and another with an orange base, a color frequently featured in Sottsass's work. Beyond Sottsass's designs, the collection also showcases other approaches to turned wood. Andrea Branzi's 'Ercolino' bottle opener exemplifies his philosophy regarding wood as a medium for creating objects that foster not just functional but also psychological, symbolic, and poetic relationships. Kuno Prey's photo frame offers a simple, functional, and distinctive design, reflecting his ethical and ecological principles. Additionally, Bortolani Becchelli Associati's photo frame is noted for its elegant minimalism, designed to allow the photograph to be the primary focus. Throughout the celebration year, Alessi plans to introduce a new project each month, drawing from its extensive museum archives. Each selected project is chosen for its ability to embody one of the twelve core values that have shaped Alessi’s identity and work over its century-long history. The 'Alessi Values Collection' will feature designs from a diverse group of renowned designers, including Richard Sapper, Achille Castiglioni, Alessandro Mendini, Riccardo Dalisi, Aldo Rossi, Michael Graves, Philippe Starck, Enzo Mari, Stefano Giovannoni, CSA – Susan Cohn, and Snøhetta, in addition to the designers from the 'Twergi' collection. #AlessiCentenary #EttoreSottsass #AndreaBranzi #KunoPrey #TwergiCollection #ItalianDesign #DesignHistory #HomewareDesign #Craftsmanship

teamLab, an international art collective, has partnered with TikTok to launch an innovative immersive art and sauna experience in Tokyo called 'TikTok teamLab Reconnect.' This unique exhibition, open until August 31, aims to allow visitors to experience art in an enhanced mental state, referred to as a 'sauna trance.' This state is achieved by cycling through saunas, cold showers, and periods of rest, which are believed to sharpen the senses and clarify the mind, enabling a deeper appreciation of the art. The concept draws inspiration from ancient Japanese traditions, blending this historical pastime with digital and immersive art. The exhibition features various saunas, each equipped with colorful lighting and calming scents, followed by a cold bathing area. After this cycle, visitors enter one of five immersive art installations. The experience encourages repeating this process before viewing each new art piece. The installations showcase several of teamLab’s signature boundary-defying works, including pieces from their new project, 'Supernature Phenomena.' Notable installations include 'Levitation,' 'Ephemeral Solidified Light,' 'Proliferating Immense Life in the Rain,' and 'Step into the Light Circle.' These pieces incorporate elements such as levitating orbs that pulsate with energy and color, and floating crystals of solidified light, creating an otherworldly environment. The exhibition challenges conventional notions of art viewing by integrating a physical and mental conditioning process. In collaboration with TikTok, teamLab also developed an augmented reality (AR) piece called 'Every Life Survives in Fluctuating Space,' which can be experienced remotely through the TikTok app. This extends the accessibility of the art beyond the physical exhibition space. The entire experience of 'TikTok teamLab Reconnect' is designed to be unconventional, pushing the boundaries of how art is perceived and interacted with. Further details about the exhibition are available on teamLab's official website. #TeamLab #ImmersiveArt #SaunaExperience #DigitalArt #ArtInstallation #TokyoExhibition #TikTokCollaboration #SupernaturePhenomena

Swarovski has revealed the second installment of its Designers of the Future initiative at Design Miami/Basel, showcasing three innovative crystal-related projects. This year's award recipients are Anjali Srinivasan, Studio Brynjar & Veronika, and Yuri Suzuki, who have spent the past six months developing new crystal-based works, following their announcement as winners earlier this year in Paris. Each designer or studio had the opportunity to immerse themselves in Swarovski's crystal world at the company's headquarters in Wattens, Austria, leveraging Swarovski's expertise and materials to bring their visions to life. Glass artist Anjali Srinivasan's project is an installation inspired by human gestures. She seamlessly integrated her glass artistry with Swarovski’s crystal craftsmanship, specifically utilizing the company’s 'Touch Crystal' technology. This innovative feature allows the crystal to respond to human touch with light, blurring the lines between a solid object and interactive visual effects. Srinivasan's installation is a monumental crystal wave, standing six meters tall and supported by a mesh structure. It incorporates 3,000 Swarovski crystals and 5,000 pieces of glass, which she produced at her studio in Dubai. This project aims to explore the intersection of optical and physical phenomena, pushing the boundaries of human-centric design. Studio Brynjar & Veronika, an Icelandic duo, contributed a dynamic interpretation of crystal with their installation titled 'Currents.' This piece explores the interaction between light and crystal, bringing the material into a domestic setting through three distinct elements. They re-envision common household items, such as a standard window blind, by incorporating prisms that project rainbow-colored light when illuminated. Additionally, their crystal tiles are designed to diffuse a liquid reflection of their surroundings when they come into contact with water. The third component of their installation features a collection of crystal sticks, designed to highlight the transparency and light-refracting qualities of the gems, showcasing new uses and applications for crystal in everyday environments. Japanese sound artist Yuri Suzuki approached crystal from an acoustic perspective, blending his sonic practice with Swarovski's signature material. His research delved into how crystal vibrations can be translated into sound. The result is a mechanical, interactive 'crystallophone' comprising 16 brass mechanical ‘notes,’ each fitted with a handmade crystal form that represents tones ranging from C1 to D3. Suzuki collaborated closely with engineers at Swarovski’s Wattens facility to execute this complex project, which stands as a testament to the fusion of art and technology. Nadja Swarovski highlighted the excitement of seeing a diverse group of emerging talents from around the globe explore their visions of future living through these beautiful and thought-provoking crystal works. The collective installations demonstrate Swarovski’s ongoing commitment to innovation and its remarkable capacity for experimentation with its unique material. The company's continued engagement with initiatives like Designers of the Future, alongside its ventures into fashion, home collections, large-scale installations, and micro-crystal creations, underscores its dedication to research and development, constantly challenging perceived limitations of crystal as a medium. #Swarovski #DesignersOfTheFuture #CrystalArt #DesignMiamiBasel #AnjaliSrinivasan #StudioBrynjarVeronika #YuriSuzuki #InteractiveDesign #MaterialInnovation

Mark Mitchell's 'Sunbeam Side Table' is a conceptual piece of furniture designed to replicate the visual phenomenon of sunbeams radiating through clouds, despite the parallel nature of actual sunlight. This design draws inspiration from the optical illusion that makes distant sun rays appear to converge from a single point in the sky. The product, crafted from Botticino marble in collaboration with Serafini, is intended to evoke the sense of mystery and wonder associated with this natural occurrence. The side table features intricate carvings that allow its spruce wood surface to interlock with the marble base without the need for adhesives, demonstrating a blend of aesthetic appeal and thoughtful construction. The design's functionality is highlighted by its ability to split light from an overhead spotlight through its wooden fins, projecting a sunbeam pattern onto the angled marble surface below. This interaction of light and material is central to the table's purpose, creating a dynamic visual experience for the user. Mitchell emphasizes that the design goes beyond mere aesthetics, aiming to tell a story and enhance user experience through its narrative qualities. The 'Sunbeam Side Table' is described as a totemic product, reflecting the designer's intent to capture and share moments of natural beauty within a functional object. The choice of Botticino marble for its fabrication underscores the product's luxurious and refined character, while the detailed craftsmanship by Serafini artisans ensures its high quality. The design process is deeply influenced by Mitchell's characteristic approach, which integrates poetry, wanderlust, and romance into his creations, whether they are products, spaces, or experiences. This side table is a testament to his ability to translate abstract natural phenomena into tangible, artful furniture. The piece serves not only as a functional item but also as a conversation starter, inviting contemplation on the interplay between nature, perception, and design. #FurnitureDesign #ConceptDesign #InnovationDesign #InteriorDesign #MarkMitchell #BotticinoMarble #Serafini #LightInteraction #EtherealMoments

The Worcester Art Museum's exhibition, "Radiance Rediscovered: Stained Glass by Tiffany and La Farge," explores the works of two prominent Gilded Age artists, Louis Comfort Tiffany and John La Farge, focusing on their contributions to stained glass. The exhibition prominently features several windows commissioned for the Mount Vernon Congregational Church in Boston, which moved to a new location in the Back Bay in the 1890s. The church engaged Tiffany Glass and Decoration Company for its Byzantine-style interior and John La Farge for several stained glass windows. La Farge had previously established his reputation with his interior design for Trinity Church in the 1870s. The featured windows from the Mount Vernon Congregational Church were acquired by the museum after the church closed in 1975. They remained in storage for decades until conservation efforts began in 2017, taking over a year to meticulously restore them. Curated by T. Amanda Lett, a PhD candidate, the exhibition showcases these newly conserved pieces, presenting them in their original brilliance. The show highlights the rivalry between Tiffany and La Farge, both of whom independently patented the use of opalescent glass between 1879 and 1881, a material that became highly fashionable in stained glass design. The exhibition contrasts Tiffany Company's "Angel of the Resurrection" windows, which are attributed to Louis Comfort Tiffany but likely designed by Frederick Wilson, with La Farge's "The Pool at Bethesda" windows. Tiffany's works are characterized by a sweet, lambent quality, depicting an angel in opalescent robes emerging from lilies, framed by Corinthian columns. In contrast, La Farge's "The Pool at Bethesda" windows, illustrating a scene from the Gospel of Saint John, captivate with their dynamic composition and narrative depth. La Farge uses various types of glass to tell the story of an ailing woman and a man awaiting healing, with an angel disturbing the water. He employs irregular shards of colored glass for garments and opalescent glass to give solidity to architectural elements. The artist also ingeniously uses a green canopy to connect the two panels, with the angel's slightly awkward, human-like pose adding to the piece's character. The mirror-like quality of the water below the angel serves as a metaphor for self and spirit, and the depiction of the scene at a critical narrative moment before healing imbues the work with hope, possibly reflecting La Farge's own experiences with ill health. The exhibition further includes additional works to provide a broader context, such as watercolors and a smaller, highly detailed window by La Farge depicting a peacock, created after his trip to Japan and inspired by Asian aesthetics. This particular piece, a technical marvel, incorporates layered plates, unfired paint, colored putties, fused glass, and mosaic elements. The conservation of this peacock window involved distinguishing between intentional cracks and natural degradations over time. While the exhibition is limited in its scope for a comprehensive comparison, especially given that Tiffany himself didn't design the featured "Angel of the Resurrection" windows, it effectively reasserts John La Farge's artistic brilliance and his significant, albeit sometimes overshadowed, contributions to stained glass art. #ArtReview #StainedGlass #TiffanyGlass #JohnLaFarge #WorcesterArtMuseum #GildedAgeArt #ArtConservation #ReligiousArt #OpalescentGlass

Idarica Gazzoni, an Italian artist turned textile designer, began her journey into decorative arts two decades ago while transforming an 18th-century Milanese palace apartment into a family home. Faced with challenging, stiff Lombard furniture inherited by her then-husband, Gazzoni opted to redirect attention to the walls and ceilings, embellishing them with fantastical trompe l’oeil scenes. Her living room was reimagined as a Napoleonic military headquarters, complete with campfires and tiny soldiers. The sitting room took on the ambiance of an exotic boudoir with a ceiling painted in Cintamani symbols, while the bedroom was transformed into a Scottish woodland, featuring shimmering foliage in the mist. Her unique approach quickly garnered attention, leading to numerous commissions worldwide. These projects included a Mondrian-inspired room in an 18th-century country villa in Parma, a Pierre Loti-inspired Turkish salon in Tel Aviv, a bedroom in Venice reminiscent of a Fabergé box, and a wine bar in Florence adorned with floor-to-ceiling decorative motifs based on vine leaves. Three years prior to the article's publication, Gazzoni decided to pivot from large-scale wall painting to designing her own line of printed fabrics. She established an atelier in her home and named her fabric company Arjumand, a tribute to the Mughal empress whose story of deep love inspired the Taj Mahal. Gazzoni explains that the empress's story resonated with her during a personal period of transition, helping her reconnect with the idea of romance. Arjumand's legendary travels also influenced Gazzoni's creative process, inspiring distinct collections. Her Russia Collection draws from the 17th-century palaces of the czars, while the China Collection is a deep dive into the vibrant culture and colors of southern China's Miao people. The Japan Blue Collection emerged from her exploration of Japan's late-19th-century fascination with indigo blue. Beyond her fabric designs, Gazzoni continues to undertake interior decorating projects globally. She recently completed the interior design for Liza, a prominent restaurant in Beirut, in collaboration with decorator Maria Ousseimi. She also decorated a house in Patmos, Greece, incorporating fabrics from her latest collection. Despite her focus on textiles, Gazzoni admits to a continued inclination for painting walls, even finding herself back on scaffolding for these projects. Her fabrics are available through harbingerla.com. #IdaricaGazzoni #TextileDesign #PatternDesign #InteriorDesign #MilanPalace #TrompeLoeil #ArjumandFabrics #GlobalInspirations #HomeDecoration

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

During Milan Design Week 2023, Giorgio Armani opened his 17th-century Palazzo Orsini HQ to the public for the first time, showcasing his latest home collection. While the event featured a debut outdoor collection and new furniture pieces in frescoed rooms, a particular highlight was the smaller accessories, specifically the 'Tale' Tarot Cards by Armani Casa. This whimsical deck of 78 playing cards, which can function as both a traditional Tarot set and a standard playing card deck, integrates elements of Armani's fashion and home collections. The Major Arcana cards within the 'Tale' Tarot deck, such as the Juggler, Moon, or Hangman, as well as the various Kings and Queens, are distinctive. These cards feature photographs of models dressed in Armani clothing, artfully set against backdrops that include Armani Casa furniture, fabrics, wallpapers, and various accessories, creating a fusion of cartomancy and high fashion. An example is the Tower card, often associated with themes of danger, sudden change, and liberation. It depicts the silhouette of an 'Erika' centrepiece, a leaf-shaped design, and illustrates a couple precariously positioned, adorned in shimmering, tailored outfits from Armani's S/S 2023 collections, symbolizing the card's complex meanings. Beyond the Major Arcana, the standard suites of the deck adhere to traditional Italian playing card styles. Instead of the familiar clubs, spades, hearts, and diamonds, these cards display swords, batons, cups, and coins, maintaining a historical authenticity alongside the modern Armani aesthetic. The 'Tale' Tarot deck is meticulously designed with attention to detail, featuring a profile edge adorned with a repeating golden Giorgio Armani logo pattern. The entire deck is housed in an elegant box with a moiré design, a finishing technique frequently utilized in both Giorgio Armani fashion creations and Armani Casa collections. This choice of packaging further emphasizes the integration of the deck into the broader Armani brand identity, offering a sophisticated and luxurious touch to a centuries-old practice. The deck represents a unique intersection of traditional cartomancy with contemporary design, reflecting Armani's distinctive style across different mediums. #GiorgioArmani #ArmaniCasa #TarotCards #MilanDesignWeek #HomeAccessories #ItalianDesign #FashionDesign #InteriorDesign

Antolini, the Italian stone manufacturer established in Verona in 1956, showcased its Cristallo Vitrum “WOW” during Milan Design Week. This extraordinary Natural Quartz, part of the company’s Exclusive Collection, creates a captivating showroom experience, evoking the ethereal atmosphere of glacial ice with its crystalline appearance and hypnotic amber veins. The material is highlighted through various applications, including a monolithic bathtub, a reinterpreted kitchen, and an updated tableware collection. The centerpiece of the showroom is a large bathtub carved from a single block of Cristallo Vitrum “WOW”. This sculptural piece, meticulously hand-polished, demonstrates Antolini’s long-standing craftsmanship and unique expertise. The inherent translucency of the stone, coupled with strategic lighting, allows the bathtub to transform visually throughout the day, making it an ideal addition for luxury spaces. Further showcasing the material’s adaptability, Cristallo Vitrum “WOW” is featured in a fresh interpretation of the Terra kitchen, originally designed by Claudio Silvestrin for MinottiCucine in 2004. This updated version celebrates the kitchen’s two-decade milestone, offering a visually distinctive and reflective encounter. The remarkable translucency of the natural quartz and careful engineering of the furniture structure facilitate an unhindered flow of light, creating an immersive aesthetic. Antolini’s Exclusive Collection, from which Cristallo Vitrum “WOW” originates, comprises highly sought-after stone slabs sourced from limited production quarries globally. This collection celebrates the diverse hues found in nature, ranging from the lush green of Irish Green to the striking Elegant Brown Quartzite, embodying the brand's perfected interpretation of natural designs. Completing the exhibition is the updated Tableware Collection, designed by Alessandro La Spada. Originally presented at a previous Milan Design Week in Irish Green, the collection now features Cristallo Vitrum “WOW” combined with satin-finished gold metal accents. This new version further highlights the versatility and aesthetic appeal of the natural quartz. Cristallo Vitrum “WOW” is a particularly hard natural stone, recognized for its durability and resistance to stains and scratches. Its unique structure and surface variations, including transparent sections, allow for backlighting, enhancing its visual impact. However, its exceptional hardness requires specialized handling and processing, necessitating diamond-tipped tools and expert technical skills during its transformation into design pieces. Alessandro La Spada also designed the narrative for the showroom, creating an aesthetic haven that blends extravagance and eccentricity. The showroom, located at Piazza Fontana and via San Clemente in Milan, invites guests to an immersive journey through his artistry and Antolini’s spectacular Cristallo Vitrum “WOW”. Antolini describes the material as an enchanting world shaped by nature and refined by human touch, capable of creating timelessly elegant environments. Visitors can explore the Antolini Stoneroom during Milan Design Week, from April 15th to April 21st, and beyond, with daily openings from 10:00 to 19:30, except Thursdays when it closes at 17:00. #Antolini #CristalloVitrumWOW #MilanDesignWeek #NaturalQuartz #StoneDesign #InteriorDesign #LuxuryMaterials #Craftsmanship #DesignEvents

This article explores the immersive and unconventional art installations of New York-born, Los Angeles-based artist Tita Cicognani, focusing on her use of hot tubs as central elements in her multimedia works. The artist’s practice, which largely involves sculpture and assemblage, took a unique turn with the integration of hot tubs, driven by a desire for physical interaction and shared experiences, particularly during the COVID-19 pandemic lockdown. Her works contrast with the trend of “dematerializing practice” in the art world, instead embracing the tactile and communal. The piece begins by describing Cicognani’s current installation, "Heart Tub" (2022), at the Hammer Museum, where visitors can reserve 45-minute slots to soak in a heart-shaped, red crocodile-skin vinyl hot tub. This installation is designed to evoke a sense of "tackiness" and "religious frenzy," adorned with embedded video screens displaying floating holograms of flying saucers and bubbly hearts. The artist explains that this first tub was created during the initial COVID-19 lockdown, stemming from feelings of isolation and a craving for physical connection. The article then details Cicognani's earlier hot tub installations. "Mothership" (2021) was an inflatable pool designed as a "tiny wet fun house," featuring mirrors, LED lights, and a disco ball, reminiscent of a Gravitron ride. This work explored the convergence of religious and corporeal ecstasy. Another significant piece, "Prayer Cards" (2019), involved devotional cards featuring the artist's image in poses suggesting stigmata or submission, printed with the prayer of St. Francis of Assisi, challenging conventional notions of piety with pop culture aesthetics. Her second tub installation, "Grotto Tub" (2022), presented a more visceral experience. Located in an artist-run space in Chinatown, it encouraged a more uninhibited, almost chaotic interaction, with PVC pipes emitting a brown goo and accompanying videos of mud wrestling. This installation, playfully dubbed “art student soup” by a Hammer Museum curator, highlighted a deliberate embrace of the earthy and raw aspects of human interaction. The transition to the Hammer Museum for "Heart Tub" introduced new logistical challenges, including safety protocols, scheduled time slots, and ADA compliance, leading to elements like a chrome heart-shaped handrail. The article also delves into the video component of "Heart Tub," titled "I Still Believe" (2022). This 40-minute looping video, viewed from within the tub, features a green-skinned CGI avatar of the artist navigating a cheap motel with a heart-shaped tub, encountering UFOs, and immaculately conceiving an alien progeny. The narrative explores themes of desire, beauty, and love, drawing heavily from pop music and shiny aesthetics, elements Cicognani previously resisted but has now embraced. The work also has intellectual underpinnings, drawing parallels to other water-based art installations like Hélio Oiticica and Neville D’Almeida’s “CC4 Nocagions” (1973). Finally, the artist discusses the socio-economic implications of embracing "tacky" aesthetics and the interplay between high art theory and pop culture references, such as the film "Hot Tub Time Machine." The experience concludes with the writer reflecting on the custom-made pea-green towels, embroidered with an alien baby and the words "I still believe," which serve as a tangible takeaway from the immersive art experience. This installation, and Cicognani's broader body of work, actively seeks to engage the body and challenge traditional art consumption by bringing viewers directly into the art. #ArtInstallation #MultimediaArt #ContemporaryArt #HammerMuseum #ImmersiveExperience #Sculpture #PopCulture #ConceptualArt