Roc H Biel Turns Wood Dust Into Column-Inspired Furniture

Stackabl introduces an innovative approach to furniture design by leveraging discarded felt materials into new, custom pieces. This initiative, a collaborative effort between Maison Gerard and STACKLAB, aims to minimize waste and promote a circular economy within the design industry. The process involves identifying remnant felt inventory from regional manufacturers, which is then transformed into unique furniture through a system incorporating algorithms and robotics. This method not only reduces environmental impact but also supports local economies by utilizing local resources and expertise. The core of Stackabl's operation lies in its user-friendly configurator, which empowers designers to create custom furniture from felt offcuts. Designers can specify colors, patterns, dimensions, and densities, allowing for a high degree of personalization. The configurator also provides real-time 2D and 3D visualizations and instant pricing, ensuring transparency throughout the design and production process. This blend of technology and creative freedom enables designers to explore new possibilities with sustainable materials. The inaugural collection, presented by Maison Gerard, features six distinct pieces designed by a group of eight New York-based designers: Laura Kirar, Elena Frampton, Jamie Drake and Caleb Anderson, Benoist F. Drut, William Georgis and Ilya Mirgorodsky, and Alexandra Champalimaud. These designers were given creative freedom within the parameters of the configurator, resulting in a vibrant and diverse collection of furniture. Each piece is constructed by regional specialists using the specified felt offcuts, highlighting a successful integration of design, technology, and sustainable manufacturing practices. The collection showcases various furniture types, including dining chairs, lounge chairs, chaise lounges, benches, and club chairs, each demonstrating the versatility and aesthetic potential of recycled felt. Examples from the collection include the Dulces Dining Chair by Laura Kirar, featuring a mix of black, pink, and tan felt; the Fast Lane Lounge Chair by Elena Frampton, characterized by blue, navy, and pink felt; and the Madame Chaise Lounge by Jamie Drake and Caleb Anderson, presenting a striking red and pink felt combination. Benoist F. Drut's Maxine Bench incorporates orange, green, blue, and brown felt, while the Querelle Club Chair by William Georgis and Ilya Mirgorodsky features navy and white. Alexandra Champalimaud's Raki Corner Chair combines grey and orange felt, further illustrating the wide range of color and form achievable through Stackabl's method. These designs collectively underscore the potential for creative reuse to produce high-quality, aesthetically pleasing, and environmentally responsible furniture. #FeltFurniture #SustainableDesign #CircularEconomy #FurnitureDesign #WasteReduction #MaisonGerard #STACKLAB #CustomFurniture #DesignInnovation

Belgian designer Casimir marks three decades in the design industry with a new collection of six wooden objects, with another six pieces slated for future release. These initial six items include two consoles, a cabinet rack, a mirror, a side table, and a low table, all crafted from solid oak and walnut, chosen for their ecological qualities. Each piece is a limited edition, signed, and numbered, reflecting Casimir's hands-on approach as a self-described furniture artist who designs and produces his work in his own studio. The designer emphasizes concept over styling or trends, aiming to rethink and question classical furniture through his oeuvre. He values the authenticity and sustainable nature of wood as a material. One notable piece, Cross4, is a customizable console designed to lean against a wall. It incorporates the symbol of a cross, which Casimir explains is a loaded symbol in Flemish culture, traditionally placed above doors to signify welcome and protection. This console is thus intended as a gesture of hospitality at an entrance. CabinetRack2, measuring 120 centimeters wide and 180 centimeters high, showcases an innovative approach to furniture construction. Casimir created a standard cabinet without doors, then sawed it into two equal parts. These parts were subsequently shifted at an angle and glued together, resulting in a rack that can also function as a room divider, demonstrating an "exercise in what you can do with a standard cabinet." Mirror3, another piece in the collection, intentionally restricts the user's view, contrasting with traditional mirrors that offer a full reflection. Casimir drew inspiration from architectural sun blinds, which are horizontal slats used to block sunlight. He reinterpreted this concept by orienting them vertically to limit the reflection to a single viewpoint within a space. The side table, Arch, is unique in the collection for being crafted from walnut wood rather than oak. Its oval-shaped tabletop is cut from a larger rectangular piece of wood, with the remaining material utilized to form the legs. These legs consist of two trusses that cross beneath the oval top, creating a small vault. Plank5, a low table standing 35 centimeters off the ground, features five oak wood planks stacked in a manner reminiscent of a fireplace or campfire, with the plank ends extending at various angles. The final piece of this initial release is Console3, a double-shelved unit supported by three rotatable tripods. Casimir's upcoming six designs to complete the 12-piece collection include three ladders and a cabinet, alongside an exploration of furniture legs, all continuing his work with wood. The designer's ambition for the entire collection is for the pieces to endure for over a century, aligning with the tradition of classical furniture making. He notes the importance of experimentation and intuition in his creative process, where the idea, material, form, and function are deeply interconnected. #FurnitureDesign #WoodenFurniture #OakFurniture #WalnutFurniture #SustainableMaterials #BelgianDesign #ArtFurniture #LimitedEdition

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

The article highlights Jim Zivic's unique approach to design, focusing on his use of coal as a primary medium. For a decade, Zivic has been sculpting, honing, and polishing anthracite coal into substantial tables for notable clients. He sources 14 tons of coal at a time from a Pennsylvania mine, storing it in his upstate New York backyard. Zivic expresses an appreciation for the raw, earthy quality of coal, acknowledging the irony that the same material his neighbors use for heat, he transforms into high-value design pieces sold by Ralph Pucci. Ralph Pucci’s Gallery Nine showroom in New York is set to host an exhibition featuring Zivic’s latest creations. This exhibition will not only showcase his coal designs but also other works incorporating diverse materials. These include benches crafted from cotton bales, dining tables made of aluminum, and upholstered chaises constructed from hexagonal steel bars. Zivic describes these chaises as having a campaign furniture aesthetic but with luxurious cushions and a "pretty sexy" appeal. The exhibition will further include leather-clad shelves and a hammock featuring a felt headboard and a suede pad. Beyond Zivic's work, Gallery Nine will also display furniture and sculpture by Pilar Proffitt and Robert Bristow, quilts by Denyse Schmidt, photographs by Lisa Spindler, and concrete works by Stevi Michner. Additionally, Pucci's penthouse space will exhibit furniture by Jens Risom and paintings by Paul Mathieu, while his Los Angeles showroom will feature fiberglass furniture and sculpture by Vladimir Kagan. The main attraction of the Gallery Nine exhibition, however, will be Zivic’s new coal tables, which demonstrate his ongoing experiments with the material's inherent properties. Some tables are coated in silicone to enhance the anthracite’s natural luster, while others are presented in a rough, untamed state, appearing as if freshly extracted from the earth. Zivic employs innovative techniques such as pouring molten metal into cracks, mimicking traditional woodworking repair methods like butterfly joints and barbell-shaped repairs. He also uses plain epoxy in deep cuts to reinforce fragile sections of the coal. Zivic emphasizes that his works are displayed in various stages of finish. His intention is to illustrate that beauty can be found not only in polished perfection but also in the inherent roughness of materials. The exhibition at Gallery Nine, located at 44 West 18th Street in the Ralph Pucci showroom, is scheduled to run until spring 2010. #JimZivic #CoalDesign #RalphPucci #MaterialInnovation #FurnitureDesign #ArtExhibition #NewYorkDesign #SustainableMaterials #HomeDecor

Wood has long been a fundamental material in furniture design, valued for its durability, availability, and versatility. It allows for diverse forms, from linear to sculptural, and offers a wide range of colors depending on the timber species, such as cherry, oak, or walnut. This enduring appeal of wood is being revitalized by a new wave of designers, particularly those based in Los Angeles, who are approaching this traditional material with fresh and innovative perspectives. These creatives are experimenting with shape, color, and overall style, pushing the boundaries of what can be achieved with timber. The article highlights several designers and their unique contributions to this resurgence of wood furniture. One featured piece is the 'Sweater Chair' by Sam Klemick, who brings a background in fashion design to furniture. This chair features a surreal element: a carved wooden sweater draped over its back, meticulously crafted to mimic the delicate hang of fabric. This piece functions as both a statement and a conversation starter, showcasing an unexpected blend of materials and aesthetics. Nik Gelormino's 'Shell Stool' is another example, known for preserving the natural texture and hue of the original timber while completely re-imagining its form into a swirling, sculptural design. Gelormino's work is recognized in both private residences and prominent online shops, reflecting a blend of organic inspiration and refined craftsmanship. The Los Angeles-based studio Base 10, founded by Lindsey Muscato and Joshua Friedman, presents the 'Bowtie Chair.' Influenced by Japanese woodworking techniques and the inherent qualities of the wood itself, this chair highlights the beauty of elm wood, subtly enhanced by small bowtie inlays along its legs, which also give the piece its name. Adi Goodrich, who grew up in her father’s woodshop, explores the interplay of color and wood in her 'Sketti-S Side Table.' Her collection of tables, chairs, and stools demonstrates how vibrant colors can accentuate the natural beauty of wood, with blue, for instance, providing a striking contrast against natural cherry wood. Tristan Louis Marsh’s 'Elephantine Chair' represents a different approach, where the designer opts to smooth over the raw qualities of wood. This chair is created using a technique that coats the frame in resin, resulting in a smooth, almost otherworldly effect that transforms the perception of the material. Finally, Shin Okuda’s studio, Waka Waka, focuses exclusively on wood furniture, producing designs that are both functional and aesthetically pleasing. The 'Leaning Cylinder Chair,' with its distinctive barrel-backed silhouette, is one of Okuda’s more recognizable pieces, available in various colors such as indigo, green, and red. These designers collectively illustrate how an age-old material can be given a contemporary and often surreal twist, making wood furniture cool again through innovative techniques and artistic vision. #WoodFurniture #FurnitureDesign #LosAngelesDesigners #ContemporaryWoodworking #InteriorDesignTrends #SustainableMaterials #ArtisanFurniture #DesignInnovation

The 'Connected' project, a collaboration between British furniture brand Benchmark and the American Hardwood Export Council (AHEC), emerged from the unique challenges posed by a global pandemic. This initiative brought together nine designers to create furniture pieces aimed at enhancing the working-from-home experience. A significant aspect of this project was the designers' inability to physically visit the workshop or interact directly with their creations, necessitating reliance on remote communication tools like Zoom and WhatsApp, and a considerable degree of trust in the craftspeople at Benchmark. Sean Sutcliffe, co-founder of Benchmark, highlighted the increased leap of faith required from designers in trusting the technical, visual, and sensory aspects of the craftsmanship without in-person observation. An example of the innovative problem-solving employed by Benchmark is demonstrated in Studio Swine’s chair, which required its red oak and cherry wood components to be submerged in the River Kennet for a week to facilitate steam-bending. This resourcefulness is characteristic of Benchmark's workshop, which boasts 58 skilled craftspeople. Sabine Marcelis, a Wallpaper* Designer of the Year, praised Benchmark's willingness to push creative and technical boundaries, a stark contrast to the limitations often encountered with other manufacturers. Marcelis's contribution to 'Connected' is the 'Candy Cubicle,' a maple-veneer box designed to conceal home-working tools, including her partner’s monitor, with a surprising acid-yellow interior. Sustainability is a core principle of 'Connected,' mirroring previous collaborations between AHEC and Benchmark. Designers selected from red oak, maple, and cherry—woods that represent 40 percent of American hardwood forests but are often underutilized. David Venables, European director at AHEC, explained the council's mission to reintroduce these 'unfashionable' woods to designers and consumers, thereby promoting the sustainable use of all natural resources. The project underscores how consumer choices influence forest composition, advocating for a broader appreciation of timber species beyond the obvious choices. The pandemic and the chosen materials appear to have fostered a renewed appreciation for nature among the designers. Works range from Thomas Heatherwick’s biomimicry-inspired maple planters to Studiopepe’s 'Pink Moon' chair, reflecting a collective desire to connect with the natural world. Despite a common theme of natural inspiration, each designer's individuality is evident. Maria Bruun created a Scandinavian-style table from rippled maple, while Jaime Hayon’s 'Mesamachine' showcases complex, humorous, and movable cherry wood components. Ini Archibong's 'The Gate,' an outdoor collection, draws inspiration from the Giant’s Causeway, featuring a hexagonal plinth of red oak and cherry and a green-lacquered red oak top with brass inlays. Maria Jeglinska-Adamczewska's seat utilizes barrel-making techniques for its curved form, and Sebastian Herkner designed 'Stammtisch,' a modern Lazy Susan with sliding trays made from various woods and finishes. The designers will see their completed pieces in person for the first time at London's Design Museum, where 'Connected' will be exhibited from September 11 to October 11. This exhibition marks the culmination of a project that navigated unprecedented challenges through remote collaboration, trust, and a shared commitment to design and sustainability. #FurnitureDesign #Woodworking #RemoteCollaboration #SustainableDesign #HomeOffice #Craftsmanship #DesignMuseum #HardwoodExports #InteriorInnovation

The Reborn Furniture Project, developed by Korean designers Younghyun Kim and Dasom Lee, addresses the growing problem of textile waste by transforming old clothes into conceptual furniture. This initiative highlights both the environmental impact of discarded garments and the potential for innovative product creation through upcycling. The project features a collection of metal chairs with upholstered elements crafted from previously used items such as puffa jackets and leather bags. These handcrafted upholstery pieces are then attached to stainless steel frames, which Kim and Lee manually bend into distinct, ribbon-like shapes. The inspiration for these frame shapes is drawn directly from the construction process of the upholstered components. One of the key design principles of the Reborn Furniture Project is the modularity of its components. All chairs are engineered so that the upholstered sections can be detached from the metal frames. This separation is achieved through the use of leather zippers, straps, and buckles, many of which are repurposed from the original garments and discarded bags. For instance, buttons, zippers, buckles, and fasteners integrated into the furniture are directly sourced from the old clothes and accessories, showcasing a thoughtful approach to material reuse and design. Kim and Lee’s work draws attention to a significant environmental issue: the vast amount of textile waste generated globally. Despite widespread efforts to promote recycling, a substantial portion of recyclable textiles still ends up in landfills. Reports from fashion retailers like H&M indicate that only a quarter of the 95% of textiles that could be recycled actually are. This project serves as a compelling illustration of how overlooked materials, such as end-of-life fabrics, can be given a second life. The use of discarded textiles for upholstering furniture is an emerging trend that the Reborn Furniture Project exemplifies, demonstrating a creative and practical application within the circular economy. The designers’ methodology involves simple, handcrafted techniques to reinterpret consumer waste streams, transforming them into functional and aesthetically engaging furniture pieces. The project underscores the importance of sustainable design practices and the potential for designers to contribute to a more circular economy. By consciously repurposing materials that would otherwise be discarded, Younghyun Kim and Dasom Lee offer a tangible solution to textile waste while simultaneously challenging conventional notions of furniture design. Their work encourages a re-evaluation of material value and promotes the idea that beauty and functionality can be derived from existing resources. #FurnitureDesign #InnovativeMaterials #SustainableDesign #Upcycling #TextileWaste #CircularEconomy #HandcraftedFurniture

This article discusses an experimental collaboration between Italian furniture brand Cappellini and Swedish flooring company Bolon, focusing on the innovative use of Bolon's woven vinyl material as upholstery for furniture. Giulio Cappellini, the director of Cappellini, details how his company is integrating Bolon's new material into their furniture designs, marking a significant departure from its traditional use as flooring. The collaboration centers around a new version of the Anemos coffee table, originally designed by Italian designer Antonio Facco for Cappellini in 2015. The initial Anemos product featured a wooden table with four padded seats, which could be retracted to form a unified, monolithic shape. Cappellini and Facco sought to reimagine this design, aiming for a softer aesthetic with fully upholstered seats. For this new iteration, they chose Bolon's Villa La Madonna material. This hybrid material, first introduced in a collection of experimental rugs at Stockholm Design Week, combines strips of vinyl with other textiles like wool and polyester. Facco highlights the material's durability, which surpasses that of conventional upholstery fabrics, enabling its application not only on the seats but also on the tabletop. This decision allows for a cohesive and unified visual appeal across the entire piece of furniture, blurring the lines between different surfaces within a space. Cappellini's relationship with Bolon dates back several years, with prior collaborations involving Bolon flooring in installations and showrooms. However, this project represents their initial foray into utilizing Bolon's material for furniture upholstery. The current result is a prototype of the Anemos table, serving as an experimental foundation for future developments. Both companies view this project as a crucial experimental phase. Cappellini expresses commitment to further developing furniture designs with Bolon, anticipating that this prototype could evolve into a commercially viable product within approximately a year. The article is part of a 12-part video series, “Bolon at Heart,” produced by Dezeen, which explores Bolon's history, design philosophies, and technological advancements. #FurnitureDesign #BolonFlooring #CappelliniFurniture #ExperimentalMaterials #InteriorDesignInnovation #WovenVinylUpholstery #AntonioFacco #VillaLaMadonna

The Dezeen Showroom highlights a diverse range of new products for interiors and design, featuring collaborations between designers and brands, and showcasing innovative materials and functionalities. The collection includes a padded, upholstered chair, a door pull made from colorful timber, vibrant bathroom lighting, a sturdy meeting table, versatile storage units, and eco-friendly wall tiles. The Amia chair, a collaboration between Italian brand Miniforms and design studio E-ggs, is presented as a key feature. This chair is described as being conceived like a sofa, with padding and upholstery covering all its surfaces. It features flat, thick legs and a round-cornered backrest, offering customization options with various bold fabrics and optional wooden armrests. The design blends comfort with contemporary aesthetics, making it suitable for modern living spaces. Another notable product is the Sensible Streaker door pull by Australian interior design studio YSG for Bankston Architectural. This slender door pull is crafted from alternating bands of naturally colorful timber, part of a wider collection. It comes in three unique colorways, each utilizing unusually-hued solid wood forms, emphasizing natural beauty and craftsmanship. The Pastello bathroom lighting collection by British brand Curiousa introduces a colorful assortment of wall-mounted lights. This collection includes posable, dish-shaped, or suspended lighting fixtures, all unified by a cohesive pastel color palette. The designs aim to bring a soft, artistic touch to bathroom interiors. For communal or office spaces, the Planar table by Rodolfo Dordoni for Spanish furniture brand Andreu World is featured. This broad and sturdy meeting table is characterized by A-shaped legs at each end and a top that combines a chunky lower section with a slim, contrasting tabletop, providing both stability and a sophisticated appearance. British workplace brand Bisley expands its MultiDrawer storage units, originally launched in 1958. The updated collection includes new colors and functionalities, offering various hues, including limited edition options, and different size formats. Some versions are designed to serve as bases for desks, enhancing their versatility in modern workspaces or home offices. Cicil, a US brand, presents its Tartan Shuttle Weave rugs, made from pure wool and featuring an exaggerated check print. These rugs are available in three color combinations: warm neutral Daylight, blue-and-burgundy Dusk, and cool neutral Twilight, offering timeless appeal with a contemporary twist. Elora Hardy for Bamboo Pure introduces the New Moon chair, a lounge chair with a sweeping backrest made from bamboo. This piece combines the design aesthetic of European steam-bent seats with bamboo, a sustainable and native material in Southeast Asia, highlighting eco-conscious design principles. Designtex's Borealis wall covering features multicolored, painterly strokes designed to create a calming effect in interiors. This product is intended for wellbeing, hospitality, and healthcare settings, emphasizing aesthetics that promote tranquility and comfort. Finally, Impact Acoustic's Archisonic Mycelium wall tiles showcase an innovative approach to materials. These wall tiles are grown from mycelium, the root network of fungi, rather than manufactured. They are available in a single natural color and possess innate sound-absorbing properties, offering a sustainable and functional solution for interior acoustics. Ted Todd expands its Project collection flooring, adding new shades, plank sizes, and thicknesses. The oak floor planks are available in a spectrum of shades, from pale Almond to rich, chocolate-hued Tattenhall, providing a wide range of options for flooring projects. This comprehensive overview demonstrates the breadth of new products available on Dezeen Showroom, catering to various design needs and preferences. #ProductDesign #Furniture #InteriorDesign #SustainableMaterials #Lighting #StorageSolutions #Rugs #WallCoverings #AcousticPanels #Flooring

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

The article explores ten key strategies for incorporating sustainability into interior design, emphasizing that eco-conscious choices do not require compromising on style, comfort, or functionality. These strategies involve careful selection of materials and a focus on product longevity. The first recommendation is to utilize reclaimed wood for various applications such as custom cabinetry, interior cladding, paneling, and furniture. This approach reduces the demand for new timber and minimizes waste. The expert, Greg Roth from CarbonShack, highlights that reclaimed wood is not exclusively aged and weathered, noting the availability of lumber sourced from urban trees that would otherwise go to landfills. The second strategy focuses on the broader use of recycled materials beyond wood. The article suggests incorporating recycled metals, cork, jute fibers, glass, and plastics into interior designs. These materials offer versatility and can be seamlessly integrated into different aesthetic styles, such as industrial or Scandinavian decor, without sacrificing quality or visual appeal. This practice significantly reduces waste and the consumption of new resources. Thirdly, the article discusses the importance of window treatments in enhancing sustainability. Maureen McLaine, a senior interior designer at Stantec, explains that blinds and drapery panels can help regulate indoor temperatures, reducing the need for heating and cooling. Furthermore, ensuring that window treatments can be fully drawn back during daylight hours optimizes natural light, thereby decreasing reliance on artificial lighting. Upcycling is presented as the fourth method, encouraging individuals to repurpose preloved furniture. This involves visiting thrift stores, antique shows, and auction sites to find items that can be transformed with paint, wallpaper, or decorative edging, preventing them from ending up in landfills and adding a unique, personalized touch to home decor. Fifth, the article advocates for adopting biophilic design principles. Greg Roth explains that biophilic design reconnects individuals with nature through natural materials (wood, stone, clay, plant fibers), patterns, and elements like natural light and fresh air. This approach fosters a deeper appreciation for nature and encourages environmentally responsible decisions in design. The sixth tip is to choose energy-efficient lighting, specifically LED bulbs, for all areas of the home. This simple change significantly reduces energy consumption. The seventh strategy suggests supporting artisanal designers, emphasizing that investing in higher-priced, handcrafted pieces ensures durability and supports skilled makers, aligning with the principle of “buy well, buy once.” Reupholstering furniture without using new leather is the eighth recommendation. Instead, the article suggests opting for natural fibers like organic wool bouclé, hand-woven hemp, or antique French linen to update pieces. This not only offers a fresh aesthetic but also aligns with an eco-conscious approach by avoiding materials with a higher environmental footprint. Ninth, the article stresses the importance of researching companies to ensure they adhere to sustainable practices. Catherine Jacob from Hovia advises looking for brands that use locally and sustainably sourced materials, have transparent carbon footprints (preferably carbon-neutral or carbon-negative), and are B Corp certified, indicating their commitment to environmental policies. Finally, the tenth strategy involves selecting 3D printed items, which can be made from recycled plastic or metal, minimizing waste and offering a sustainable alternative for various home decor pieces, from vases and lighting to larger furniture items. #SustainableInteriorDesign #ReclaimedWood #RecycledMaterials #EnergyEfficientLighting #UpcyclingFurniture #BiophilicDesign #ArtisanalDesigners #EcoConsciousUpholstery #ThreeDPrinting

The article explores the interior design trend of layering different tones of wood to create rich, warm, and sophisticated spaces. This approach moves away from monochromatic wooden furniture and single-tone finishes, advocating for a varied wood palette in surfaces, furniture, and accessories. Key advice from designers Alexy Kos and Che Huang of Child Studio emphasizes using sustainable, indigenous wood species like pine, oak, cherry, and maple, while strictly avoiding exotic and endangered woods. The article presents five examples that showcase the effective application of this trend. The first example features a dining room designed by Child Studio, incorporating mahogany library walls paired with Rosso Levanto marble and a round maple table. The choice of woods with slightly reddish tones contributes to a deep, opulent feel. The designers highlight that layering various wood tones and textures creates a timeless atmosphere, making a home feel warm and lived-in. They suggest that understated designs, where timber serves as a background element, age more gracefully, allowing accessories or art to update the space. The second illustration focuses on a lighter, brighter application of layered woods within another Child Studio project. Curved walls, furniture, and screens, all made from different wood tones, demonstrate how careful selection of wood grain can unify a space dominated by timber. The designers stress the importance of choosing specific pieces of timber with attractive natural patterns and soft, natural grain patterns. They also advise against high gloss levels, recommending oils and varnishes to preserve an organic appearance, avoiding an artificial or plastic look. A kitchen-diner designed by Melbourne architects Kennedy Nolan serves as the third example, featuring wraparound tonal wood paneling on walls and ceilings. This design prioritizes warmth, texture, and durability. Founding partner Patrick Kennedy explains that eliminating white and lining all surfaces in timber amplifies the material's warmth and softness, enhancing views. While initially hesitant to mix timber species, the studio carefully balanced tones, avoiding high contrast and selecting timbers for their inherent qualities, following a tradition seen in vernacular architecture. The fourth example showcases a vignette at Kona Village, A Rosewood Resort, designed by NICOLEHOLLIS. Here, Douglas Fir-clad walls and ceilings are combined with a mix of wood furniture, including a deep red-brown sideboard and a pale-framed armchair, with cane elements drawing the natural materials together. Alexy Kos and Che Huang suggest pairing light and dark timbers to create contrast and interest. They recommend using different shades of oak for lighter tones and cherry and walnut for darker ones, using one as a backdrop and highlighting with the opposing shade. This contrast can yield a smart, sharp look, while softer, subtle tones create a more casual feel. The final example is an architectural hallway by Jake Arnold Design, where a subtle difference in wood tone between the staircase and columns highlights the architectural beauty of these elements. A stone table provides a contrasting focal point against the deep woods. The designers suggest that natural elements like marble, limestone, brass, and wool textiles complement mixed woods beautifully. This overall approach of layering wood tones and textures is presented as a sophisticated and welcoming interior design trend. #InteriorDesign #WoodLayering #DesignTrends #HomeDecor #MaterialMixing #ChildStudio #KennedyNolan #NicoleHollis #JakeArnoldDesign

Nicole Crowder, a renowned upholstery professional, has recently returned to her hometown of Minneapolis, bringing her distinct and vibrant design aesthetic to the Twin Cities. Her work is characterized by bold colors, intricate patterns, and unexpected details, distinguishing her from a local design scene that she describes as generally more subdued. Crowder's creative approach is evident in her custom-designed chairs, loveseats, stools, and other furniture pieces, which are highly sought after by designers and homeowners nationwide. Crowder's journey into upholstery began in 2013 as a side pursuit while working as a photo editor. By 2017, her passion for the craft led her to dedicate herself fully to upholstery. Her self-taught expertise largely stems from extensive research on YouTube, where she meticulously studied various techniques like topstitching and different blind stitches. She honed her skills through practical, hands-on experience, often acquiring inexpensive practice chairs from Craigslist, thrift stores, antique markets, and even roadside finds. This period of trial and error in her living room formed the foundation of her current mastery. Fashion serves as a significant source of inspiration for Crowder, influencing her preference for incorporating unique details, buttons, zippers, and unconventional fabrics into her furniture designs. She enjoys projects that allow for experimentation, enabling her to infuse pieces with narrative elements, such as feathers, paper flowers, or fringe, to enhance texture and layering. Despite her vibrant professional and home aesthetics, Crowder admits her personal wardrobe leans towards neutrals, considering her furniture as an "alter ego" where her love for color and patterns truly shines. Since her return to Minneapolis in February, Crowder has embraced a phase of rediscovery, actively exploring the city's design, culinary, music, and arts scenes. She expresses excitement about connecting with other local creatives, who, in turn, introduce her to hidden gems across the city, including shops, parks, and architectural styles. This exploration is crucial for her to understand how people utilize and maximize their home spaces and daily activities, which informs her contribution to the local design landscape. Crowder's ambition is to infuse more energy and boldness into the Twin Cities' design scene. While appreciating the existing "chill energy" of Minnesota, she aims to elevate it with her signature style, characterized by bright colors, dynamic patterns, and an overall sense of vibrancy. She envisions her pieces, such as a Moroccan blue chair with an orange stripe, becoming iconic representations of her unique "stamp" on the community. Her personal favorite shopping spots for furniture and fabric include MidModMen+friends, Loft Antiques, Marva’s Place, and SR Harris Fabric, valuing their diverse and curated selections. She also enjoys the city's culinary offerings, frequently visiting establishments like Rosalia, Martina, and Barbette, and finds inspiration in the outdoor spaces and cultural institutions like the lakes and the Minneapolis Institute of Art. #Upholstery #FurnitureDesign #InteriorDesign #NicoleCrowder #MinneapolisDesign #HomeDecor #CreativeEntrepreneur #Artisan

The article highlights Heather Chontos's collaboration with Layered, focusing on a new rug collection that translates her abstract paintings into hand-tufted rugs. The collection aims to capture the depth, color, and shape of Chontos's artwork, making her vibrant and expressive pieces accessible as functional home decor. These rugs are presented as a unique way to bring art into interior spaces, offering both visual appeal and tactile quality through their hand-tufted construction. Following this, the article introduces Clé's refreshed Architect's Palette tile collection. Clé has updated this classic collection by introducing a silkier matte glaze and expanding the available color palette. This refresh aims to provide designers and homeowners with more sophisticated and versatile options for tiling projects, emphasizing an earthy touch that enhances the collection's aesthetic and functional appeal for various architectural and interior applications. The ORA Lamp Series by Dana Harel, from White Dirt Studio, is also featured, showcasing sculptural lighting crafted from gypsum cement, muslin, and brass. These lamps are noted for their unique forms and the way they play with light and shadow, adding an artistic element to any room. The design combines diverse materials to create visually compelling and structurally interesting lighting fixtures. Fireclay Tile's new customizable bath fittings collection marks the company's expansion beyond surface materials. This new venture allows for personalized bath designs, giving customers more control over the aesthetics of their bathrooms. The collection emphasizes customization, enabling a cohesive and unique look when paired with Fireclay's extensive tile offerings. Molteni&C's Milan showroom and its top products are explored, conceived as the home of an astute collector. The showroom acts as a curated space displaying a range of high-end furniture and decor that reflects a sophisticated and eclectic taste. This segment offers a glimpse into the brand's design philosophy and product highlights. Visionnaire's new Italian-luxe showroom in London's Design District is also presented, inviting readers to explore its opulent offerings. The showroom is designed to exhibit Visionnaire's luxurious furniture and home accessories, providing a destination for high-end interior design inspiration and purchases. Lawson-Fenning's NoHo shop in New York, designed by Josh Grene, is highlighted for its glowing terra-cotta hues. The shop's design creates a warm and inviting atmosphere, showcasing the brand's furniture and decor in a distinctive setting that emphasizes natural tones and materials. Ege and Snøhetta's collaboration on a carpet collection, Matter, is introduced, which reimagines flooring with generative flatweaves. This partnership combines innovative design with functional materiality, offering floor coverings that are both aesthetically engaging and practical for various commercial and residential applications. Finally, the article mentions several other product highlights, including an array of seating designs for a fall refresh, Carole Baijing’s understated furniture collection for Geiger, Slalom’s sustainable acoustic panels made with FSC-certified wood and recycled materials, Rop van Mierlo’s bold and shaggy rug series for CC-Tapis, Hem and Kusheda Mensah’s playful ottoman collaboration, Jiang Qiong Er’s poetic bamboo collection for Roche Bobois, Kevin Walz’s colorful collaboration with Ralph Pucci, Kriskadecor and Rafa Ortega’s nature-inspired Khronos collection with acoustic properties, and Jill Malek’s pastel glass mural panels inspired by natural phenomena. #InteriorDesign #ProductLaunch #HomeDecor #TileDesign #LightingDesign #FurnitureCollection #Showroom #TextileArt #AcousticPanels

The article introduces RH Modern, Restoration Hardware's first freestanding retail platform, located on Beverly. This new concept is described as a minimalist haven, offering a fresh and refined aesthetic that departs from Restoration Hardware's traditional antique-minded style. The gallery integrates sophisticated design elements and aims to provide inspiration for home, office, and patio spaces. Upon entering, guests are greeted by contemporary art, specifically two massive Retna pieces, setting a modern tone. The interior design features luxurious yet understated room presentations, creating an immersive experience. The architectural and design choices highlight a commitment to modernism, evident in details such as palm tree-clad terraces and carefully curated displays. Key design features of RH Modern include the extensive use of rich brass and bronze hardware, adding a touch of elegance and warmth. Glass and aged mirrors are incorporated to enhance light and space, while platform and canopy beds offer contemporary bedroom solutions. Oversized ottomans and sofas and sectionals with integrated accent tables provide functional and stylish seating arrangements, promoting both comfort and modern living. The lighting in RH Modern is characterized by dramatic sculptural fixtures, which serve as focal points and artistic statements. Floating lounge chairs and vanities further contribute to the minimalist and sophisticated ambiance, creating a sense of lightness and openness. The material palette emphasizes luxurious leathers and a blend of rustic and refined woods, demonstrating a versatile approach to texture and finish. Gary Friedman, RH chairman and CEO, credits the collaborative effort of numerous talented individuals from various creative fields for bringing RH Modern to fruition. He highlights the contributions of artists, artisans, art directors, architects, designers, photographers, merchants, and manufacturers from around the globe, each contributing their unique perspective. Friedman specifically acknowledges Fabien Baron for his work in blurring the lines between a magazine and a catalog, thereby establishing a contemporary and revolutionary brand identity across RH Modern's Source Book, website, and advertising campaigns. The RH Modern Gallery is positioned as a source of next-level inspiration for those looking to enhance their living and working environments with modern design. The gallery's operating hours are Monday through Saturday from 10 am to 7 pm and Sunday from 11 am to 6 pm. #RHModern #RestorationHardware #ModernDesign #HomeDecor #InteriorDesign #BeverlyHills #LuxuryFurniture #RetailDesign #ArchitecturalInnovation

The Taiwanese Nexus design studio has launched a furniture collection that repurposes existing brick industry machinery to create innovative pieces from brick and cement. This initiative aims to extend the lifespan of traditional brick manufacturing processes by adapting them to produce new designs. The studio re-engineers industrial machines and develops new molds to be compatible with prevalent electrical kilns, thereby transforming the conventional use of these materials. The resulting collection includes a desk and a series of chairs, showcasing a novel approach to material application and manufacturing. The core concept behind the collection is to redefine the relationship between brick and cement. Instead of using these materials in their traditional construction roles, Nexus design studio employs them in a way that highlights their aesthetic and structural properties within furniture design. The design strategy involves a 'sandwich technique' where brick and cement components are seamlessly integrated. This method allows the contrasting materials to connect at various joints, creating a cohesive and visually interesting structure. The design emphasizes the natural textures and characteristics of both brick and cement, transforming them into sophisticated design elements rather than mere building blocks. For instance, the desk and chairs feature structural components where cement is sandwiched between layers of brick or vice versa. This construction technique not only provides stability but also serves as a key aesthetic detail. The edges of the top surfaces are often beveled, adding a refined touch to the otherwise industrial materials. In some pieces, a reinforced hole on the surface top is directly connected with the brick and cement structure, demonstrating the meticulous attention to detail in integrating these elements. The overall look is one of raw elegance, combining robustness with a modern, minimalist appeal. The collection reflects an exploration of sustainable design practices by reusing industrial machinery and materials that might otherwise become obsolete. By modifying existing equipment rather than investing in entirely new manufacturing lines, Nexus design studio promotes a more resource-efficient approach to furniture production. This method also speaks to a broader trend in design that values repurposing and upcycling, giving new life to traditional industries and materials. The furniture pieces are designed not just for functionality but also to provoke thought about material origins and industrial heritage. The furniture, described as 'parlor furniture,' suggests that these pieces are intended for living spaces, bringing an unconventional material palette into domestic settings. This challenges preconceived notions about the suitability of brick and cement for interior furniture, positioning them as viable and aesthetically pleasing options for contemporary homes. The collection signifies a fusion of industrial heritage with modern design sensibilities, resulting in unique and durable furniture that tells a story of transformation and innovation. The studio’s work ultimately re-evaluates the potential of everyday construction materials in a creative context. #FurnitureDesign #BrickFurniture #CementFurniture #SustainableDesign #IndustrialDesign #MaterialInnovation #RepurposedMaterials #TaiwaneseDesign #ModernFurniture