Talking with Ambriel Floyd Bostic about Cobble Hill, Designing Dreams, and Soaking Tubs

Architect Tyler Kobick, founder of Design Draw Build, shares insights into his creative process, architectural influences, and a selection of his firm's projects in this Friday Five feature. From an early age, Kobick demonstrated a keen interest in creativity and construction, shaped by his upbringing near the Wisconsin Glacier in Ohio. His childhood explorations of natural landscapes and early apprenticeship with a master stone mason laid the foundation for his hands-on approach to design and building. By 16, he had established his own construction company, leading to the creation of Design Draw Build in 2010. The firm, now based in Oakland, California, undertakes diverse projects, including adaptive reuse and multi-family housing, consistently emphasizing the material culture of a given location. Kobick highlights the dynamic and empathetic process of transitioning from initial brainstorming to client presentations, viewing it as an exciting phase of collaboration and refinement. He discusses five significant inspirations. First, the Brion Cemetery in Italy, designed by Carlo Scarpa, is celebrated as a modernist and Mayan temple-like masterpiece. Kobick admires its expression of everyday change and the fluidity between design and construction, reflecting thirty years of work by an architect-craftsman whose principles he deeply respects. This monument embodies the vulnerability inherent in the making process, from conceptualization to physical realization. Second, he speaks about "Shallow Atmospheric Depth (SAD)," a concept that resonates with his love for patterns and drawings that invite the eye to explore and wander. This appreciation extends to creative works that foster immersive imagination, characterized by a sense of movement and interaction rather than static contemplation. Third, Kobick draws inspiration from "Gumbos of the World," comparing the regional stories expressed through music to the authentic flavors found in local cuisines like New England chowders or Vietnamese pho. This signifies his profound respect for specific outputs rooted in time and place, shaped by diverse influences, and reflects a quality he seeks in various creative domains, including architecture. He observes how historic vernacular has evolved, becoming modern, momentary, and fleeting. Fourth, he addresses "Critical Regionalism," a theory coined by Kenneth Frampton in 1981. This approach prioritizes the tactile and experiential qualities of texture over purely visual aesthetics. It aims to bridge local, place-based architectural ideas with global modern concepts, embracing the diverse influences of a region without succumbing to nostalgia for origins. Instead, it seeks to generate new narratives that modernize regionalism, presenting it as an evolving, contemporary form. Finally, Kobick discusses the "trowel," viewing it as a symbolic extension of the hand in the construction process. This tool facilitates the manipulation of materials, allowing for exploration, transformation, and adaptation. It embodies the plastic nature of materials, their ability to integrate into their surroundings, and the continuous process of compromise and discovery inherent in building. The article also showcases several projects by Design Draw Build. The Radiant Hills House in Oakland Hills exemplifies a critical regionalist approach, integrating salvaged materials, mid-century design, and modern functionality. As Kobick's personal home, office, and neighborhood daycare, it serves as an experimental prototype for the firm's future work. The Coda House involved transforming a 1950s ranch into a modern, warmer space with a new primary suite wing. The Garden View ADU in Oakland is a sustainable, intergenerational living space featuring green design elements and an integrated loft office. The Fireplace in Concrete House, built almost 25 years ago in Vermont, demonstrates the contrast of variable shaped materials and the transition from natural rock to a man-made structure. Educational Spaces projects, such as the Amun Shea school in El Salvador and the Agualta STEAM Engine in East Los Angeles, highlight his focus on architectural links between resource use, land development, and educational environments that strengthen community understanding of place and ecosystem. #TylerKobick #DesignDrawBuild #Architecture #CriticalRegionalism #BrionCemetery #RadiantHillsHouse #CodaHouse #GardenViewADU #SustainableDesign #ArchitecturalInfluences

Daniel Boddam, an Australian architect and designer, leads his eponymous studio in Sydney, focusing on creating spaces and furniture that inspire human engagement and connection with nature, while celebrating artisanal craftsmanship. His design philosophy is rooted in simplicity and the belief that design can foster a sense of calm and well-being. Boddam integrates a modern perspective with materials, colors, and textures inspired by the Australian landscape, aiming to articulate a unique Australian voice with global appeal. His latest furniture collection draws inspiration from the raw Australian environment. The 'Wave' sofa and chair, for instance, feature undulating forms reminiscent of ocean waves, emphasizing organic shapes and lyrical simplicity. The 'Portsea' side tables highlight elemental forms and quality craftsmanship, using materials like Calacatta marble and Travertine to add tactile dimension to circular and triangulated designs. These pieces, along with his 'Coast,' 'Geo,' and 'Monument' collections, are designed for enduring elegance, combining luxurious materials, revered artisanship, and timeless design. The material palette includes organic elements such as timber, travertine, stone, and marble, paired with neutral tones like sand, grey, and white, all reflecting natural inspirations. Boddam's design process begins with hand sketches, which are then translated into 3D models and integrated into architectural projects to visualize their spatial relationships. Boddam discussed two recent interior projects. For Carthona House, he aimed to create a breathable, light-filled, and well-crafted addition to an existing Federation-style home. His approach involved 'complement by contrast,' balancing the traditional qualities of the original facade with a striking blackened silhouette for the extension, and integrating indoor/outdoor living while maintaining privacy. Lindfield House, in contrast, offers a calm and refined atmosphere tailored to the clients' personalities, driven by considered simplicity and mid-century influences, achieved through layered materials and textures to create a luxurious and minimal interior. His early life was immersed in design, with both parents being architects. One of his first design memories involves playing inside Charles Rennie Mackintosh's Willow Chair, which left a lasting impression of craftsmanship. His curiosity about design persisted from childhood, eventually leading him to study architecture at the University of Sydney. Boddam finds inspiration in the simplicity and elegance of designers like Christian Liaigre, Vincent Van Duysen, and Joseph Dirand, admiring their craftsmanship and timelessness. Boddam splits his time between his primary residence in Byron Bay and an apartment in Bondi, Sydney. His Byron Bay home, built in the late 1990s, backs onto a natural reserve and was designed as a barefoot sanctuary to reconnect with nature, reflecting the spirit of the local landscape and an elevated expression of coastal living. For inspiration, he often turns to nature, taking walks along the coastline to clear his mind. He maintains a daily ritual of sketching concepts in the mornings, treating each design as a research project to build a narrative around a concept. Upcoming projects for 2021 include a recently completed Sydney harborside project—a contemporary interpretation of a Californian bungalow featuring an art collection—and the continued development of new furniture pieces using quality Australian materials. His dream projects involve collaborating with like-minded clients in inspiring locations, with a focus on quality craftsmanship and artisanal celebration, such as designing a stand-alone home in North America or a one-off eco-friendly villa. #DanielBoddam #AustralianDesign #InteriorDesign #FurnitureDesign #CoastalLiving #ArchitecturalProjects #MaterialPalette #ArtisanalCraftsmanship

Boston City Hall, a prominent example of Brutalist architecture, is often perceived as an 'eyesore' due to its stark concrete design. However, a group of experimental artists from the Boston-based collective Mobius is transforming this perception through an elaborate art installation. Marilyn Arsem, a Mobius member, expresses awe at the building's vast, open lobby and its unique architectural features, including windows soaring nine stories high. She notes the striking contrast between the building's imposing exterior and the intriguing details within. The Mobius collective is preparing for a May 25 installation that will involve 13 artists working in various mediums, aiming to breathe new life into the solemn gray interior. Jane Wang, another Mobius member, details some of the planned performances. One piece by Joanne Rice and Tom Plsek will feature a trombone and tap shoes, with Plsek starting on the fifth floor, creating an acoustic interplay throughout the building. Performance artist Sandrine Schaefer will manipulate the speed of the escalators to alter visitors' sense of time. Wang herself will be knitting an abstract wire sculpture over four hours and will project a video, a collaborative effort of 95 artists and 21 composers, onto a lobby wall. Wang admits that while she still finds the building aesthetically challenging, her involvement has fostered a sense of fondness for it, recognizing its unique personality and pockets of beauty. She describes it as an "ugly, beautiful thing," highlighting the complex emotional response it evokes. Patty McMahon, the city registrar who has worked in Boston City Hall for nearly 30 years, is well aware of the building's polarizing reputation, often hearing it described with terms like "wet cement" and "hideous." She acknowledges the impracticalities of the Brutalist design, such as the difficulty of hanging decorations on concrete walls, exposed wiring, and the lack of windows on her floor. McMahon notes that different administrations have approached the building's challenges differently, with the current Walsh administration focusing on making it more comfortable, pretty, and light. This effort is part of the 'Rethink City Hall' initiative, a city planning project aimed at reimagining the building's use and public perception. Chris Grimley, a historical consultant from the design firm over,under, is involved in the 'Rethink City Hall' project. He explains that the building's original design was intended to promote openness and accessibility, allowing people to move freely through its various spaces, including an elevated courtyard with skylights. This design reflected high-minded democratic ideals, part of a larger urban renewal effort to revitalize downtown Boston and restore public trust in government. However, neglect and modern security concerns, particularly post-9/11, have led to restricted access, reducing the building to a single entry point. Grimley believes the civic spirit of the building can still be revived, which is where the Mobius artists play a crucial role. Artist Jesse Kaminsky describes his contribution: a "tentacular, low-level inflatable sculpture" made of colorful Tyvek. This piece, inspired by early science fiction, will undulate with a fan and seep over a ledge, introducing a sense of comical unease into the building's severe environment. Kaminsky aims for his soft, floppy, and forgiving sculpture to contrast with the building's inherent order and severity. He views the project as an opportunity to introduce something uncertain and acknowledges the possibility of failure, which he considers vital for the creative and even municipal process. For the Mobius artists, Boston City Hall, despite its perceived flaws, has become a rich source of inspiration, demonstrating that even a controversial structure can be reinterpreted and found worthy of appreciation. #BostonCityHall #BrutalistArchitecture #ArtInstallation #MobiusCollective #UrbanRenewal #ArchitecturalRedesign #PublicArt #CityPlanning #CreativeProcess

This article presents a Studio Snapshot conversation with Brent Linden and Chris Brown, the founding partners of Linden, Brown Architecture, a Portland, Oregon-based firm. Established in 2018, the studio, recently rebranded as Observation Studio in July 2024, comprises five individuals. The founders met while working on museum projects at Allied Works in Portland and decided to combine their creative energies and desire for collaborative practice, aiming to pursue larger and more ambitious residential and hospitality projects than their individual small firms could handle. They shared a common appreciation for dynamic spaces, rich materiality, and meticulous detailing. The firm operates with a highly collaborative structure, ensuring that both founding partners are actively involved in every project. Three studio associates work closely with Linden and Brown, developing and clarifying core concepts through various methods such as design studies, drawings, and models. The intentionally small size of the firm allows each team member to contribute significantly from the initial concept phase through construction, fostering valuable skill development and comprehensive project experience. The partners expressed a flexible approach to growth, indicating that while they are open to scaling up, any expansion would be intentional. Their primary focus remains on maintaining the high quality of collaborative dialogue among themselves, their colleagues, and clients. They acknowledge the challenges of running a practice in an unpredictable construction climate, particularly balancing design vision with client budgets and project timelines. Despite these challenges, they are supported by trusting clients and a dedicated team. When hiring, Linden, Brown Architecture seeks individuals with curiosity, passion, and an interest in making, materiality, and dynamic spaces. The firm's design philosophy is deeply inspired by the Pacific Northwest's pioneering spirit, robust material culture, environmental reverence, and entrepreneurial ethos. They emphasize collaboration and iterative design, working with real materials from concept to execution to infuse their projects with a physical presence. The practice prioritizes sustainable material use, local sourcing, and experimentation with unconventional construction systems, viewing their role as facilitating a passionate conversation that engages clients, contractors, and craftspeople. The unique architectural context of the Pacific Northwest is highlighted by the founders, who note its rugged frontier, healthy pioneer spirit, and high tolerance for risk-taking, leading to a diverse range of project typologies. The region's commitment to craft results in buildings that are finely made and appeal to both aesthetic sensibilities and the communities they serve. This is coupled with a reverence for environmental conservation and inspiring natural landscapes. The partners also shared their admiration for several local creative practices, including Studio Noyes (apparel design), Grovemade (product design), Spartan Shop (design gallery), and Sequitur Wine (winery), all of whom exemplify high standards in their respective fields. A memorable project mentioned is the Gradient House and Studio in Portland, completed in mid-2020. This project notably integrated a professional design studio into a residential setting, addressing questions of live/work separation even before the global pandemic. The project's success is attributed to its rich material articulation, dynamic spaces, abundant daylighting, and integral relationship to the site and landscape, reflecting the firm's core design principles. The firm describes its practice as observational, conversational, and intentional, and its work as crafted, immersive, and material. #LindenBrownArchitecture #ObservationStudio #PortlandArchitecture #PacificNorthwestDesign #ArchitecturalCraft #StudioSnapshots #SustainableDesign #ResidentialArchitecture #HospitalityDesign

This article features an interview with David Godshall, co-owner and principal of TERREMOTO, a landscape architecture firm with offices in Los Angeles and San Francisco. Godshall, who describes himself as a self-proclaimed punk and art historian turned landscape architect, founded the firm with Alain Peauroi. TERREMOTO specializes in creating localized landscapes that are both formally and conceptually adventurous. The firm currently comprises seven individuals, including Godshall, Peauroi, Diego Lopez, Jenny Jones, Nadia Alquaddoomi, Story Wiggins, and Erik Schmahl. Godshall manages the Los Angeles office, while Peauroi oversees the Bay Area office. This dual-office structure allows them to undertake projects in both regions. Godshall explains that his motivation for starting TERREMOTO stemmed from a perceived lack of conceptual and philosophical depth in landscape architectural work in the United States, particularly in residential projects. He and Peauroi aimed to establish a practice that would enable them to explore innovative ideas and create intellectually and formally distinct work, while also structuring their office in an unconventional manner. Regarding challenges, Godshall notes that in a small office, every team member must be versatile and willing to handle a wide range of tasks. While he acknowledges that this can be a hurdle, he also finds it enjoyable. Cash flow is another occasional concern for the small but growing firm. Despite these challenges, Godshall expresses gratitude for their supportive clients, collaborators, and projects. When asked about scaling the practice, Godshall indicates that maintaining the current size, ideally not exceeding ten people, is a preference. He values the familial dynamic of the present team and believes it fosters creativity, a quality often lacking in larger, more corporate landscape architecture firms. Godshall views mainstream landscape architecture as fundamentally flawed due to its inability to support the creative and philosophical inclinations of its professionals. TERREMOTO aims to operate at the fringes of the profession, taking risks and maintaining an avant-garde approach, rather than becoming a conventional, profit-driven business. However, he acknowledges that this perspective could evolve as the firm and its members grow. The benefits of running their own practice include the ability to define their own rules and integrate work into their lives in a flexible manner. Godshall describes his work-life balance, highlighting that he maintains long hours but still allocates dedicated time daily for his family. The firm also implements an hourly pay model for employees, which, while offering competitive salaries, ensures that team members are compensated for overtime, promoting a healthier work environment and thoughtful time management by the owners. Godshall emphasizes that staying small necessitates honesty and a lack of ego, requiring everyone to be hands-on with all aspects of the business, from client management and conceptual design to construction documents, tree tagging, and even mundane office tasks. This approach has fostered a team of well-rounded, versatile individuals who contribute broadly to the firm's diverse projects and internal discussions, preventing the over-specialization often seen in larger firms. #SmallStudioSnapshots #LandscapeArchitecture #TerremotoLandscape #DavidGodshall #StudioPractice #ArchitecturalInnovation #WorkLifeBalance #CreativeProfession

The article showcases the Ramsey Hill Victorian home of Sarah and Zach Olson, built in 1885, located in St. Paul. The Olsons, with their two children Runa (7) and Hans (5), sought to imbue their historically rich residence with a distinct and playful personality, moving away from a conventionally tasteful aesthetic. Sarah Olson emphasized filling their home with objects they genuinely love, fostering an environment that encourages strong reactions from visitors, whether positive or negative. Upon moving in, the Victorian house presented a blank canvas, characterized by white walls, natural oak woodwork, and leaded-glass windows. Recognizing her inclination towards maximalist design, Sarah enlisted the expertise of interior designer Julia Miller of Yond Interiors. Miller's task was to temper Sarah's enthusiastic vision, integrate Zach's specific request for a large, felt-topped game table, and create a cohesive and interesting flow throughout the spaces. The design philosophy adopted by Miller was to harmoniously blend the home's turn-of-the-century heritage with mid-century elements, aiming for a vibe that pays homage to both eras. The vibrant pink wallpaper in the staircase served as a pivotal design element, inspiring a color palette of smoky pastels, browns, blues, and greens. Miller curated an eclectic mix of furnishings and lighting fixtures, which collectively brightened the formal architectural lines of the house. The living room was ingeniously divided into two distinct zones: one dedicated to Zach's strategy gaming and the other designed for Sarah's book club gatherings. The book club area features curvilinear, comfortable sofas and chairs alongside various tables, offering a flexible setting for social interactions. In contrast, the gaming area is anchored by clean cabinetry and elegantly shaped Gubi chairs, which provide a counterpoint to the substantial presence of Zach's game table. Miller highlights the importance of designing spaces that are actively utilized by the residents, underscoring her commitment to incorporating personal passions into the design. She notes that while Zach's game table presented unique design challenges, fulfilling his "heart's desire" was a central and rewarding aspect of the project. This collaboration resulted in a home that not only respects its historical context but also reflects the vibrant personalities and contemporary needs of its inhabitants, demonstrating how heritage and modern living can coalesce into a truly unique and conversation-starting environment. The article also details specific design choices, such as the dusty lavender chosen by Julia Miller for the vestibule, which exhibits shifting hues throughout the day, creating an engaging visual experience. A 1970s travertine table and a Blu Dot leather ottoman provide grounding elements in this narrow entry space. The front door is painted in Benjamin Moore’s Brown Teepee, adding a subtle pink flush that complements the Victorian architecture without overshadowing its intricate details. In the foyer, an exuberant patterned wallpaper, “Proteas’ Dream” by 17 Patterns, was strategically limited to the stairway to prevent an overwhelming effect, while hemp grass cloth from Gregorius Pineo, in a green tone extracted from the wallpaper, adds sophisticated drama. A 1950s-reproduction cone chandelier from 1stDibs maintains a light mood. The custom cabinetry for game storage and an integrated grate concealing the air-conditioning split demonstrate thoughtful functionality. The living room further exemplifies the blend of styles with a curvy sofa from Crate and Barrel, re-covered in a Christopher Farr Cactus Flower fabric, and a marble table with interlocking legs, creating a convivial setting for gatherings. #InteriorDesign #HomeTours #VictorianHome #EclecticStyle #RamseyHill #StPaulHomes #YondInteriors #HistoricRenovation

This article features an interview with Tobi Tobin, a Los Angeles-based interior designer known for her work gracing the pages of prominent magazines such as *Architectural Digest* and *House Beautiful*. Tobin owns an eponymous store on Sunset Boulevard, which reflects her signature aesthetic characterized by a blend of black, white, and wood tones. The store offers a diverse range of items, including furniture from her collection, candles, chocolates, vintage jewelry, and dresses. The interview delves into various aspects of Tobin's daily life, personal philosophies, and professional insights. She begins by describing her morning routine, which typically involves being woken by her 110-pound Swiss Mountain Dog, Theo, at 6 AM. Her mornings include feeding Theo, preparing fresh orange juice, and making a fruit smoothie, followed by returning to bed to check emails and read. Her nighttime routine involves showering, gathering magazines, her computer, and a sketchbook, often working for several hours in bed before sleep. Tobin shares her thoughts on various topics, including her perception of a "well-dressed man" as someone confident and her advice for women to always move forward, leaving the past behind. For men, she suggests seizing opportunities to meet special people by confidently introducing themselves with a phrase like, "Hello, aren't you fabulous!" She recounts the *Los Angeles Times* dubbing her the "Rock n' Roll Martha Stewart," a label she acknowledges while clarifying that she is simply Tobi Tobin. If she weren't pursuing her current career, Tobin believes she would "go crazy." She envisions her legacy as building a significant architectural church in a town currently lacking one. A core philosophy she emphasizes is never abandoning a great idea but continuously pushing it forward. When asked about Botox, she expresses a preference for natural beauty, stating that women are amazing, beautiful, and sexy at every age, and believes Botox can actually age a person by altering their "soul." She describes her mother as "fabulous" and finds it impossible to select a single soundtrack for her life. Looking to the future, Tobin plans for the global expansion of her brand, with upcoming ventures into fragrance, candles, body care, and chocolate. She defines happiness as her faith and asserts that there is always a time and place for cocktails. Tobin also expresses concern about the prevalence of negative and exploitative news, advocating for a greater focus on solutions and the people, places, and organizations making a positive difference. In her concluding remarks, Tobin reflects on a life filled with amazing friends and family, extensive travel, love for her pets, abundant laughter, occasional tears, and an unwavering refusal to accept "no" for an answer. She cherishes the great loves of her life, holding them perpetually in her heart. The article is accompanied by photos, including a portrait by Michelle Peerali, all provided with permission from Tobi Tobin. #InteriorDesign #TobiTobin #HomeDecor #DesignerInterview #LosAngelesDesigner #LuxuryLiving #ArchitecturalDigest #HouseBeautiful

Laura Kirar, an internationally acclaimed American-born, Mexico-based interior and product designer, shares insights into her unique style, diverse inspirations, and creative process. Her design philosophy emphasizes the combination of raw materials with her deep understanding of art, architecture, fashion, and music. Kirar’s early influences stem from her upbringing in Chicago, where she was exposed to significant art and architectural collections, including works by Daniel Burnham, Louis Sullivan, Mies van der Rohe, Frank Lloyd Wright, Brancusi, Georgia O’Keeffe, René Magritte, and Salvador Dalí. These foundational experiences shaped her perspective, leading her to view furniture as sculptural objects and spaces as canvases for human experience. Kirar's passion for both art and architecture guided her career choice. She describes her approach as abstract, knowing when to adhere to design principles and when to innovate. The ability to create environments where lives unfold is a powerful motivator for her. Her current inspirations include contemporary artists, fashion designers, and musicians such as Peter Zumthor, David Wiseman, Milena Muzquiz, Monica Rezman, and Marcela Diaz. She expresses a particular fondness for coral pink in all its hues, describing it as luminous and soothing, suitable for various applications from walls to textiles. Travel plays a significant role in Kirar's inspiration, leading her to discover unique shops worldwide. In Mexico City, she frequents Trouve for vintage items. New York offers Les Atelier Courbet, The Future Perfect, and Artemest. In London, she highlights The Carpenters Workshop Gallery at Ladbroke Hall, and in Paris, Pierre Frey for textiles, along with various antique and vintage markets like Marche Biron. Mexico itself is a profound source of inspiration, influencing her sense of color, scale, and textures, and fostering her appreciation for traditional crafts found in its mountains, valleys, and cities like Oaxaca and the Yucatan. Kirar is also a passionate collector, believing that artists benefit from surrounding themselves with inspiring objects. Her collections include vintage chairs, ceramics, pottery, art books, hand-woven textiles, vintage cowboy boots, and silver Navajo accessories, all chosen for their stories. She recently acquired her fourth art piece by Cisco Jimenez, suggesting a new collection in the making. Her personal art collection includes a Cindy Sherman photograph, which has inspired the palette for an entire room. Beyond visual arts, Kirar finds inspiration in film, particularly through MUBI, enjoying classic films, film noir, thrillers, and sci-fi. She also has eclectic musical tastes, ranging from The Cure to opera, classical, rock, punk, and jazz, appreciating the intimacy of live performances. Among her extensive product designs, which number over a thousand, she favors the Mar floor lamp and Vargueno chair from her collection with Arteriors. Her Vir Stil and Paletta bath collections for Kallista have been bestsellers for two decades, and her Caviar chandelier for Arteriors has consistently topped its bestseller list since 2010. Kirar also enjoys cooking, drawing on her Italian heritage to create dishes like pici al limone with sautéed radicchio. She also puts a contemporary spin on traditional Mexican chiles rellenos. Her philosophy is that cooking can be spontaneous and creative, often improvising with available ingredients. This reflects her broader approach to design and life – a blend of diverse influences, personal passion, and creative adaptation. #InteriorDesign #ProductDesign #LauraKirar #CreativeProcess #ArchitecturalInfluence #ArtInspiration #MexicanCrafts #DesignPhilosophy #GlobalTravel

World-renowned interior designer Thom Filicia, known for his work with celebrity clients and brands, and his appearances on popular TV shows, shares his insights on the crucial role designers can play in the mattress industry. Filicia, who heads the influential New York design firm Thom Filicia Inc., advocates for a stronger partnership between designers and mattress manufacturers, highlighting the mutual benefits such collaborations can bring. He notes that the bedding industry, with its continuous influx of new companies and diverse mattress types, often presents a confusing landscape for consumers. Designers, as trusted authorities on home and lifestyle, can bridge this information gap, offering clarity on various mattress attributes like look, feel, price point, and thickness. This guidance empowers consumers, whether homeowners, architects, or hotel brands, to make informed decisions without the exhaustive process of individual research and in-store testing, ultimately boosting their confidence in purchases. Filicia emphasizes that a strong relationship between designers and manufacturers is mutually advantageous. For his design firm, having a curated selection of preferred mattresses would streamline the design process and enhance client satisfaction. He recounts instances where the absence of designer involvement in mattress selection led to client dissatisfaction or overlooked purchases, underscoring the necessity for integrated product recommendations. He envisions a scenario where his firm could confidently recommend specific mattresses, detailing their comfort, health benefits, and sustainability, backed by a reliable manufacturer relationship that ensures product quality and easy exchanges if needed. This type of collaboration would simplify the purchasing journey for clients and solidify the designer's role as a comprehensive resource for home furnishings. Beyond client-facing benefits, Filicia believes that designers can significantly amplify a manufacturer's market presence. Designers often share information and expertise within their community, acting as enthusiastic advocates for products they trust. Their deep understanding of product details, often beyond what the average consumer knows, allows them to articulate a product's value proposition effectively. Filicia views the bedding world as an "untapped moment" for such collaborations, suggesting that designers can contribute to a product's stronger presence both in sales and within the design community. He expresses a desire to be part of the product story, from manufacturing processes to material benefits, ergonomics, and sizing, ensuring that he can genuinely believe in and promote the items. When asked about potential improvements to mattresses, Filicia advocates for greater clarity and user-friendliness, acknowledging that mattresses are a significant part of one's life. He suggests simplifying the understanding of different mattress sizes and thicknesses, as many consumers do not grasp the reasons behind these variations. He also proposes designing mattresses to be aesthetically pleasing even when uncovered, complementing the interior decor. For his hypothetical mattress line, a key must-have would be a balance of competitive pricing, sustainability, health, and wellness, making the purchasing process as straightforward as ordering lunch. His design philosophy for bedrooms centers on creating a personalized oasis that reflects the resident's lifestyle, whether it's a primary or secondary residence, and accommodates various functions from work to relaxation. The pandemic has further solidified the bedroom's role as a multifunctional space, adapting to needs like recuperation, family connection, work, and entertainment. He defines the modern bedroom as a reflection of personal style and adaptability, moving beyond a simple set of sheets to become a bespoke environment that is inspiring, comfortable, stylish, cool, and warm—embodying all the best attributes one would associate with a trusted friend and a fulfilling life experience. #BeddingDesignTrends #InteriorDesign #ThomFilicia #MattressIndustry #BedroomDesign #HomeDecor #LuxuryBedding #DesignerCollaboration #ConsumerConfidence

Abbi Jacobson, known for her role in Comedy Central's 'Broad City,' discusses her art podcast, 'A Piece of Work,' created in collaboration with the Museum of Modern Art (MoMA) and WNYC. Jacobson, a trained illustrator with a fine arts and video production background from the Maryland Institute College of Art, comes from a family of creatives. Her father and brother are graphic designers, and her mother is a found-object artist. The podcast offers an accessible entry point into the art world, featuring Jacobson and guests like Questlove and Tavi Gevinson exploring various art topics with MoMA's expert curators. Jacobson aimed to learn alongside her audience, making the content relatable for those without extensive art backgrounds. Key moments from the podcast include a visit to MoMA's restoration lab, where Jacobson saw an Yves Klein painting up close, and witnessing Hannibal Buress attempt to spin Marcel Duchamp's 'Bicycle Wheel.' Jacobson also recounts walking through Donald Judd's house with his son, Flavin, gaining insight into Judd's unique lifestyle. She expresses a desire for a second season, noting how her interest in art history has grown since college and how the positive feedback confirmed the podcast's goal of making art accessible. Discussing her personal art collection, Jacobson mentions owning poodle drawings by Susumu Kamijo and artwork from friends. She primarily has larger pieces from her college days, some of which were used in her character Abbi's apartment on 'Broad City.' Jacobson reveals a strong interest in interior design, influenced by her upbringing in a historic 1821 house near Philadelphia, where her mother favored antiques and her father leaned towards midcentury modern aesthetics. Her own design style is a blend of midcentury pieces with a cozier feel, incorporating items from various sources like Anthropologie. Despite her acting career, Jacobson still harbors a passion for art, having published a graphic novel, 'Carry This Book.' She looks forward to dedicating more time to drawing and hopes to establish a studio space someday. Jacobson also shares an amusing anecdote about an embarrassing moment at a Matisse exhibit at MoMA with her 'Broad City' co-star Ilana Glazer, highlighting how their combined presence drew unwanted attention. Her dream art acquisition would be a painting by Jonas Wood, an artist she greatly admires for his work and his collaboration with his potter wife, Shio Kusaka, despite the high cost of his pieces. Jacobson's podcast successfully bridges the gap between the art world and a broader audience, fostering a sense of curiosity and appreciation for art among listeners who might otherwise find it intimidating. Her personal journey and evolving relationship with art underscore the podcast's core mission of demystifying complex artistic concepts through engaging and humorous discussions. #AbbiJacobson #APieceOfWork #ArtPodcast #MoMA #WNYC #InteriorDesign #ArtHistory #BroadCity #CelebrityInterview #MidcenturyModern

The podcast 'Sense of Space,' presented by Turf and the SURROUND Podcast Network, delves into various aspects of design through conversations with designers, architects, and creatives. Co-hosted by Turf brand director Faraz Shah and designer Ella Hazard, the show explores topics ranging from what creates 'a vibe' to whether buildings possess souls. In episode three, titled 'Does Nature Design Things?', Shah and Hazard are joined by Carolyn Noble, an interior designer specializing in sensory and biophilic elements. The episode focuses on biophilia, extending its definition beyond just visible greenery to encompass the broader impact of natural elements on the built environment. Noble emphasizes that biophilic design offers numerous approaches, referencing Terrapin Bright Green's 14 patterns of biophilic design. She highlights water as a versatile biophilic element, which can manifest as a babbling fountain, a mosaic depicting ocean waves, or a mural utilizing blue hues. While acknowledging the benefits of plant life, such as their ability to absorb CO2, off-gassing, and sound, and to produce oxygen, Noble stresses the importance of localized solutions. She advises designers to draw inspiration from local materials and surroundings, from natural stone to indigenous greenery and textures, to achieve the most significant impact. However, the hosts also caution that context is crucial in biophilic design. They provide the example of a bird song in an office setting, which might be jarring due to its unnatural presence in an enclosed workspace. Instead, designers should aim to create dynamic soundscapes that engage a variety of sensory experiences appropriately. Hazard recounts her experience returning to her hometown in Vermont, where the sound of crickets, while natural, felt unnerving compared to the urban sounds of Los Angeles, demonstrating how different natural sounds can impact an individual's sense of comfort and ability to adapt. At its core, the creation of any biophilic space demands mindfulness regarding how different elements interact, ultimately fostering environments that are layered, serene, and promote a sense of connection to nature. #BiophilicDesign #SenseOfSpacePodcast #InteriorDesign #NaturalElements #SensoryExperiences #BuiltEnvironment #DesignPodcast #SustainableDesign #WellnessDesign