Wainscot Moulding Showcase From Metrie

Wartski, a venerable dealer of antique Russian artwork, particularly those by Carl Fabergé, and jeweler to the British royal family since 1865, has opened a new London boutique. The design for this new space was undertaken by architecture studio Waldo Works, known for its work with clients such as Selfridges and Smythson. The central concept guiding the design was the golden ratio, a time-honored mathematical principle. This design approach reflects Wartski's long-standing history and its association with tradition and royalty, including crafting wedding rings for Camilla, Duchess of Cornwall, and Catherine, Duchess of Cambridge. The 2,700-square-foot boutique incorporates elements that subtly reference Wartski’s origins in North Wales. The entrance to the sales gallery is flanked by upper walls of ribbed concrete, intentionally faceted and flecked with slate chips sourced from Welsh quarries. This detail serves as a direct homage to the firm's historical roots. Above, the ceiling is coffered, featuring a classical geometry that aligns with the golden ratio theme, contributing to an overall sense of order and elegance. Below these architectural features, expansive display cases are designed to slide open electronically, combining modern functionality with traditional aesthetics. Throughout the boutique, a consistent use of materials and color palette reinforces the brand's heritage and the design's underlying principles. The flooring is covered with woven wool carpeting, specifically chosen in a Welsh green color, further emphasizing the connection to North Wales. The meticulous selection of materials and their arrangement within the space are not just aesthetic choices but also serve to enhance the presentation of Wartski’s high-value items, such as antique Russian artwork and jewelry, including pieces from Carl Fabergé. Key design elements within the boutique include the stainless steel trims that complement the ribbed concrete walls, adding a touch of contemporary elegance while maintaining the classical structure. The front sales gallery is designed to be both inviting and secure, creating an appropriate setting for the display of rare and valuable artifacts. The private sales room features a portrait of Queen Alexandra, a visual cue that underscores six generations of British royal patronage, reinforcing the firm's esteemed client base and historical significance. The project by Waldo Works for Wartski's new London boutique demonstrates a blend of historical reverence and sophisticated design, where every detail, from the material choices to the spatial arrangement, contributes to an environment that celebrates the firm's legacy and its dedication to exquisite craftsmanship. The application of the golden ratio provides a harmonious framework, ensuring that the boutique is not only a retail space but also a reflection of Wartski’s enduring prestige and connection to its origins. #Wartski #WaldoWorks #LondonBoutique #GoldenRatio #InteriorDesign #RetailDesign #JewelryBoutique #WelshHeritage #LuxuryRetail

This article explores the aesthetic and functional benefits of timber mouldings, which are high-quality and affordable decorative elements available at Wickes. It highlights a comprehensive range of pre-cut interior timber mouldings, including skirting, architrave, dowels, and quadrants, designed to add elegance and character to any living space. The article emphasizes that these mouldings serve as perfect finishing touches, enhancing the visual appeal of walls, windows, and doors, and contributing to a cohesive interior design. It details various types of mouldings offered, such as wall panels, decorative mouldings, stripwood, beading, angle trim, dado and picture rails, quadrant mouldings, covers, skirting boards, scotia beading, and wooden dowels. Each category is briefly introduced, showcasing the diversity of options available to homeowners and DIY enthusiasts. The article positions these mouldings as easy to install, catering to both professional builders and individuals undertaking home improvement projects. It suggests that by incorporating these elements, homeowners can elevate the aesthetic of their interiors, creating a more refined and finished look. The availability of different styles ensures that there is a moulding solution to match various architectural preferences and interior design themes. The piece also provides practical advice, recommending that customers consider complementary products like paints and primers to achieve professional-grade results and complete their decoration projects. This guidance underscores the importance of a holistic approach to home renovation, where mouldings play a crucial role in tying together different design elements. The overall message is that these timber mouldings are not just decorative but also instrumental in adding a sophisticated and complete look to any room, offering both charm and structural definition to a home's interior. #HomeDecoration #InteriorDesign #TimberMouldings #DIYHomeImprovement #ArchitecturalDetails #WallPanels #SkirtingBoards #DecorativeElements

The article highlights current trends and innovations in the moulding, millwork, and trim industry, focusing on products that offer easier installation, greater durability, and enhanced aesthetic options for homeowners and builders. Manufacturers are responding to a growing demand for low-maintenance, long-lasting design solutions as homeowners increasingly choose to renovate and upgrade their existing residences rather than relocating. This shift has led to a focus on products that simplify home upkeep and boost curb appeal, catering to a desire for unique architectural details that differentiate homes. Several companies are making strides in product development and market strategies. Versatex, for instance, has expanded the application of PVC trim beyond traditional uses like fascia and soffit to include non-structural exterior elements such as shade structures, louvers, shutters, and outdoor living areas. Their Canvas Series, a PVC porch ceiling product, offers an alternative to wood with various finishes, addressing a niche market for high-end wood aesthetics without the associated maintenance. Azek Building Products emphasizes the importance of low-maintenance options, noting that homeowners are seeking products that reduce the need for frequent painting or replacement, thereby providing good curb appeal and long-term value. Nu-Wood focuses on differentiation, offering products that allow homeowners to customize their homes with architectural details and providing options for popular darker color choices in urethane materials. Ply Gem has streamlined its cellular PVC trim and moulding offerings into two categories: "Build Ready" for standard mid-grade jobs and "Design Ready" for custom, high-end projects requiring fabrication. The "Build Ready" line incorporates features like peelable protective film to keep products clean during transport and on jobsites, and a sealed edge for durability. AZEK also offers innovations like Flange Slotted Window Trim, which eliminates the need for shims around window frames, significantly reducing installation time. James Hardie promotes a comprehensive fiber cement solution, allowing dealers to order a full house of siding and trim products on a single truck. This approach simplifies inventory management and offers customers a durable, stable, and fire-resistant package with factory-painted options and extended warranties. MiraTEC by Jeld-Wen focuses on ease of installation with its trim products that handle like wood, and recently introduced Smooth Select, a trim offering with a super smooth finish and square edges, along with features like moisture, rot, and termite resistance, a reversible panel, and a 50-year warranty. Fypon has launched two new lines of polyurethane crossheads, the Craftsman Cove and Distinctions Crosshead, designed for easier ordering and installation, offering various sizes and styles to match different home aesthetics, including Craftsman and bungalow styles. BlueLinx highlights the resurgence of Craftsman and Farmhouse styles, driving demand for its PrimeLinx real wood products, which feature advanced exterior primers and glues, making them ready to paint and easy to install. Kleer, with its PVC products, addresses the need for high-quality, low-maintenance, and aesthetically pleasing solutions, introducing new PVC outside corners with integrated nailing flanges for shake and shingle siding. Boral Light Building Products offers TruExterior Trim, made from a blend of polymers and fly ash, designed for dimensional stability and resistance to warping, cracking, and splitting. Boral's recent additions include double-profile beadboard for increased coverage and trim accessories to save installers time. Palight trimboard by Palram emphasizes easy installation and reduced on-site project time with its free-foam PVC trim featuring EverClean™ protective film, sealed edges, and two finishes. Royal Building Products is expanding its Royal Conceal Trim System with new Conceal Column Wraps, New Construction Window and Door Surrounds, and Water Tables, all designed for simplified installation and a polished finish. These developments reflect a strong industry focus on providing adaptable, durable, and user-friendly products that meet evolving homeowner preferences and construction efficiencies. #Moulding #Millwork #Trim #HomeRenovation #BuildingMaterials #LowMaintenance #CurbAppeal #InstallationEfficiency #ArchitecturalDetails

The exhibition “Je Marchais Pieds Nus Dans L’Étang” by Vincenzo De Cotiis, presented at Carpenters Workshop Gallery in New York City, features a collection of 50 unique works that blur the lines between design and art. This multi-piece spatial composition draws inspiration from Claude Monet’s later water lily landscapes, which became increasingly abstract, translating the ethereal quality of a lily pond into a sculptural experience. The exhibition, whose title translates to “I Walked Barefoot in the Pond,” creates an immersive environment composed of cast white bronze and hand-painted sculpted Murano glass, inviting viewers to experience a marshy dreamscape. The works are characterized by their organic yet slightly sci-fi aesthetic, embracing a duality that De Cotiis describes as both “serene and restless.” Skeletal stems and polished surfaces evoke both natural forms and alien structures, generating a tension between solidity and translucence, stillness and movement. A specially curated ambient soundtrack enhances the meditative atmosphere, encouraging a slow and contemplative viewing experience. Julien Lombrail and Loïc Le Gaillard, founders of Carpenters Workshop Gallery, explain that De Cotiis reimagines Monet's timeless masterpiece through a contemporary sculptural language. The exhibition functions as a cohesive installation, where individual artworks contribute to an overall landscape effect, yet each piece retains its unique significance and identity. The artists discuss how the exhibition primarily explores material transformation, with sculptures appearing as enigmatic creatures with distorted forms and surreal, skeletal stems, reminiscent of water lilies moving beneath the surface. This dynamic spatial composition is designed to make viewers perceive objects differently as they move through the installation, exploring how memory and perception can be distorted or transformed. The use of painted Murano glass and cast white bronze captures the essence of water, with light refracting across the surfaces to create an interplay of opacity and translucency. The exhibition also presents a contemplative counterpoint to the fast-paced urban environment of New York, inviting viewers to slow down and reconnect with the transformative power of nature. By recreating the sensation of a pond with ethereal creatures, the installation encourages a deeper consideration of environmental forces. De Cotiis is noted for his distinctive sculptural language, which merges ancient idioms with futuristic forms. His approach to materials creates otherworldly, reflective surfaces, transforming imperfections and patinas into elements of beauty. In a contemporary design landscape that constantly reinvents age-old materials, De Cotiis suggests that crafted objects can exist simultaneously as timeworn relics and visions of future worlds, pushing the boundaries of collectible design and sculptural practice. #VincenzoDeCotiis #CarpentersWorkshopGallery #SculpturalDesign #ContemporaryArt #MaterialTransformation #Exhibition #MonetInfluence #ImmersiveExperience #CollectibleDesign

Carpenters Workshop Gallery in London is hosting 'Run & Hide,' the first solo exhibition for Dutch designer Maarten Baas at their new London space. This exhibition offers a preview of the upcoming major retrospective of Baas's work, titled 'Hide and Seek,' at the Groninger Museum in the Netherlands. The London show highlights four significant collections from the designer's career, showcasing his unique approach to furniture design. One of the featured collections is 'Close Parity,' first unveiled during Dutch Design Week 2016. This collection comprises five furniture pieces that originate from what Baas describes as 'naive sketches.' These initial, childlike drawings are then extruded into three-dimensional forms. The design philosophy behind 'Close Parity' intentionally disregards conventional constraints such as gravity and logistical concerns, allowing the whimsical and irregular lines of the original sketches to be faithfully translated into physical objects. The resulting brass pieces retain the eccentricities and intricate details of the sketches, often appearing as almost impossible, off-balanced, and top-heavy sculptures. To achieve structural stability, heavy counterweights are discreetly incorporated within the pieces. The collection exemplifies a blend of childlike form and logic with meticulous craftsmanship and a sophisticated understanding of materials and physics, as the imperfections of the linework are rendered in pure brass. The exhibition also marks the UK debut of Maarten Baas's 'Carapace' collection. This series draws inspiration from the protective, decorative, or camouflaging shells found on animals like beetles and turtles. First presented at Carpenters Workshop Gallery New York in 2016, the 'Carapace' collection includes a desk, a cabinet, an armchair, and a cupboard, each reflecting the thematic influence of organic shells. Additionally, the show features two of Baas's renowned 'Clay Chairs.' While typically available as an open edition, a special bronze version has been created to commemorate the design's 10th anniversary, adding a unique element to the display. A piece from the designer’s celebrated 'Real Time' collection is also on view. This includes a bronze 'Grandfather Clock,' an early example of Baas’s innovative timekeeping designs. These clocks feature a 12-hour video of a man drawing and erasing the minute and hour hands directly onto the clock face. The 'Real Time' series has garnered significant recognition and is now part of numerous museum collections worldwide. Amsterdam's Schiphol Airport recently commissioned a large-scale version of this clock for its main hall, underscoring its iconic status. Finally, a prominent piece from the 'Smoke' series is included in the exhibition. In this series, furniture pieces are entirely carbonized using a blow-torch, a process that intentionally highlights human intervention and transforms perceived flaws into aesthetic qualities. These designs, which were part of Baas’s graduating show at Design Academy Eindhoven in 2002, have since been acquired by prestigious institutions such as the Victoria & Albert Museum and the Groninger Museum. The 'Run & Hide' exhibition thus offers a comprehensive overview of Maarten Baas's distinctive and critically acclaimed design philosophy. #MaartenBaas #FurnitureDesign #CarpentersWorkshopGallery #Exhibition #CloseParity #CarapaceCollection #RealTime #SmokeSeries #DutchDesign

The Arts and Crafts Movement, originating in the late 19th century, is experiencing a resurgence in interior design for 2025. This movement was a direct response to the industrialization of the Victorian Age, emphasizing craftsmanship, honest materials, and the beauty of nature over mass-produced goods. Its core philosophy revolves around creating unique designs that celebrate quality craftsmanship, natural textures, and nature-inspired motifs, resulting in a layered and cozy aesthetic. The essence of Arts and Crafts interiors lies in using locally sourced natural materials that reflect traditions rather than transient fashion. The focus is on well-made furniture that serves both functional and decorative purposes. Pioneering figures like William Morris and C.F. Voysey championed intricate patterns of stylized flora and fauna, which became hallmarks of wallpapers and furnishing fabrics. The contemporary approach to this style involves incorporating pieces that highlight the maker's skill, such as handmade pottery, hand-woven rattan furniture, and hand-embroidered upholstery. These elements are often combined with warm-colored rugs, pleated lampshades, and abundant patterns to create inviting spaces. Key aspects of reintroducing Arts and Crafts decor include embracing nature-inspired color palettes. While often perceived as dark, these interiors primarily utilized warm, earthy tones like russet, greens, ochres, and browns, complemented by stronger blues and teals. The emphasis is on the finishes, which bring out the natural world's tranquility and warmth. Wood, a fundamental element, is often paired with these earthy hues to balance its inherent darkness. Avoiding modern, stark finishes and colors like brilliant whites and neons is crucial to maintain authenticity, as these can disrupt the traditional scheme. Careful modulation of colors and finishes is paramount, ensuring that elements like oak paneling are neither too dark to create gloom nor too light to appear incongruous. Wallpapers are a distinctive feature, with classic floral designs being iconic. William Morris's patterns, such as 'Strawberry Thief' and 'Blackthorn,' remain relevant, available in original and refreshed colorways. These vintage prints, featuring botanicals and fruits, are timeless choices for creating traditional coziness. Decorative lighting also plays a significant role; the era's fixtures were elegant and intricate, often incorporating stained glass, notably from Tiffany Studios. Ornate sconces and desk lamps, inspired by designers like W.A.S. Benson, who innovated electrical lighting, contribute to the cozy ambiance. Original pieces are sought after, but contemporary alternatives also capture the spirit. Handmade and vintage decor, including pottery, textiles, and artwork, are essential for adding character and authenticity. The movement's ethos prioritizes quality, craftsmanship, and a connection to nature. Vintage ceramics from makers like Roseville, or hand-stitched textiles, reflect this value. Sourcing quality antique wood furniture, which eschews mass production, is another way to embody the style. Pieces with ornate details and dark wood, like the 'Sussex open armchair,' align with this vintage furniture trend. Lastly, incorporating Arts and Crafts-inspired tiles, especially for kitchens and bathrooms, with floral and fauna motifs and rich earthy glazes, completes the aesthetic. These can manifest as tile murals or subtle engraved tiles, bringing a sense of history and character to modern spaces without needing to source original, hard-to-find tiles. #ArtsAndCrafts #InteriorDesign #VintageDecor #NaturalMaterials #Craftsmanship #HomeDecorTrends #WilliamMorris #NatureInspired #Antiques

The Edinburgh gallery Bard presents a new exhibition titled 'Bardware,' which aims to reframe the perception of craft from an exclusive, high-art domain to an accessible, everyday practice. Founded by Hugo Macdonald and James Stevens, Bard seeks to bridge the gap between craft as a specialized hobby and as luxury objects, instead focusing on items designed for daily use and sensory engagement within the home. The inspiration for 'Bardware' stems from the founders' appreciation for traditional hardware stores, which they view as symbols of optimism and the human capacity to make, fix, build, and repair. The exhibition features works from 20 Scottish craftspeople, designers, and artists, all commissioned to create objects that enhance daily domestic life. The brief encouraged the artists to produce items that could be touched and used regularly, challenging the conventional hands-off approach often associated with gallery exhibits. The display includes a diverse range of functional and decorative items, such as Primitive Arrangement vases by Nick Ross, two-armed candelabras by David Taylor, and architectural toilet-roll holders crafted by Juli Bolaños-Durman from salvaged materials. Other notable pieces include James Rigler’s bronze-glazed ceramic 'Greek Knobs,' Oliver Spendley’s bowls made from polished mountain rock shards, and All About Willow’s hand-turned cherry porridge spurtles. The collection also showcases Clement Knives’ pocket knives made from whisky-barrel hoops, Eve Eunson’s baskets woven from sea plastic collected from Shetland’s beaches, and Studio Viv Lee’s devotional ceramic characters. Additionally, Jess White contributes leather-wrapped boulder doorstops, while Araminta Campbell offers cozy alpaca hot-water bottle covers. Each piece is presented to encourage interaction, emphasizing the tactile and experiential qualities of craft. This exhibition marks three years since Bard opened its doors in Leith, establishing a unique approach to presenting and selling craft. Macdonald highlights the importance of humor and mild irreverence in making craft more approachable and moving it beyond the confines of a museum setting into everyday life. He acknowledges the cost associated with handcrafted items but underscores their inherent value, contrasting this with the societal issue of cheap, mass-produced goods. Since its inception, Bard has observed a significant increase in public engagement with craft, marked by a greater willingness to purchase, utilize, and inquire about the practitioners, materials, and skills involved. Macdonald believes that craft is a fundamental 'life force' that enriches human experience and fosters connections across cultures and time. He posits that craft is not a regressive or counterbalancing force to design and technology but rather a parallel and powerful element that becomes even more impactful when integrated into modern life, indicating a collective awakening to its enduring relevance and value. #CraftExhibition #ScottishArt #HomeDecor #DesignInteriors #FunctionalArt #BardGallery #EverydayObjects #HardwareShopInspiration #ContemporaryCraft

The Mary Heaton Vorse house in Provincetown, a historic home purchased by interior designer Ken Fulk, serves as a unique exhibition space for the Provincetown Arts Society. Rather than a conventional white-box gallery, the house, with its meticulously renovated yet historically preserved interiors, provides a domestic setting for showcasing art. Gene Tartaglia, director of the Provincetown Arts Society, highlights the distinctiveness of exhibiting art within this context, noting that the art “resonates in a way it doesn’t in a gallery.” This approach creates a more intimate and personal connection between the artwork and the viewer, contrasting sharply with the often sterile environment of traditional galleries. The current exhibition, “A Community Affair: PAGA at the Mary Heaton Vorse House,” is the largest to date, featuring 140 works by 40 artists from 14 galleries, all members of the Provincetown Art Gallery Association. This marks the second group show for PAGA at the Vorse house. The interior design, overseen by Fulk, intentionally retains elements of the house's history, such as peeling paint, exposed laths, and worn treads, which are complemented by eclectic furnishings. These historical traces provide a rich backdrop against which contemporary and traditional artworks are displayed, creating a dialogue between the past and present. Tartaglia emphasizes the curatorial process, which involves considering how each artwork interacts with the house's interior. For example, Joel Janowitz’s watercolors of dune pathways are strategically placed next to a window, giving the impression that the pathway leads outside. Rob DuToit’s painting, "The Raft," with its cool tones, harmonizes with the patina of the wall behind it. Joshua Meyer’s "Polyphony," a portrait painted with a palette knife, finds a textural kinship with the exposed wood where it hangs. These thoughtful placements create “vignettes” throughout the house, encouraging close looking and discovery in various nooks and hidden corners. Notable pieces in the exhibition include Jane Paradise’s photograph of a dune shack, displayed in a small bathroom, offering a unique self-reflection moment for the viewer. "Mary’s Room," formerly Vorse’s bedroom, hosts a range of historical and contemporary paintings, including Charles Hawthorne’s full-length female nude, whose demure pose and placement reflect the sensibilities of its era. Another bedroom features Mike Carroll’s abstract painting, "Pareidolia," whose horizontal width corresponds to the bed next to it, inviting contemplation on its title's meaning. Downstairs, Bailey Bob Bailey’s "GLOW" at the east entrance complements and contrasts with the surrounding bookshelves, showcasing its compositional symmetry and stacked forms. The Provincetown Arts Society, under Tartaglia's direction, aims to be a “conduit and collaborator” for existing arts organizations in Provincetown. Beyond exhibitions, it hosts artist residencies, fundraising events, film screenings, dinners, and lectures. Tartaglia curates based on his instinct and personal preferences, believing that if he loves a piece, others might too, leading to sales that support the artists. The unique atmosphere of intimacy and informality at the Vorse house fosters a personal connection between art, artists, and the community, embodying the quirky spirit of Provincetown. The exhibition is open on Fridays from 5-7 p.m. and Saturdays from 11 a.m.-3 p.m. through May 18, and admission is free. #ProvincetownArtsSociety #MaryHeatonVorseHouse #ArtExhibition #KenFulkDesign #ProvincetownArtGalleryAssociation #CuratorialPractices #LocalArtists #HistoricHome #CommunityArts

William Morris, a pivotal figure in the Arts and Crafts movement, championed bringing the beauty of nature into homes through his textile designs. More than 160 years after his contributions, Morris & Co., the revived company he founded, continues this legacy by introducing an Outdoor Performance collection. This new line features durable, UV- and water-resistant fabrics with antimicrobial and colorfast properties, all while retaining Morris’s iconic nature-inspired patterns. The collection is designed to withstand robust use in various outdoor environments, from sunrooms to garden terraces, effectively completing a full circle by returning these historic designs to an outdoor context. The lead designer for Morris & Co., Jessica Clayworth, highlighted that the core inspiration for William Morris was to integrate nature's beauty into indoor spaces. The new collection extends this philosophy to the outdoors, utilizing advanced manufacturing techniques at the company's factory in Lancashire, U.K., to ensure both durability and the preservation of the original aesthetic of the 19th-century designs. The fabrics are crafted to be high-performance, suitable for family homes and various outdoor conditions, while maintaining the archival feel of Morris's artwork. To demonstrate the versatility and style of this 25-fabric collection, Morris & Co. collaborated with Houston-based interior designer Courtnay Elias of Creative Tonic Interior Design. Elias redesigned her own outdoor space, drawing inspiration from the Amalfi Coast with a palette of blues, greens, and lemon yellows. Her approach involved a traditional yet original concept, incorporating pleated welts on cushions and soft ruffles on pillows. Elias emphasized the importance of treating outdoor spaces with the same design consideration as indoors, suggesting that furniture layout should precede fabric selection. She also noted the practical benefits of adding elements like drapery to outdoor areas, especially in climates with intense sun. Elias, known for her expertise in layering patterns, combined various scales and types of prints, such as florals with geometrics like plaids, and linear vine patterns with smaller-scale florals. This layering technique achieved a sophisticated and curated look that seamlessly extends the style of her home's interiors to the exterior. The designer praised the adaptability of the new fabrics, recounting an incident where spilled red wine beaded up and was easily wiped away, demonstrating the material's resilience. Her college-aged son and his friends have also tested the durability of the fabrics through regular use, with everything holding up beautifully. The introduction of the Morris & Co. Outdoor Performance collection has transformed Elias's outdoor living experience, encouraging her family to move indoor activities outside. This shift has led to more time spent lounging, entertaining, and enjoying nature in an enchanting extension of their home. The collection not only merges historical artistry with modern functionality but also exemplifies how outdoor spaces can be both stylish and comfortable, honoring William Morris’s original vision. #WilliamMorris #ArtsAndCrafts #OutdoorFabrics #PerformanceFabric #TextileDesign #HomeDecor #InteriorDesign #OutdoorLiving #CourtnayElias

Wilsonart has expanded its Timeless Luxury Collection by introducing six new Solid Surface designs. These additions are presented in cool tones of white and gray, offering versatility for both residential and commercial applications. The patterns are engineered to be combinable with other recently launched Wilsonart Quartz and Laminate options, allowing for the creation of customized surfaces. The Solid Surface material itself boasts several practical benefits, including renewability, non-porosity, and resistance to fading, heat, mold, mildew, and stains. Furthermore, the material has achieved GREENGUARD Gold Certification, indicating its low chemical emissions and contribution to healthier indoor air quality. Natalia Smith, design manager at Wilsonart, emphasizes that these six new patterns in the Timeless Luxury Collection are intended to foster design creativity. She highlights their potential for integration with diverse materials or as standalone design elements, providing a strong foundation for crafting personalized spaces. The article proceeds to detail each of the six new patterns, offering a glimpse into their aesthetic characteristics and potential uses. One of the new designs is 'Arctic Dune,' a white-on-white pattern distinguished by organic linear movement and shimmering white flecks. This design also offers the capability of being backlit, enhancing its visual impact. Another addition is 'Kimberlite,' which draws inspiration from concrete with its gray quartz appearance, interspersed with clear and translucent particulates, giving it a unique depth and texture. 'Grey Beola' presents a quartz-inspired look, mimicking vein-cut stone with a sophisticated blend of white, charcoal, and warm gray tones. 'Brooklyn Concrete' is characterized by a medium gray surface, subtly accented with small white, brown, and and black flecks, evoking an urban aesthetic. 'Tumbled Stone' introduces a lighter, warmer taupe hue, featuring medium gray and small white and brown particulates that add to its natural, earthy appeal. Finally, 'Luminous White' is a solid white surface designed for both its clean aesthetic and its ability to be backlit, similar to 'Arctic Dune', offering an opportunity for dynamic lighting effects. These new Solid Surface options aim to provide designers and homeowners with an expanded palette of durable and aesthetically pleasing materials for various interior design projects, reinforcing Wilsonart's commitment to offering versatile and high-quality surfacing solutions. #Wilsonart #SolidSurface #TimelessLuxuryCollection #InteriorDesign #HomeRenovation #CommercialDesign #BuildingMaterials #Countertops #DesignInnovation

The Shade Store and Benjamin Moore, two prominent brands in the home furnishings and design industry, recently collaborated to host an event focused on color trends and the importance of quality paint. This event, held at The Shade Store’s showroom in Charlotte, North Carolina, brought together 20 local designers for an evening of networking, education, and inspiration. The event commenced with a welcoming reception where attendees mingled and explored The Shade Store's extensive range of materials and product displays. These displays showcased various styles of window treatments, providing designers with tangible examples of the company's offerings. The atmosphere was designed to be informative yet relaxed, allowing professionals to interact and share insights. A key component of the evening was a CEU (Continuing Education Unit) presentation titled “Color of the Year 2022 and Color Trends,” led by Candice Carter, Benjamin Moore’s architectural design representative for the Charlotte region. The presentation delved into critical aspects of color, emphasizing the significance of paint quality, color theory education, and innovative ideas for incorporating current color trends into design projects. Carter's session aimed to equip designers with practical knowledge and creative inspiration to enhance their work. This collaboration between The Shade Store and Benjamin Moore is not a new endeavor. The two companies previously partnered on “A Match Made in Color,” a catalog that curated color schemes by pairing custom window treatment materials from The Shade Store with complementary paint colors from Benjamin Moore. This initiative highlights their ongoing commitment to providing comprehensive design solutions and supporting the interior design community. Feedback from participants and organizers underscored the event's success. Candice Carter of Benjamin Moore expressed gratitude to The Shade Store for hosting an event that successfully informed and inspired design professionals on 2022 color trends and the concept of “Protecting Their Color Vision.” She also anticipated future collaborations, indicating a strong partnership between the brands. Maddie Landers, marketing and communications manager for the Interior Design Society, echoed this sentiment, commending the national partners for their dedication to engaging with interior designers. Landers described the Charlotte event as an ideal blend of networking opportunities, valuable educational content, and enjoyable social interaction. The event effectively served as a platform for designers to stay updated on industry trends, expand their professional network, and gather insights from leading brands in the home design sector. This gathering reinforced the importance of collaborative efforts in fostering a vibrant and informed design community. #ColorTrends #InteriorDesign #HomeDecor #BenjaminMoore #TheShadeStore #CEUPresentation #DesignCommunity #CharlotteEvents #WindowTreatments

The article explores the continued relevance and growing demand for trim and molding in home design, drawing parallels to John Ruskin's 1849 essay "The Seven Lamps of Architecture." Ruskin's assertion that ornamentation is a principal part of architecture remains valid, as trim and molding define a structure's nature and aesthetic. The COVID-19 pandemic has significantly increased homeowners' awareness of their home's appearance, leading to a desire for personal statements without undertaking complete remodels. Trim and molding offer a cost-effective solution, providing significant curb appeal by simply adding or changing elements, as noted by Trinh Le of LP Building Solutions. Despite the positive outlook for decorative trim, the industry faces substantial challenges, including supply-chain disruptions, labor shortages, and rising raw material costs. Industry experts, who had anticipated a return to normalcy, now find conditions more challenging than in 2020. Steve Booz, Vice President of Marketing for Westlake Royal Building Products, highlights that continuous raw material shortages and a nationwide labor deficit have hampered production and supply, even as demand remains strong. Peter Cobucci of Palram Construction Products and Brett Collins of Universal Forest Products' Edge premium primed trim echo these concerns, citing dramatically rising prices for resins and additives, ongoing labor shortages, and logistics issues, with little expectation for these conditions to stabilize in the near future. Despite these hurdles, manufacturers maintain cautious optimism regarding future growth, particularly within the repair and remodel segment. Rick Kapres, Vice President of Sales and Marketing for Versatex, notes the rapid growth in demand for trim in both remodeling and new construction, driven by the desire for enhanced curb appeal and differentiation through mixed materials, colors, and styles. Cobucci forecasts a robust market for 2022, with repair and remodel continuing to be strong, and new residential construction showing optimism despite rising costs and labor difficulties. Ian Daniels, Director of Technical Support for Tamlyn, also anticipates strong demand for the next 12 months, contingent on material availability, especially metal. Manufacturers are actively seeking innovative solutions to mitigate these challenges. Kapres explains that Versatex built inventories and sourced more PVC scrap to meet demand exceeding 30% growth, maintaining 2-3 week lead times. Current trends in trim and molding include high-contrast color options, such as white and black exteriors paired with darker siding colors like navy and dark blue-gray, as well as alabaster and milky white trims, and nearly black options. Booz emphasizes that both light and dark trim options can create a Modern Farmhouse look, making trim a focal point. Additionally, warm neutrals, such as dark browns, tans, and off-whites, are emerging as popular choices. In terms of style, the clean lines of Modern Farmhouse and the classic appeal of Craftsman design continue to dominate. Le points to board and batten style siding and trim, sleek accessories, and contrasting trim colors as popular choices. Booz highlights the demand for bolder, blockier trim, such as wider window trim or raised panels. There's also an increasing interest in modern details, with panelized façades seen in multifamily constructions now being adopted for light commercial and single-family homes. The demand for low-maintenance trim and molding options remains high, with manufacturers like Versatex, Celect, Spec Series, TruExterior, and Kleer offering alternatives that provide the authentic look of wood without the upkeep. These products are particularly attractive to homeowners who wish to avoid constant painting or staining. To navigate the current market complexities, LBM dealers are advised to remain flexible in inventory management and serve as knowledgeable resources for customers. Le stresses the importance of communication with building professionals and manufacturers to understand supply challenges, needs, and trends. Kapres suggests researching companies' lead times and prioritizing domestic manufacturers who invest in their facilities to increase capacity. Booz emphasizes thoughtful ordering and early communication with customers to avoid delays from incorrect orders. Effective planning and forecasting are crucial, with Collins recommending ordering well in advance and exploring alternative products. Cobucci highlights programs like Palram's Winter Buy program, which offers competitive pricing and timely delivery. Dealers must also stay informed about their product lines to offer suitable substitutions when specific items are unavailable, a strategy supported by manufacturers like Westlake Royal Building Products, who offer diverse trim lines to enhance flexibility. #TrimAndMoulding #HomeDesignTrends #ConstructionIndustry #SupplyChainChallenges #BuildingMaterials #LBMDealers #ProductInnovation #ModernFarmhouse #LowMaintenanceMaterials

Crown molding, a decorative detail often associated with sophistication and custom interiors, continues to be a relevant feature in home design, according to interior designers. Despite its enduring appeal, its successful integration into contemporary homes requires careful consideration. The article addresses the common question of whether crown molding is out of style, concluding that it remains a timeless element when applied thoughtfully. Roger Higgins, a Nashville-based interior designer, emphasizes that while he is drawn to the charm of molding, factors such as the size of the space, the age of the home, and the overall interior style significantly influence its effectiveness. Olma Fuentes, founder of Deni + Dove Interiors, highlights that unique crown molding can elevate a room, adding luxury and sophistication. However, she notes that the biggest mistake is using it generically without understanding context or proportion, which can make it appear outdated. Nick Smith, founder of Smithers of Stamford, reinforces this point, stating that "considerate molding equals luxury" and cautions against its arbitrary application, particularly in new builds. For newer homes, especially those with clean lines and open-concept floorplans, a strategic approach is crucial. Designers recommend using narrower profiles, simpler shapes, and deliberate placement to ensure the molding complements the modern aesthetic. Instead of applying it throughout the entire home, crown molding should be used to accent specific areas, such as formal dining spaces or entryways, creating a more subtle and sophisticated impact. This selective application ensures that the molding serves as an artful punctuation rather than an overwhelming or out-of-place feature. Architectural style also plays a significant role in determining the appropriateness of crown molding. Roger Higgins stresses the importance of aligning molding with the home's architectural period; for example, a Colonial house would benefit from Colonial-style molding, while contemporary spaces might require cleaner, more angular profiles. In some contemporary interiors where restraint is desired, Higgins advises omitting molding entirely to allow the architecture to breathe and to highlight other focal points like stunning views or unique wallpaper. While traditional styles like dentil or egg-and-dart crown molding are considered timeless and versatile, Olma Fuentes warns against using molding when the space between the ceiling and window trim is too narrow, or when the room has awkward ceiling slopes, as these conditions can make the molding appear squeezed or out of place. The article also touches upon practical applications, suggesting peel-and-stick wall molding as an easy, affordable, and less permanent option for experimenting with the look. Custom applications offer creative flexibility, allowing for unique designs tailored to the space. Ultimately, when executed with intention and an understanding of design principles, crown molding can be a powerful tool for creating a cohesive and well-considered interior, distinguishing it from outdated design trends. #CrownMolding #InteriorDesign #HomeDecor #ModernInteriors #ArchitecturalDetails #DesignTrends #WallMolding #ContemporaryHomes

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

The Ditchling Museum of Art + Craft in Ditchling, England, is currently hosting an exhibition titled "Double Weave: Bourne and Allen’s Modernist Textiles," which aims to reintroduce the British textile company Bourne and Allen, and its founders Hilary Bourne and Barbara Allen, into the annals of design history. Active in the mid-1900s, Bourne and Allen produced a range of iconic woven fabrics, yet their contributions have largely faded from public memory. This retrospective seeks to correct that oversight by highlighting their innovative craftsmanship and personal story. Hilary Bourne and Barbara Allen were partners in both life and business, and their company was known for blending modernist aesthetics with traditional craft techniques. They frequently utilized natural materials and plant dyes, sourcing wools from across the United Kingdom. Their products, which included woven scarves, tweeds, and furnishing fabrics, were carried by prestigious department stores and design houses such as Liberty of London, Heal’s, and Fortnum and Mason. Bourne and Allen also played a significant role in major theatrical and film productions of their era. Notably, they designed expansive stage curtains and furnishing fabrics for the Royal Festival Hall in London, built for the 1951 Festival of Britain. Their work extended to Hollywood, where they produced 52,000 yards of custom-woven fabric for the costumes of 452 actors and 25,000 extras in the epic film *Ben-Hur*. The exhibition, which is the culmination of extensive archival research conducted by a team of ten, delves into the duo’s work, their lives, and their four-decade-long relationship. Various sections of the show explore their distinct weaving techniques, the materials they employed, their global inspirations, their personal backgrounds, and key career achievements. The displayed fabrics, encompassing both swatches and longer lengths, illustrate Bourne and Allen’s unique aesthetic, characterized by bright primary colors derived from natural dyes like indigo (blue), madder (red), and weld (yellow), contrasted with the natural hues of undyed sheep’s wool. The use of Lurex alongside dark yarns and varied weaving techniques such as plain weave, double weave, chenille, ikat, and floats of thick hand-spun yarns, created alluring textures. The exhibition contextualizes Bourne and Allen within a vibrant, women-centered community of craftspeople in England that predated World War II. A display titled “Map of intimacies: Women’s networks of love, friendship, and textile practice” visually charts the collaborative and intimate relationships among the women—friends, lovers, companions, business partners, and sisters—who influenced Bourne’s and Allen’s lives and work. To demonstrate the enduring relevance of Bourne and Allen's legacy, the exhibition incorporates commissions from two contemporary artists, Poppy Fuller Abbott and Omeima Mudawi-Rowlings. Abbott, a weaver from Sussex, created a piece inspired by the mid-century designers' techniques using indigo-dyed linen with silk floats, and also wove textile samples that replicate Bourne and Allen's fabrics for visitors to handle. A film in a dedicated viewing room documents Abbott’s weaving process. Mudawi-Rowlings's site-specific installation, "Drawn to the Light (نور)," features long swathes of silk dyed with plant materials and printed with personal symbols, reflecting themes of interconnectedness and personal identity amidst global events. Ultimately, "Double Weave" serves as a meditation on themes of love, loss, home, and land. It underscores how the act of weaving, both literally and metaphorically, involves intertwining traditions across time and place, fostering a continuous dialogue through generations in the form of fabric. #TextileHistory #MidCenturyDesign #ModernistTextiles #BritishDesign #Craftsmanship #QueerHistory #DitchlingMuseum #TextileArt #ExhibitionReview

Belgian architect Vincent Van Duysen designed the interior of Kvadrat At Home, Danish textile company Kvadrat's new residential showroom located in west London. The showroom, Kvadrat's first dedicated to home furnishings, presents a selection of textiles suitable for domestic applications such as rugs, curtains, and cushions. It houses collections from Kvadrat's home-focused brands, Sahco and Kinnasand, along with fabrics developed in collaboration with fashion designer Raf Simons. Van Duysen, who also serves as the creative director for Sahco, envisioned the 140-square-meter showroom as a 'library of fabrics,' a concept inspired by his personal appreciation for libraries and books as central elements in his architectural and interior design philosophy. The showroom's design incorporates floor-to-ceiling shelves constructed from larch wood, all finished in a dark grey hue. These shelves function similarly to library shelves, displaying various fabric swatches that are suspended from hangers. Cushions and decorative vases are arranged in narrower sections of the shelving system, contributing to the residential atmosphere. The space also includes two oak-wood tables, providing areas for customer consultations, complemented by sea-green stools from Molteni&C;. Oak is consistently used for the service counter and the light-toned Dinesen floorboards, ensuring material cohesion throughout the showroom. At the entrance, a dedicated display area allows Kvadrat to create changing domestic set-ups that highlight their products. For the opening, this area featured a wall hanging made of various blue-toned fabrics, a side table, and two rounded armchairs positioned on a black Kvadrat Semis rug. This approach aims to present a comprehensive living concept rather than a mere display of stacked furniture, avoiding the 'soulless' quality Van Duysen perceives in some showrooms. Van Duysen's signature 'warm-minimalist' style is evident in the showroom's interiors. This aesthetic emphasizes stripping down elements to their core, focusing on simplicity and essential forms. He believes that this approach provides a sense of calmness and serenity, countering the rapid pace of the digital world. His design philosophy is rooted in the idea that simplicity can achieve the highest degree of sophistication, a principle he has applied to previous projects such as the August hotel in Antwerp and an Aesop store in Hamburg. The Kvadrat At Home showroom thus reflects a considered design that prioritizes comfort, conviviality, and a deliberate engagement with materials. #InteriorDesign #ShowroomDesign #TextileShowroom #VincentVanDuysen #Kvadrat #LondonInteriors #MinimalistDesign #ResidentialShowroom #FabricLibrary