Industrial Design Gives Any Space An Artful Edge

This article explores various ways to incorporate industrial chic into any home, even traditional properties, by drawing inspiration from converted factories and warehouses. It provides a comprehensive guide with practical tips and examples for different rooms and elements within a home. The core principles of industrial design, such as exposed elements, utilitarian aesthetics, and the use of raw materials like wood and metal, are emphasized throughout. The article begins by advocating for open-plan living, a characteristic feature of factory spaces, and suggests large, central sofas in natural colors like brown, beige, or grey, preferably in worn leather, to establish a relaxed, comfortable foundation. For home offices, it recommends rustic wooden desks, locker-style storage, and swing-arm wall lights, replicating the functional environment of a factory manager's workspace. It also addresses the misconception that industrial schemes are limited to monochrome palettes, suggesting that pops of color can add a homely twist, as demonstrated by a bathroom with metro tiles, black accents, exposed pipes, and a vibrant vanity. Creative and budget-friendly ideas are presented, such as framing shower screens with electrical tape to mimic expensive Crittall-style doors. The use of wood pallets for feature headboards highlights the appeal of untreated, distressed wood for creating architectural statements without significant cost. Black accents are identified as crucial for achieving the industrial look, with suggestions for upcycling existing accessories with black paint to save money and enhance the aesthetic. Dark kitchen cabinets, especially when paired with factory-style windows, metal lighting, and vintage canteen furniture, are recommended for a timeless industrial kitchen design, complemented by exposed brick or metro-tiled walls. The article also touches upon softening the industrial aesthetic. It suggests using muted tones and rustic materials to lighten the look, as well as incorporating botanicals like houseplants to introduce comfort, color, and softness to harsh materials. It even explores a “pretty” industrial twist, combining smooth natural finishes, copper fixtures, and rustic shelving with flowers and greenery. For storage, locker-style furniture is presented as a versatile option for various rooms, with the flexibility to choose traditional or vibrant colors. Upcycling is a recurring theme, encouraging the blending of old and new elements to infuse homes with heritage and personality. Lighting is highlighted as a key element, with recommendations for large metal pendant lights and exposed Edison bulbs to bring a factory touch. The article also covers achieving an industrial feel in bedrooms with metal beds and dark wood wardrobes, and smart choices for wall art like thin metal frames, large office-style clocks, and vintage typography. Budget-friendly DIY options include spraying existing furniture with metal effects. Finally, the article emphasizes that industrial design is adaptable to smaller spaces, promoting “mini loft living” with bare black framed windows, dark metal lighting, and an eclectic mix of furniture, often with a pop of muted color for added interest. #IndustrialDecor #HomeInteriors #DecoratingIdeas #OpenPlanLiving #Upcycling #CrittallStyle #RawMaterials #LightingDesign #HomeOffice #KitchenDesign

Industrial interior design is a style that emphasizes displaying building materials typically hidden, such as cracked concrete, ducting, or unshaded lightbulbs. This approach celebrates practicality, embraces imperfections, and values signs of wear and tear. It can range from a rugged, unfinished warehouse aesthetic to a softer, cozier feel with added textiles and color. The style has become a staple in interior design, even appearing in spaces not originally industrial. This article explores the origins of industrial design, its core characteristics, and how experts define it. Industrial design in residential interiors involves using materials and details traditionally found in factories and warehouses, often featuring raw, less polished materials. It's characterized by exposing the internal structure and construction materials of a building, creating large, open-plan spaces with an unfinished yet cohesive feel. Modern industrial style extends this to buildings that weren't originally industrial, showcasing architectural details. The style glorifies function over form, making normally hidden features into conscious design choices and elevating the functionality of a space to an aesthetic level. This concept suggests a transparency where nothing is concealed, celebrating the underlying work and design. Visually, industrial interior design combines modern slickness with rustic charm, offering an organic, lived-in feel. It is associated with large warehouses, dark lofts, and materials like metal, brick, concrete, and wood. There is a focus on the functionality of spaces and objects, maintaining a pared-back yet bold look with raw and clean backdrops accessorized by color and character through smaller details. This style blends old-world charm with modern simplicity, creating an unrefined and incomplete appearance with visible structural elements such as exposed brick walls, steel beams, and concrete floors. The contrast between smooth metal and grainy wood creates a beautiful combination. Furniture is typically low-profile and simplistic, enhancing the perception of high ceilings and ample space. Windows often feature black metal frames without soft treatments. Flooring is usually concrete, wood, or vinyl, chosen for ease of maintenance. The color scheme draws from building elements, incorporating neutral greys, whites, browns, and blacks, alongside burnt orange from exposed bricks, contributing to a bohemian feel. Key materials in industrial interiors include concrete, used for floors, walls, ceilings, worktops, and accessories, with cracks and stains adding to its authenticity. Exposed structural beams, whether metal or wood, contribute to a factory-like feel, and can be left aged, restored, or painted. Ducts and vents, usually hidden, become decorative elements, often stretching across spaces. Exposed brick walls are central to the style, adding earthy tones and rugged textures. Reclaimed wood, characterized by its ruggedness, dents, and signs of age, is valued for flooring, furniture, and worktops, with markings telling a story. Metal, in various finishes from stainless steel to aged and tarnished, is versatile, influencing the room's mood from slick modern to practical and historic. The industrial aesthetic emerged from the conversion of 19th and 20th-century commercial factories and warehouses into residential spaces, particularly in New York City lofts. Artists in the 1950s, seeking large, light-filled environments, began transforming these utilitarian buildings into live-work spaces. This trend, initially born out of necessity, saw artists and then designers embrace raw elements like rough bricks, exposed metals, and pipework, leading to an honest and authentic look with clean lines and open spaces. Mainstream architects and designers adopted the style in the 1980s and 90s, appearing in various commercial settings. The style's affordability and adaptability for creative inhabitants on a budget also contributed to its rise. From 2010 onwards, industrial-style furniture and features like exposed brickwork became highly sought after, continuing the demand for open-plan, warehouse-inspired living. Industrial spaces typically create an edgy and raw atmosphere. Modern industrial design has evolved to incorporate curves and softness, balancing sharp details with humanizing elements. The style aims for a simple and minimal look while building interest. Its no-nonsense, functional approach, clean lines, reclaimed furniture, and neutral palette, layered with wood, metal, and exposed brick, create a spacious feel with character, suitable for open-plan or smaller rooms. It promotes a feeling of spaciousness and is often paired with a minimal decorating approach, fostering a calm atmosphere. Avoiding clutter is crucial, emphasizing ample storage. The focus remains on materials and natural light, advocating for minimal window treatments and a palette of muted, natural tones like matt blacks, deep browns, soft greys, and off-whites, balanced by varied textures. The clean lines and statement elements blend seamlessly with other styles, offering a layered and considered living environment with opportunities for customization. To achieve an industrial look without living in a converted warehouse, key themes include 'raw,' 'exposed,' and 'unfinished.' A neutral, toned-down color palette is recommended, with occasional splashes of black or dark grey. Walls should be left bare, layouts open, and functional materials like metal, timber, bricks, and tiles from the industrial era utilized. Incorporating elements of weathered wood, exposed metal, stripped floors, distressed leather, linen, and caged metal light fittings with bare bulbs helps create a relaxed industrial feel. Metal elements like shelves, bar stools, or coffee tables are essential. Keeping the space clutter-free ensures furniture and decorative elements are both functional and aesthetically valuable. Exposed brick walls are iconic, but steel beams and tin tiles also contribute to the warehouse atmosphere. Materials such as stainless steel, concrete, or resin, along with metal and leather furniture, are key. For new builds or extensions, exposed steel supports, track lighting, poured concrete floors, and exposed timber joists or brick walls can be incorporated. Industrial style has evolved by blending with other interior design styles due to its flexibility. It integrates well with Scandinavian and Japandi styles, sharing traits like neutral tones, mixed textures, and functionality. This evolution allows for fresh elements and more individual, eclectic spaces. Designers have softened the stark appearance of early industrial interiors, moving towards warmer and more elegant looks while enhancing space qualities. It is increasingly used in residential settings, often mixed with softer materials and refined elements for comfort. This eclectic approach allows individuals to infuse their distinctive style, combining industrial elements with vintage furniture, delicate accessories, or Mid-Century lighting, using contrasting textures and materials to create impactful interiors. Today, the focus has shifted from rusty and rough to premium, luxurious, and high-quality materials that ensure longevity. Softening the industrial look can be achieved through soft furnishings and splashes of color, such as statement rugs and cushions. Large rugs, art, and statement lighting create focal points in open-plan schemes, preventing emptiness. Combining industrial elements with other trends, like comfortable sofas and vintage rugs, adds contrast and warmth. Bold wall art introduces color and coziness. Soft furnishings in bright colors or a chandelier add personality, and roller blinds in natural fabrics soften metal-framed windows. Incorporating plants on metal cabinets or varied foliage on sideboards creates a gentle, tumbling effect, softening hard lines. Strategic lighting is crucial; varying light types, creating pockets of illumination, and using dimmer switches can instantly change the atmosphere and add warmth. Industrial design, despite its origins, remains current and adaptable, constantly evolving to fit modern needs, blending with other styles while retaining its core elements of simplicity, functionality, and worn qualities. It is considered a timeless aesthetic that continues to adapt and flourish. #IndustrialDesign #InteriorDesign #HomeDecor #ArchitecturalStyle #RawMaterials #ExposedElements #LoftStyle #DesignTrends #ModernIndustrial

Gilles de Brock, a graphic designer based in Antwerp and Amsterdam, has embarked on an unconventional journey, transitioning from traditional graphic design to becoming a multi-faceted creative who also works as a ceramicist, rug maker, engineer, and electrician. This article details his latest endeavor: building a computer numerical control (CNC) ceramic printer capable of applying graphic glazes to ceramic tiles. This project follows his previous success in automating the design process through a machine that printed acrylic paint on paper and textiles, a venture he described as a metaphor for reclaiming the production process and democratizing automation tools. His earlier printer was envisioned to evolve into a five-head system for ceramic tiles, a goal he has now achieved. De Brock's CNC ceramic printer represents a modern reinterpretation of an ancient craft, blending the aesthetic of handmade items with the precision of mathematical machine processes. The development of this machine was a complex undertaking, presenting numerous frustrations and challenges, particularly given his background as a graphic designer with limited initial knowledge of ceramic glazing or CNC mechanics. He highlights the unusual nature of a graphic designer building such a machine, emphasizing his desire to imbue ceramic glazes with authenticity and depth while translating them into a graphic form. The resulting ceramic tile compositions successfully merge the physical qualities of ceramics with the structured order of graphic design. Color has always been central to De Brock's practice, and the vibrancy of ceramic glazes was a natural progression from his earlier work with richly dyed rug fabrics. His exploration into the chemical aspects of oxides, color mixing, and staining for his ceramic tiles showcases years of dedication to color assessment and technical experimentation. The most significant hurdles during the CNC development involved debugging system glitches, an area where De Brock initially possessed no expertise. He reflects on his journey from knowing nothing about engineering and electronics to acquiring fundamental skills, which have become indispensable to his current practice. Once the machine became functional, De Brock shifted his focus from engineering to design, curating tiles into diverse compositions that each tell a unique story. The machine produces one-centimeter-thick lines, resulting in a low resolution of 70 to 100 pixels per print. This limitation, which he views as a liberation rather than a restraint, forced him to rethink his design approach, adapting his previous work to this specific aesthetic dictated by the medium. He appreciates how a tool can define an aesthetic, seeing it as a way to reduce the overwhelming possibilities of a blank canvas. De Brock's ceramic tile compositions have recently gained recognition, being exhibited at Amsterdam's Unfair art show, an unexpected outcome for a trained graphic designer. While effective in an artistic context, he primarily envisions these compositions as applied designs for interiors, potentially adorning the walls of restaurants or hotels. Looking ahead, De Brock has several projects planned, including exhibitions at Portland’s Fisk Gallery, Gallery my Monkey in France, and Le Signs in 2022. He is also collaborating with the Seoul-based Risograph printers, Corners, on a new publication featuring his ceramic tiles. #GraphicDesign #Ceramics #CNC #Automation #ProductDesign #Artisan #InteriorDesign #CreativeProcess #Technology

Industrial-style interiors are characterized by their raw materials such as wood beams, concrete floors, exposed pipes, and brick walls, often found in refurbished spaces. The key to successful industrial design lies in creating a balanced interior that honors its industrial heritage while maintaining a comfortable and livable atmosphere. This balance can be achieved through a thoughtful blend of colors, textures, and patterns, which introduce warmth to what might otherwise be perceived as a cool or stark environment. Oversized furnishings also play a crucial role in enhancing comfort and defining scale within these often large and open spaces. When designing an industrial space, scale is paramount due to the typically large and open layouts. Lighting, furnishings, and art should be chosen to reflect a human scale, counteracting the potential for pieces to appear too small or disproportionate. Large lighting fixtures, floor-to-ceiling drapery, and expansive area rugs are effective starting points, followed by layering in additional textures and fabrics. Oversized curved sofas can help tie together large open floor plans, preventing the space from feeling barren or cold. The careful selection of large-scale furnishings is also essential for creating boundaries in open-concept industrial homes, guiding traffic flow and preventing the space from feeling cold or empty. Examples include large sectional sofas, tall shelving units, oversized cabinets, and long benches. Artwork is another vital element for balancing scale and injecting personality. Oversized art pieces can fill expansive walls and serve as focal points, reflecting the homeowner's unique style and adding an intimate touch. Personal details, such as curated vignettes, heirloom pieces, a personal library, or framed family photographs, are crucial for making an industrial space feel intimate and connected to its inhabitants. These items add soul and counterpoint to the industrial backdrop. Lighting should be bold and substantial, as small fixtures can get lost in high-ceilinged industrial spaces. Larger pendant fixtures, floor, and table lamps with graphical presence are recommended. Michele Plachter's use of a hand-blown glass chandelier that reflects light patterns exemplifies how lighting can be both functional and decorative. Utilizing dimmers on warm decorative lighting is also advised to create a cozy ambiance, avoiding cool LEDs or solely recessed downlights. Embracing texture is a powerful way to introduce warmth and comfort. Pairing rich, varied materials with raw industrial elements, such as plush rugs, pillows, and drapery, can instantly transform the interior. Fabrics in warm colors like reds, browns, pinks, and purples, or neutral furnishings layered with patterned accents, contribute to this effect. Area rugs are particularly important for concrete or distressed wood floors, adding color, texture, and defining activity areas. Floor-to-ceiling drapery can add significant warmth to large industrial windows. Throw pillows and blankets are simple additions that make seating areas feel cozier. Pops of color are critical for preventing industrial spaces from appearing monochromatic and bleak. Strategic use of vibrant hues, like a yellow painting against exposed brick, can dramatically change the mood and add vibrancy. Incorporating warm woods, whether as ceiling or floor elements or through furnishings, provides a natural contrast to industrial metals and concrete, grounding the space and connecting it to nature. Finally, organic and natural materials, such as natural fiber rugs or waxed wood tables, offer a sense of quietness and an enveloping feel, juxtaposing the raw industrial elements with soft, inviting forms. #IndustrialDesign #InteriorDecorating #HomeComfort #ScaleInDesign #LightingDesign #TexturalElements #ColorAccents #OrganicMaterials #WarmWoods

The year 2022 showcased a remarkable array of creative and thoughtful projects from the next generation of industrial designers across various institutions worldwide. This compilation highlights some of the most innovative student works, spanning furniture design, product design, transportation design, and user-centric solutions. Each project demonstrates a unique approach to problem-solving, material exploration, and aesthetic appeal. Radhika Dhumal from the National Institute of Design, India, presented the 'Winged Table,' a piece of furniture design that is both functional and inspired by insect forms. Following this, Tianrui Xie from the Georgia Institute of Technology introduced the 'Morph Wireless Mouse,' an industrial design focused on custom fit and reduced plastic usage, showcasing an eco-conscious approach. Derel Shell's contribution from Purdue University was a modernist pen, recognized for its clean, simple, and desirable aesthetic. Carlos Platz from Kunsthochschule Kassel, Germany, innovated in furniture joinery with 'Svolta,' a method allowing rotation for secure placement. Andu Masebo from the Royal College of Art, UK, designed 'In Material Union' chairs, specifically optimized for manufacturing efficiency, reflecting a practical understanding of production processes. Mingwei Liu, also from the Royal College of Art, UK, offered a fresh perspective on transportation design with a reimagining of the Mitsubishi Lancer. Celine Wong of San Jose State University addressed accessibility with a fan-based, Muji-esque clock designed for the nearsighted. Celine Deprez from ENSCI, France, presented 'Fourche à Pain,' a non-electric toaster, emphasizing sustainability and simplicity in kitchen appliances. A collaborative effort from Fergus Davidson, Maireid Carrigg, and Maneet Singh at RMIT, Australia, resulted in a patient-moving aid, demonstrating a focus on healthcare innovation and ergonomic solutions for workers. Max Hausmann and Tim Schuetze from Berlin's University of the Arts, Germany, designed 'Vespertine,' a portable pendant lamp, combining portability with ambient lighting. From Kookmin University, South Korea, Kim Seungwoo, Kim Siwon, Kim Chanwoo, and Yoon Jonghoon developed a portable, inflatable chair, highlighting modularity and ease of transport. Amelie Van Houdenhove from Howest University, Belgium, tackled an industrial challenge with 'Twist & Turn,' a tool designed to separate stubbornly nested industrial crates, showcasing a pragmatic solution to a common problem. Alissa Wolter from Kunsthochschule Berlin, Germany, explored interactive design with the 'Moodable Lamp,' which is capable of folding and interacting with its user. Dennis Tsai from Art Center presented 'Project Isle,' a modern update to bus seating, aiming to improve public transit comfort and efficiency. Souhaïb Ghanmi from ECAL, Switzerland, explored sustainable material use with 'Elos sockets,' which find an outlet for bone waste in their design. Sandy Zhang, Jodie Xie, Alaa Alshareff, and Megan Wiles from Wentworth Institute of Technology collaborated on 'Project Timo Urban Scooter,' addressing urban mobility needs. Shay Nifusi from Shenkar College, Israel, showcased 'Monobloc Brushes,' which were manufactured experimentally, focusing on innovative production techniques. Benjamin Unterluggauer and John Hayden from Muthesius University of Fine Arts and Design, Germany, presented the '3D-Printed Mokit Connector,' highlighting advancements in additive manufacturing. Chi-Hao Chiang from Pratt Institute designed the 'Attaché Folding Stool,' emphasizing compact and portable furniture solutions. Jisan Chung from ECAL, Switzerland, addressed waste reduction with 'Roller Jet,' a paper-saving printer that utilizes rolls instead of sheets. Bronwen Rees and Bryony Wood from Nottingham Trent University, UK, designed 'Stair Cubby,' a storage solution specifically for staircases, optimizing often-underutilized space in homes. Finally, Park Hyeongwoo and Jung Jaepil from Kookmin University, South Korea, introduced 'Flip Desk,' a fast-tidying solution for workspaces, demonstrating an understanding of practical domestic and office needs. #IndustrialDesign #StudentWork #ProductDesign #FurnitureDesign #TransportationDesign #Innovation #SustainableDesign #UserExperience #MaterialExploration

The eyewear brand KREWE transformed a former food storage warehouse in New Orleans' Lower Garden District into its new global headquarters. This project, spearheaded by KREWE's in-house designers and Olivia Erwin Interiors, aimed to create an adaptable, light-filled space centered around the sun, reflecting the brand's identity. The headquarters features an open floor plan that extends into a courtyard with a pool, serving as both a testing ground for new shade designs and a social club. The SUN_DAYS courtyard was designed in collaboration with hospitality group LeBlanc + Smith, intending to foster a community space for creative individuals in New Orleans. It offers amenities like a heated or chilled pool, wellness classes, and a sauna, and is utilized as a vital part of the company headquarters when not open to the public. The design emphasizes a minimalist aesthetic, built for function rather than preciousness, incorporating workstations from Poppin and Hem, alongside vintage finds. The kitchen areas feature concrete floors, marble counters, and Farrow & Ball's 'Breakfast Room Green' cabinets, with a nostalgic neon sign paying homage to a former Canal Street landmark. Beyond the headquarters, the article also explores KREWE's 1818 Magazine Street store and the gallery apartment above it, located in a historic early 1800s building. The store's interiors, a collaboration with Goodwood New Orleans and Nicole Cota, showcase a green terrazzo bar, custom-framed mirrors, and cypress cabinetry. The gallery apartment, designed by KREWE and Olivia Erwin Interiors, serves as a versatile space for hosting brand friends, dinner parties, or offsite retreats. This apartment signifies KREWE's evolution into a lifestyle brand, emphasizing physical spaces over an increasing number of products. Its entrance and stairway feature Farrow & Ball's 'Setting Plaster' and 'Cuban Heritage' tile, with a Signal Globe pendant from Workstead. The living room includes a vintage Milo Baughman sectional upholstered in pink, a custom coffee table, and a walnut dining table by Studioilse. The kitchen backsplash is pink marble, complemented by dark green fluted cabinets from Goodwood and a custom brass island. The apartment also features mid-century modern furniture, step-through windows leading to wraparound gallery balconies for natural light and indoor-outdoor flow, and outdoor furniture from HAY. A library features a custom sofa with paprika velvet cushions and automotive paint, with walls painted in Benjamin Moore's 'Dakota Shadow' and an Atollo Table Lamp. The bedroom includes a Nordic II Bed from Unison Home, an Ethnicraft 'Spindle' bedside table, a West Elm rug, and walls in Benjamin Moore's 'Winter Orchard'. The adjoining bath is painted in Farrow & Ball’s 'Green Smoke'. #WorkplaceDesign #OfficeInteriors #WarehouseConversion #NewOrleansDesign #EyewearBrand #CommercialArchitecture #InteriorDesign #LifestyleBrand #CommunitySpace

Edmonton's industrial design scene, characterized by affordable studios, hands-on training, and an entrepreneurial mindset, possesses the talent for a flourishing industry, yet questions remain about sufficient local demand. The University of Alberta's Industrial Design program plays a crucial role in this landscape, emphasizing both conceptual thinking and practical manufacturing skills. This unique approach equips graduates with the ability not only to envision innovative designs but also to understand the tangible processes of production, a competency increasingly rare in other programs that tend to prioritize theory over practical application. Prominent examples like Onetwosix Design, founded by U of A alumni Nick Kazakoff and Brendan Gallagher, illustrate the potential for success within this environment. Their journey began in a residential garage, driven by a shared passion for product design and prototyping. Their early successes, including the popular Selkirk table, led to the formal establishment of Onetwosix Design, which has since grown into a significant enterprise with a dedicated studio, manufacturing space, and 24 full-time employees. Their Loop Phone Booth, initially designed for a local client's open-concept office, has garnered international clients, including major corporations like Disney, Google, and Pokémon, demonstrating the global reach of Edmonton-born innovation. Edmonton's robust manufacturing culture further supports the design community. Designers such as Geof Lilge, founder of Pure Design, On Our Table, and Division Twelve; Jordan Tomnuk of Tomnuk Design; Zoë Mowat, known for her eponymous brand of furniture and home goods; the modern furniture company Izm; and the collective Loyal Loot, have all leveraged the city's resources and culture to achieve notable recognition. These designers often embrace a "shop-first" approach, prioritizing rapid prototyping over extended conceptualization to quickly bring products to market and adapt designs based on practical feedback. However, despite these successes, the design community in Edmonton faces ongoing challenges, primarily concerning the local market's size. While the city offers advantages like affordable industrial space—a significant contrast to more expensive hubs like Toronto or Vancouver—the demand for contemporary furniture locally remains relatively small. This forces many designers, including Lilge and Shane Pawluk of Izm, to target eastern Canadian and international markets, which, while successful, introduces logistical and financial complexities. Pawluk notes that while Albertans spend on outward-facing luxury goods, the market for high-end interior design remains limited, leading many successful Edmonton designers to find their primary customer base outside the province. This dynamic contributes to a boom-and-bust cycle within the local design scene, where promising new ventures may struggle to sustain themselves due to insufficient local demand. The lack of a consistently robust local market also impacts mentorship opportunities and knowledge sharing for emerging designers. Kalie Johnston, director of product design at Poppy Barley, highlights the absence of senior fashion designers in Edmonton from whom she can learn and be mentored, a consequence of talent often seeking opportunities in larger urban centers. However, there's a perceived shift underway. The rising cost of living in traditional design hubs like Toronto, Vancouver, and Montreal is making Edmonton's affordability increasingly attractive to design talent. This has led to an increase in job applications from outside the province, suggesting a potential for new growth and a more diverse talent pool. Organizations like MADE (Media Architecture Design Edmonton), founded by Shafraaz Kaba, have been instrumental in fostering a resilient design culture for over two decades. With Nick Kazakoff as chair, MADE continues to advocate for and elevate Edmonton's design conversation, aiming to build a sustainable, impactful, and identity-true design scene that positions Edmonton as a design-forward city. The enthusiasm of current U of A industrial design students, such as Hafsah Mohummed and Elisse Canaynay, for the program's practical focus and purposeful design principles, combined with a growing awareness of diversity and multicultural perspectives among students like Faith Adra, indicates a vibrant future for Edmonton's design landscape, provided the city can continue to attract and retain its talented designers. #IndustrialDesign #EdmontonDesign #ProductDesign #DesignCommunity #Manufacturing #Entrepreneurship #UrbanDevelopment #CreativeEconomy #FurnitureDesign

After a period dominated by a folksy aesthetic characterized by rustic wood, quilted textures, and rough-hewn elements, the design world is experiencing a shift. Recent design exhibitions and product launches suggest a resurgence of industrial minimalism, drawing inspiration from the high-tech style of the 1970s and 1980s. This movement, originally defined by architects like Renzo Piano and Richard Rogers through 'inside-out' buildings that exposed their mechanical workings, advocated for industrial materials and utilitarian objects as aesthetic choices within residential spaces. Joan Kron and Suzanne Slesin's 1978 book, 'High-Tech,' documented this trend, highlighting the use of out-of-context industrial equipment as home furnishings. Key characteristics of this industrial minimalist revival include elements such as laboratory sinks, functional ladders, factory lighting, and exposed pipes. Early indicators of this resurgence are evident in the renewed interest in track lighting and the increasing popularity of stainless steel kitchens. The current economic climate, marked by production delays and rising costs for goods and labor, provides an additional impetus for designers and clients to embrace industrial minimalism. This style often utilizes relatively off-the-shelf components, which can be more accessible and less expensive than bespoke alternatives, without compromising on design sophistication. The trend is manifesting through the incorporation of readily available hardware store staples into interior design. For instance, metal blinds, typically utilitarian, are being recontextualized as design features, such as on interior glass walls in loft spaces. The exhibition “Make-Do,” curated by Marta gallery and Catalog Sale during NYCxDesign, exemplified this ethos by showcasing ad-hoc chairs against a high-tech-influenced scenography. Cat Snodgrass, the designer behind the exhibition's backdrop, utilized prefab materials like aluminum blinds and fluorescent lighting in a disused 1980s medical imaging center, allowing the building's infrastructure to remain exposed. This approach reflects a 'problem-solving aesthetic' that contrasts with the maximalist, studio-craft-focused trends seen previously. Designers like Sarah Burns are also contributing to this movement with collections such as 'Prairie’s Edge,' which blends birch plywood and cold-rolled steel to achieve a refined, industrial aesthetic. The trend is being explored in various settings, including exhibition design, furniture, and retail/hospitality environments. Observations from Milan Design Week noted a broader minimalist resurgence with a particular emphasis on industrial materials, seen in reissued furniture by Joe D’Urso, experimental lighting from Ledongil Workshop, and furniture crafted from lightweight gauge steel by Daisuke Yamamoto. Milan-based Studioutte describes this as an “intellectual minimalism” wave, which they presented through ebonized oak and powder-coated metal seating within a paper-sheathed room, featuring steel-and-plexiglass lighting. Similar stylistic cues were present at the We Are Ona pop-up restaurant during NYCxDesign, where Harry Nuriev designed an environment using readymade folding stools, vinyl-draped tables, and stainless steel tableware in an abandoned office building. Designer Tino Seubert’s use of Kevlar, a typically industrial material, for upholstery in Free Lance’s Paris showroom further underscores this trend, noting its luxurious sheen. While contemporary industrial minimalism incorporates utilitarian materials, it often includes an element of luxury. This is exemplified by the Judd Foundation's release of Donald Judd's stainless steel minimalist tableware in heavyweight Puiforcat silver. In high-end residential interiors, designers like Massimiliano Locatelli integrate linoleum floors, stainless steel kitchens, and industrial-inspired lighting with bespoke elements. Even Vincenzo de Cotiis, known for his opulent interiors, incorporates industrial materials like recycled fiberglass and stainless steel, often juxtaposing them with historic settings. Interior designer Sophie Dries notes that the resurgence of 1990s fashion and music influences is extending to interiors, leading to the acceptance of colder building materials and a blurring of boundaries between luxury and vernacular materials. This allows for a dialogue between non-aristocratic materials like concrete, plaster, piping, and metal blinds with historical pieces or settings. To engage with this trend, exploring restaurant supply stores or industrial suppliers like McMaster-Carr for readily available materials is suggested. #IndustrialMinimalism #HighTechDesign #InteriorTrends #DesignRevival #ArchitecturalDesign #MaterialInnovation #HomeFurnishings #ContemporaryDesign

Gencork is redefining the application of cork in design through its integration of high-tech computational design with cork's natural and sustainable attributes. This approach rejuvenates cork's aesthetic and expands its utility, moving beyond traditional uses to contemporary applications in surfaces and interior elements. Cork, known for its hydrophobic, compostable, recyclable, lightweight, elastic, thermal, and acoustic insulation properties, as well as fire resistance, is being presented in a new light. At the core of Gencork's innovation is the collaboration between Sofalca, a Portuguese cork processor established in 1966, and DIGITALAB, an innovative studio specializing in generative design and digital fabrication. Sofalca, situated near Portugal's cork oak forests, emphasizes environmentally and socially conscious production, utilizing a closed-loop system where biomass from harvesting fuels its manufacturing process, achieving 95% energy self-sufficiency. DIGITALAB, led by Ana Fonseca and Brimet Silva, applies digital technologies across various design disciplines, previously creating cork threads for lighting and furniture. Toni Grilo, an acclaimed designer and art director for Sofalca’s Blackcork brand, also contributes significantly to Gencork’s pattern designs. The manufacturing process begins with cork harvested from oak branches, leaving the trees intact. Sofalca processes these branches into pellets, which are then baked in an autoclave. Water vapor injected during this stage causes the pellets to expand and agglomerate into solid blocks, bound solely by cork’s natural resins without added chemicals. These blocks are subsequently cut into panels and precisely milled using CNC technology, guided by computational design principles. Algorithmic scripts enable the creation of a diverse range of shapes and scales, allowing for tailored applications. The 2020 Corkllection showcases these advancements, featuring cork tiles, modular cork bricks for wall coverings, a cork table light, and customizable generative wall panels. The autoclaving process imparts a distinctive dark, rich, chocolatey color to the cork. Gencork's designs draw inspiration from nature, mathematics, geometry, and biomimetics, resulting in patterns that range from fluid ripples and swirls to abstract geometric forms reminiscent of origami. The granular texture of the cork maintains a warm, organic feel, even with precise milling, and the 3D panels exhibit a characteristic lined texture. These dynamic patterns allow for the creation of undulating or complex geometric wall surfaces. Corkbricks, available in square or triangular modules, facilitate regular or uniquely irregular 3D installations. Two-dimensional designs include a progressive hexagonal pattern inspired by M.C. Escher, magnetic wave motifs, and op-art grids. Tessellating cork tile designs like Corkunit and Corkarc create complex topographic surfaces, while Corkboard offers a minimal diamond tile with optional shelves for display. The generative designs are functional, enhancing cork’s inherent thermal and acoustic properties. They transform cork from a utilitarian, often concealed material into a prominent feature in contemporary design. Gencork’s approach adds significant value and broadens cork's appeal for both commercial and residential projects, elevating cork wall tiles beyond their traditional perception into an attractive and disruptive design element. #MaterialsAndSurfaces #InnovationDesign #InnovativeMaterials #SustainableDesign #CorkDesign #GenerativeDesign #DigitalFabrication #InteriorDesign #ComputationalDesign

Aztec Scenic Design, an Orlando-based firm, has successfully integrated 3D printing into its custom ceiling design projects, offering a more efficient alternative to traditional methods. The company recently completed an Arabian-inspired ceiling for a client, demonstrating the potential of additive manufacturing in intricate home decoration. Traditionally, detailed ceilings can be a significant expense, often exceeding $30,000, due to the labor-intensive process of creating molds and working with plaster. Aztec Scenic Design, however, pioneered a new approach by utilizing 3D printing to produce the decorative appliqués for their custom ceiling. This innovative method was spearheaded by Marc Leonard, a scenic designer at Aztec, who became captivated by 3D printing and sought to merge it with the company's design work. After convincing owner Gabriel Collazo of the technology's potential, Aztec established its own makerspace, specifically for incorporating 3D printing into various applications. The project began with initial drawings by Benjamin Cremer, based on Arabian patterns. Marc Leonard then translated these sketches into 3D models using 123D Design. Austin K. Butler, a scenic designer and fabricator, joined the team to manage the 3D printing process. The actual printing phase involved several 3D printers, including a Tinkerine Ditto+ and multiple Prusa i3 8-inch printers, and took approximately three weeks to complete. The materials used were around six spools of 3mm ABS filament and three spools of 1.75 PLA filament, costing just over $200, a stark contrast to the potential costs of traditional methods. The ceiling structure consists of nine wood panels, which serve as the base for the affixed 3D printed components. Gold-leafed molding, cut with a CNC router, frames the design. The 3D printed pieces underwent a multi-step finishing process: painting with acrylics, aging with oil stains, and finally, touch-ups and glazing. The entire installation, measuring approximately 18 feet by 14 feet, was completed in just two days. One of the most challenging aspects of this project was managing the approximately 400 individual 3D printed parts and troubleshooting five simultaneously operating printers. The team also faced hurdles in working with various software applications, including 123D Design for modeling, MeshMixer for editing, and Slic3r and Repetier Host for slicing. Despite these challenges, the collaborative effort of the entire Aztec crew, including Gabriel Collazo, Marc Leonard, Benjamin Cremer, Janelle Lyons, Timothy Dameron, and a friend named James, proved successful. This project highlights a significant shift in custom interior design, showcasing how 3D printing can streamline complex processes, reduce material costs, and offer greater design freedom. Aztec Scenic Design's success with this Arabian-inspired ceiling has led to further commissions, including another, more intricate ceiling for the same client's theatre, indicating a growing demand for 3D printed architectural and decorative elements. #3DPrinting #CustomDesign #CeilingDesign #HomeDecoration #AdditiveManufacturing #ScenicDesign #InteriorDesign #ArchitecturalElements #DigitalFabrication

This article explores how the design principles used in trendy, comfortable restaurants, particularly those with an industrial-rustic aesthetic, can be applied to home decoration to create chic yet welcoming spaces. It draws inspiration from Monument, a Charlestown restaurant designed by Erica Diskin of Assembly Design Studio, which successfully blends high style with comfort. The concept of "elevated comfort" is central, emphasizing the importance of creating spaces that are both impressive and relaxing, a principle equally applicable to homes where over-glamorous furnishings can deter a sense of ease. The article highlights several key design lessons from Monument's transformation. The first involves the careful preservation of original architectural elements during renovation. In Monument's case, this meant exposing existing wood rafters and brick walls after demolishing a drab laundromat to create the bar area. This approach leveraged the building's inherent character and history, aligning with the preference of many homeowners in historic areas like Charlestown who value authentic details. The exposed wood, with its rich patina, and brick provided a warm, natural foundation for the design. Material selection is another crucial aspect. Diskin heavily incorporated wood to achieve a rustic American tavern aesthetic. She sourced reclaimed barn wood from the 1700s for wall paneling and used mixed-width hardwood floors, reclaimed white-oak for the bar, and pumpkin pine for booth benches. These natural materials contribute to a warm, cozy color palette and help to dampen sound, a practical benefit in high-ceilinged spaces. The article also touches upon softening industrial elements, such as cladding metal windows with wood frames, to enhance comfort. Lighting strategy is presented as vital for high-ceilinged, open spaces. Monument, with its soaring ceilings, utilizes pendant lighting to bring illumination closer to the human scale, making the vast space feel more intimate. Diskin installed 18 antique hanging lights, and lighting expert Karen Edson, who lived in a similar loft, advises using significantly more lighting than one might initially think necessary, along with custom drum-style pendant lamps to visually lower ceiling height and occupy vertical space. This approach helps prevent open spaces from feeling overwhelmingly cavernous and ensures adequate light distribution. Defining open floor plans is another challenge addressed. Monument's owners thoughtfully arranged the space to ensure interesting views from every seat, a principle that can be translated to homes by considering sightlines from various vantage points. Edson suggests pulling furniture away from walls and using large area rugs to define distinct living zones and create coziness in expansive rooms. She also advocates for a personalized approach to decor, mixing secondhand finds with high-end pieces to achieve a unique and lived-in look, avoiding an empty or sterile feel. Diskin echoes this by emphasizing the display of personal objects and themed antiques to add character. The article concludes by encouraging readers to draw inspiration from diverse sources, whether magazines, bed and breakfasts, or local restaurants, to personalize their home environments. #IndustrialStyle #HomeDecor #RestaurantDesign #InteriorDesign #RusticCharm #ReclaimedMaterials #LightingDesign #SpacePlanning #ArchitecturalSalvage

Industrial designer Manu Bañó has expanded his OBJ collection with a modular shelving system crafted from a single sheet of hot-rolled steel. This new addition exemplifies Bañó's design philosophy, which centers on applying simple gestures to raw materials to create functional and aesthetically compelling objects. The shelving system's manufacturing process is intentionally straightforward, involving only several laser cuts to shape the steel sheet into its final form. This minimalist approach allows the inherent qualities of the material to remain prominent. A key characteristic of the OBJ shelving is its raw finish. Bañó deliberately chooses not to remove the natural scratches or defects that result from the manufacturing process, allowing the object to retain its original character and a connection to its industrial origins. This decision aligns with the designer's focus on material authenticity and a celebration of imperfection. The modular nature of the shelves offers significant versatility, enabling users to extend the system both vertically and horizontally, thereby adapting to various spatial requirements and display needs. Bañó emphasizes the dual function of the shelving system, noting that it can serve as a practical display unit for objects or stand alone as a sculptural piece. This interplay between utility and aesthetic ambition is a recurring theme within the OBJ collection. The designer's creative methodology is rooted in intuition rather than extensive preliminary research or reliance on references. He describes his process as an evolution from simple sketches in notebooks to tangible, three-dimensional objects, where initial strokes gradually materialize into functional designs. The OBJ collection, beyond the shelving system, includes a variety of utilitarian objects such as lamps and a lounge chair, all produced using similar simple manufacturing techniques like cutting and folding metal sheets and brass tubes. This consistency in approach across the collection highlights Bañó's commitment to a design language that values directness and material honesty. He acknowledges that while his designs prioritize aesthetic beauty, their functional purpose remains an inherent consideration, reflecting the designer's comfort in creating objects that can integrate into a living space and serve a practical role. Ultimately, the OBJ collection, and particularly the new shelving system, represents a contemporary exploration of material transformation through minimal intervention. By embracing the raw state of industrial materials and employing straightforward fabrication methods, Manu Bañó creates pieces that are both visually impactful and inherently functional. The collection challenges conventional notions of refined finishes, instead highlighting the beauty that can be found in simplicity and the untouched qualities of raw materials. #FurnitureDesign #SculpturalDesign #IndustrialDesign #MetalFurniture #ModularDesign #RawMaterials #DesignProcess #MinimalistDesign

The November 'Zeitgeist Edit' highlights a shift in the interior design industry, emphasizing the growing desire for immersive, experiential design over purely digital interactions. This month has seen a surge in brick-and-mortar offerings, designer apartments, and unique sources for home decor, reflecting a collective craving for tangible experiences in design exploration. A significant trend observed is the rise of 'Suite Living,' characterized by designer show apartments and hotel suites that offer immersive style showcases. London, a city not traditionally known for this concept due to its architectural stock, has recently unveiled two notable collaborations. Uchronia, in partnership with Pantone, designed a hotel suite at the Oriental Hyde Park during Frieze Week, infusing a traditional setting with fantastical designs inspired by the color celadon. Simultaneously, Róisín Lafferty collaborated with Artemest to transform a minimalist new-build apartment in the Ambassador Building at Embassy Gardens, injecting vibrant color and playful forms to redefine its character. Another emergent concept is that of 'Third Spaces,' which extends beyond traditional home and work environments to include places where people linger and engage. This month, the discussion around third spaces has gained traction, informing the design of independent concept stores and coffee shops in London. Even major retailers like John Lewis have introduced 'Lounge' concepts, providing members with spaces to relax amidst bustling shopping environments. A specific example is BOYS! BOYS! BOYS! on Warren Street, a wine bar and bookshop that also serves as a community hub for events, offering a physical space for connection and cultural engagement. The article also points to 'Dinner and a Show' as a burgeoning theatrical interior trend, particularly evident in the recently re-opened Wild Cherry restaurant in New York. This establishment, part of the restoration of the Cherry Lane Theatre and spearheaded by A24, offers moody, Art Deco-inspired interiors alongside live performances. The restaurant's design creates a dramatic and immersive dining experience, reinforcing the idea that interiors are becoming increasingly theatrical and integrated with performance art. Conversely, the trend of 'Traveling on Hand Luggage' is noted as being on the decline. The previous allure of minimalist, spontaneous travel is giving way to a preference for a more luxurious 'golden age of travel' aesthetic. This is reflected in the design world's embrace of travel trunks as functional home furniture, exemplified by La Erre's installations at the London Design Festival, and luxury accessories like RIMOWA's cocktail sets within its suitcases, suggesting a return to more elaborate and comfortable travel experiences. Finally, the 'Online Only' shopping model is experiencing a downturn, as consumers increasingly seek out physical retail experiences for interior design purchases. The opening of Bert & May's 'The Mix' in East London, a concept store housing various interiors brands like Farrow & Ball and Pluck, signifies a demand for tangible shopping environments where customers can touch and feel products. Similarly, Matilda Goad's MG&CO; on Ebury Road, a hardware and lighting store with charming, retro interiors, illustrates the appeal of brick-and-mortar shops that offer an enjoyable and immersive browsing experience, contrasting with the impersonal nature of online transactions. The article also highlights the growing acceptance and quality of artificial plants, with brands like Fake It now making high-end faux foliage accessible to the public, previously only available to designers. #DesignTrends #InteriorDesign #HomeDecor #ExperientialDesign #RetailSpaces #LuxuryTravel #ThirdSpaces #TheatricalInteriors #BrickAndMortar

Industrial interior design merges modern, urban elements with rustic, vintage ones, creating a style that is both relaxed and productive. This aesthetic is characterized by materials like reclaimed wood and metal, exposed lighting with Edison bulbs, and vintage leather seating. Common features include pipe-inspired furniture, metal hairpin legs, and a color palette of gray, black, tan, and brown. The versatility of industrial design allows it to blend seamlessly with other styles, such as mid-century modern, and can be personalized with art deco accents for glamour or Southwestern elements for added coziness. This design approach is particularly appealing to individuals who enjoy the ambiance of spaces like coffeehouses, where functionality meets comfort. The article provides a comprehensive guide to online retailers where consumers can purchase industrial-style furniture and decor across various price points, catering to different budgets and preferences. Each store listed offers unique selections within the industrial aesthetic, from affordable options to more high-end, curated pieces. For budget-conscious shoppers, stores like AllModern, Amazon, IKEA, Wayfair, Joss & Main, Target, Society6, and Walmart are highlighted. AllModern, a part of the Wayfair family, offers modern and affordable industrial furniture, including bedroom, living room, and dining pieces. Amazon, known for its vast inventory, features its in-house brands Rivet (for mid-century modern with an industrial lean) and Stone and Beam, alongside numerous other industrial decor items. IKEA, while primarily known for Scandinavian minimalism, also provides modern industrial options. Wayfair and Joss & Main, both affordable everyday furniture destinations, stock a wide array of industrial pieces. Target offers trendy and budget-friendly industrial decor through brands like Project62 and Opalhouse. Society6 specializes in artist-created wall prints and home accessories, including industrial-inspired artwork. Walmart is recognized for its growing furniture selection at budget-friendly prices, featuring industrial bed frames and coffee tables. Mid-range options are available at Etsy and Urban Outfitters. Etsy is a prime destination for handmade and custom industrial artwork, furniture, and fixtures from various artisans, offering unique, vintage, and rustic pieces. Urban Outfitters, typically associated with fashion, also carries statement-worthy industrial furniture and decor for living rooms and bedrooms. Food52 specializes in curated kitchenware with an industrial flair, offering items like smoke tumblers and matte plates. APT 2B provides simple yet sophisticated industrial-inspired furniture, such as concrete coffee tables and upholstered accent chairs. For those seeking higher-end or more unique selections, Lulu & Georgia, Anthropologie, and West Elm are recommended. Lulu & Georgia is known for glamorous and trendy furniture, including industrial and art deco-inspired pieces. Anthropologie, while popular for bohemian clothing, also offers unique industrial and vintage-inspired furniture and decor. West Elm, a well-known destination for mid-century modern furniture, also features industrial-looking decor, such as concrete coffee tables and pipe wall hooks. This guide equips readers with numerous online resources to achieve an industrial look in their homes, whether they are redecorating an entire room or adding subtle accents. The selection covers a broad spectrum of products, from large furniture items to smaller decorative elements, ensuring that every aspect of an industrial-themed home can be furnished and styled according to individual taste and financial plan. #IndustrialDecor #FurnitureShopping #HomeDecor #InteriorDesign #OnlineShopping #ModernIndustrial #RusticDecor #HomeMakeover #DecoratingGuide

The article outlines ten essential traits that contribute to a successful career in interior design, emphasizing that it takes more than just good taste or an innate flair for aesthetics. According to Neal Beckstedt, founder of Neal Beckstedt Studio, successful designers often possess a blend of seemingly opposing characteristics, such as being creative yet practical, free-thinking yet organized, and a good listener yet opinionated. One crucial trait is an appreciation for everyday beauty. Cheryl Luckett, founder of Dwell by Cheryl, highlights that recognizing potential in every space and noticing small details can elevate a room from good to truly special. This deep sense of beauty guides designers in creating functional, inspiring, and joyful spaces. Natural curiosity is another key characteristic. Linda Hayslett of LH.Designs notes that successful designers are often inquisitive about their surroundings, possessing a heightened awareness of how spaces feel and function, and noticing details others might overlook. Developing a discerning eye is also vital. Michelle Gage of Michelle Gage Interiors advises actively seeking opportunities that expand one's visual experience, such as visiting museums, home shops, and traveling, rather than solely relying on social media for inspiration. A defined sense of personal style provides clarity and confidence, enabling designers to create cohesive spaces that clients can trust. However, this style should not be rigid, allowing flexibility to blend expertise with client needs. Strong gut instinct is another trait mentioned, with Amy Studebaker of Amy Studebaker Design explaining that trusting one's intuition in decisions like fabric selection, client interaction, and team building often leads to the right direction. Problem-solving skills and adaptability are critical, as no design project is entirely smooth. Hayslett points out that skilled designers embrace obstacles as creative challenges. Sarah Lederman of Sarah Lederman Interiors adds that a client-centric approach requires openness and willingness to try different methods to achieve diverse client outcomes. A love of learning ensures designers stay current and informed. Lederman shares her continuous effort to educate herself about vintage items, antiques, and new showrooms. Empathy is highlighted by Phil Norman of Norman Design Group as a trait that helps designers understand clients' unspoken needs, distinguishing good designers from others. Furthermore, understanding how elements come together is paramount. Luckett explains that it involves comprehending how colors, textures, and layouts create harmony and emotion, along with a strong grasp of scale, proportion, and flow. Taniya Nayak of Taniya Nayak Design emphasizes the ability to accurately judge scale and size visually. Finally, the ability to communicate a vision is essential. Designers must be able to visualize a room's potential and effectively convey that vision to clients. Sarah Fleischer of SRF Interiors states that confidence in communicating one's design sense and opinions is crucial for project success. Cheri Etchelecu Martin of Cheri Etchelecu Interior Design underscores that strong communication skills are necessary to sometimes push clients beyond their comfort zones and ensure project success. Attention to detail, including small elements like screw finishes or light bulb placement, is also a common trait among skilled designers, often associated with Type A personalities who value precision and control. #InteriorDesign #DesignSkills #CreativeProfessions #HomeDecor #ProblemSolving #ClientRelations #AestheticAppreciation #LifelongLearning #AttentionToDetail

Yoselin Alonso, the associate interior designer at METHOD & CONCEPT, approaches interior design as more than just surface aesthetics, seeing it as a holistic discipline that encompasses functionality and architecture. Her upbringing provided a foundational understanding of construction, with her father, a builder, teaching her practical skills like door installation and stair construction from a young age. Her mother, a seamstress, further cultivated Alonso's inclination towards working with her hands and fostering creativity. At METHOD & CONCEPT, Alonso collaborates with Chad Jensen, extending beyond traditional design tasks to integrate art and architecture. The firm, which is a sister company to the Thomas Riley Artisans’ Guild, functions as both a design studio and an art gallery, emphasizing the fusion of design and art. This approach ensures that artisanship is central to all projects, with spaces meticulously planned to highlight artworks. The team often commissions custom furnishings or millwork from Thomas Riley to realize specific visions or functional requirements, or they design entire rooms around a client's beloved art pieces. Alonso stresses that artists are considered integral to the design process itself. Alonso's role is comprehensive, involving her in every stage of a project. Her responsibilities range from conceptualizing designs and attending client meetings to conducting site visits, ordering materials, and developing project plans. She excels in creating 3D renderings, a skill Jensen notes was a valuable addition to the team. Additionally, Alonso is actively involved in developing METHOD & CONCEPT’s proprietary line of soft goods, which is scheduled for release in an upcoming season. Chad Jensen sought specific qualities when hiring for the associate interior designer position, describing his ideal candidate as a 'unicorn.' He was particularly drawn to Alonso's dualities: her polished and articulate presentation contrasted with her willingness to engage in hands-on tasks, such as driving a pickup truck and getting her hands dirty. Jensen observed that he and Alonso share a common design philosophy, prioritizing intentionality in their projects. This involves carefully considering how individuals will experience each space, its practical usage, and how the ambiance of a room transforms throughout the day. Jensen also values Alonso's genuine passion for her craft and her eagerness to learn, noting that she often dedicates weekends to the studio to learn from him, as he is also a practicing artist and maker of furniture and functional art objects. Alonso's personal creative inspirations often stem from her parents' native Mexico, drawing from places like Las Pozas, a surrealist garden in Xilitla. This sense of discovery fuels her desire to create unique and meaningful designs. At 27, she is rapidly refining her unique style, influenced by her work with Jensen and the METHOD & CONCEPT team, as well as her desire to remain close to her family in Bonita Springs. She expresses contentment with her current professional and personal environment, affirming that she has found her ideal place. Her initial attraction to the company was solidified by observing Chad Jensen's office, which showcased materials, sketches, and renderings that illustrated a detailed and considered design process, aligning with her preference for thoroughness in design. #InteriorDesign #HomeDesign #ArtIntegration #ArchitecturalDesign #CustomFurnishings #DesignProcess #CreativeInspiration #LuxuryInteriors