Trash or Treasure: Sculpture Is spelter, not bronze, but still desirable

Noz Nozawa, a San Francisco-based designer, has introduced a new line of chandeliers and sconces for Corbett Lighting, drawing inspiration directly from her personal jewelry collection. Her design philosophy posits that lighting serves as the jewelry of a home, a concept she has materialized by translating actual rings, bracelets, and necklaces into elegant lighting fixtures. Nozawa's approach involved "mega-sizing" cherished antique and vintage jewelry pieces, extracting their forms, silhouettes, and inherent purposes. This connection between jewelry and lighting extends beyond visual aesthetics to encompass the manufacturing processes. Nozawa observes that the creation of delicate-looking diamond rings and tennis bracelets involves robust and complex techniques, mirroring the metal forging and glass blowing processes found in the lighting industry. She highlights how the fabrication methods for chains and glass in lighting production have clear parallels, albeit on a micro-scale, in jewelry making. This realization allowed her to craft a lighting collection that not only visually references her beloved jewelry but is also inspired by the intricate methods of its creation. One direct example of her translation process is the Bezel sconce, which stemmed from a Victorian-era ring. Nozawa's initial sketch for the collection was a brass wall sconce with inset luna glass, directly inspired by an 1891 three-diamond ring she acquired at an antique show. The ring's bezel-set design, where stones are flush with the gold, gives the sconce its name. Available in three-stone and five-stone versions, the Bezel sconce can be hung horizontally to evoke vanity lights or vertically as a dazzling, organically shaped fixture. Another inspiration comes from an 18th-century-style bangle, which led to the Riviere chandelier featured in Nozawa's own living room. This chandelier, characterized by cabochon-studded elements, addresses her desire for a fixture that emits light outwards rather than downwards, eliminating the need for a glare-diffusing panel. The chandelier's "gems" are crafted from heavily veined ice onyx, whose striations are visible whether the lights are on or off, and are accentuated by a luxurious gold-leaf finish that interacts beautifully with natural and ambient light. The Riviere line also incorporates Nozawa's favored mariner chain motif, reminiscent of ship anchor chains, and includes a wall sconce designed to resemble a dangling earring. Nozawa’s practice of stacking necklaces, as seen on her Instagram, influenced the Daith chandelier. This fixture allows for numerous dramatic arrangements with varying heights, diverging from typical multi-pendant chandeliers that often feature globes of a single size. The Daith chandelier utilizes etched-glass globes that mimic the softened pyramid shape of a sugarloaf cut in gemstones, suspended by her signature mariner chains. The burnished brass finish, designed to replicate 18-karat gold with a pre-patina, provides a rich, orangey hue that feels like a living finish, evoking antique jewelry. The customizability of the Daith fixture is a key feature, allowing all six lights to be draped in either an organized or deliberately disorganized manner. In her own dining area, a chain extends from above the table to the bar area, showcasing the flexibility intended for the entire collection. Nozawa aimed for a versatile collection that appeals to a wide audience, offering a striking "kapow!" light fixture for minimalist interiors or a maximalist piece that gives the impression of layered necklaces suspended from the ceiling. #NozNozawa #CorbettLighting #JewelryInspiredLighting #HomeDecor #InteriorDesign #LightingDesign #AntiqueJewelryInfluence #Chandeliers #Sconces

Natural elements, such as rocks, minerals, and fossils, are increasingly being used as distinctive decorative statements in home interiors, moving beyond their traditional roles as scientific specimens or casual curios. Mark Pospisil's Southlake home exemplifies this trend, showcasing a diverse collection of geological artifacts integrated into his living space. His collection includes a large calcite stalactite from Bisbee, Arizona, which once resided in New York's American Museum of Natural History, now prominently displayed on his living room hearth. This piece highlights how natural formations can function as unique, sculptural art. Pospisil's home also features wall-mounted fossils of fish and palm flowers from Wyoming's Green River, as well as framed fossilized palm fronds that exhibit a spectrum of colors. A substantial coffee table, approximately seven feet long, is crafted from a slab of polished petrified wood mounted on an irregularly shaped cypress wood base, serving as a functional and artistic centerpiece. Throughout his living space, cherry wood display cases house smaller, meticulously arranged minerals and gems, demonstrating a passion that extends beyond mere hobbyist collecting. Pospisil, a retired senior vice president for geology from XTO Energy Inc., is the curator of the Lyda Hill Gems and Minerals Hall at the Perot Museum of Nature and Science, with 27 specimens from his personal collection on loan to the museum. He is also an active member of the Mineralogical Association of Dallas, indicating a vibrant community of collectors in the area, often stemming from the region's petroleum industry. The market for these natural decorative items spans a wide price range. While museum-quality pieces, such as the 200-ounce crystallized gold or 51-pound gold nugget at the Perot Museum, can fetch millions, and rare crystal formations can reach six-figure sums, Pospisil notes that many attractive decorative rocks are available for under $500. Common examples include petrified wood bookends or geode cathedrals filled with amethyst crystals. For more exotic requirements, businesses like Mineral Hunters Gallery, run by Jim Penix and D Oswalt in the Dallas Design District, cater to designers seeking unique pieces. Penix, with a background in geology, started the gallery over two decades ago and now supplies custom orders, such as 20 selenite crystal lamps mounted on acrylic bases, known for their elegant, shimmering effect. Designers at Mineral Hunters Gallery often cut, polish, and even alter the color of stones to meet specific aesthetic demands; for instance, purple quartz (amethyst) can be heated to transform into golden yellow citrine. Oswalt points out that the stark, hard-edged silhouettes of rocks and minerals make them particularly suitable for modern decor, though they can complement traditional styles as well. The gallery's inventory includes diverse specimens like fossilized sea urchins, pink zeolite, sea-green apophyllite, and blackish-purple stalactites, with a restroom even featuring a sink made from amethyst crystals, emphasizing the uniqueness of each natural piece. Another significant player in this field is The Arkenstone Mineral Gallery in Richardson, owned by Rob Lavinsky. Named after a magical heirloom from J.R.R. Tolkien's *The Hobbit*, the gallery focuses on museum-quality specimens for serious collectors, operating by appointment. It boasts a 3,000-square-foot gallery, a plastics lab for custom display bases, and a dedicated designer room where specific requests for color, size, and material are met without requiring clients to know the exact mineral. Lavinsky, who began collecting at age 14, emphasizes the intellectual appreciation for intermediate-priced rocks (ranging from $500 to over $5,000). He has expanded his business internationally, opening a gallery in Shanghai to tap into the burgeoning Chinese collector market and participating in major international shows. High-end pieces, such as an 18-inch-tall clear quartz crystal tower resembling a skyscraper, can be acquired for approximately $20,000, offering a singular accent for a home. #HomeDecor #NaturalElements #GeologicalSpecimens #MineralCollecting #FossilDecor #InteriorDesign #DecorativeStones #LuxuryDecor #DallasDesignDistrict

This blog post focuses on the versatile use of decorative stones and gravel for various outdoor projects, ranging from driveway overhauls to garden enhancements. It highlights the suitability of these materials for diverse applications, such as creating driveways, footpaths, and defining borders and beds within a garden. The article emphasizes that a wide selection of aggregates, decorative gravel, and garden pebbles is available to accommodate different budgets and project sizes. The content elaborates on how garden pebbles and cobblestones can be used to transform garden aesthetics, suggesting their application to add decorative contrast around water features, ponds, and plants. These pebbles and stones are offered in a variety of colors to match different style preferences. For specific gardening needs, horticultural grit, a coarse material made from small rocks or crushed stones, is introduced as an ideal choice for improving soil drainage, preventing compaction, and providing a stable base for plants in containers or raised beds. For driveways and walkways, decorative gravel is presented as a cost-effective alternative to block paving. The article recommends using sleepers or lawn edging to contain the gravel and driveway stones effectively. Additionally, stone and slate chippings are proposed as an alternative to traditional gravel, offering flatter textures suitable for finishing potted plants and borders. These chippings are noted for their stylish appearance and practical benefits, including helping to suppress and control weed growth, especially when combined with landscaping fabric. The ease of laying and minimal maintenance required for these outdoor stones are also highlighted, presenting them as a hassle-free option compared to materials that demand more upkeep, such as natural grass or certain paving slabs. The post also addresses frequently asked questions, providing practical advice on how to gravel a garden. This involves preparing the area by removing existing vegetation, leveling the soil, laying landscaping fabric to prevent weeds, and then evenly spreading the gravel. It clarifies the composition and purpose of horticultural grit in gardening. Finally, it discusses factors to consider when choosing the best stone for a garden, emphasizing that while all stocked garden stones are natural and suitable for outdoor use, the ultimate choice depends on personal aesthetic preferences and the intended functional use in the garden. #DecorativeStones #GardenGravel #LandscapeDesign #DrivewayIdeas #GardenPebbles #HorticulturalGrit #WeedControl #OutdoorDecor #HomeImprovement

This article details the journey of Amy and Bruce Paul in designing and decorating their 11,000-square-foot home in Rye, New York, focusing on integrating their extensive art collection into a cohesive interior design. Having previously lived in a post-modern home with traditional furnishings and a growing contemporary art collection, the Pauls sought to create a new residence where the exterior architecture and interior aesthetics were harmoniously aligned with their personal taste in design and art. Their objective was to construct a home that could comfortably accommodate their family of six while optimally showcasing their practiced and perfected collection of paintings and sculptures. The couple acquired a 13-acre estate in Rye before the 2001 World Trade Center attacks, subdividing it into seven lots and reserving a two-plus-acre parcel for their own home. They collaborated with builder Michael DiChiaro to construct a six-bedroom, seven-full-bath residence that offers views of a wooded yard, later enhanced with a pool and waterfall by Coral Sea Pools, and adorned with bronze sculptures by Mexican artist Bruno Luna. For the interior design, Amy Paul enlisted Joseph R. Stabile of J.R. Cattington, who had previously worked with them. Stabile and his team were involved from the ground up, providing input on architectural design, interior finishes, electrical layouts, and lighting selection. Stabile chose a palette of cream and gold to complement the Pauls' artwork and suggested structural modifications, such as adding a doorway to improve flow in the formal living room. Amy's primary design directive was for a "light and bright" home, which was achieved in the living room through buttery gold satin-striped fabric from Robert Allen for window treatments and crystal wall sconces by Crystorama. This room serves as a gallery for various notable paintings, including works by Janet Treby, Liane Abrieu, and Russian artists. The soft color scheme is accented by silk brocade wing chairs with colorful throw pillows and fuchsia and silk rugs from China. The family room continues the luminous theme with yellow walls, a toile pattern by Antonia Vella, Seabrook wallcoverings, and similarly colored fabrics in lemon, green, and persimmon for window treatments, pillows, and side chairs. Crystal chandeliers from Murano, imported by Castilian Imports, were chosen to coordinate with paintings by Isaac Maimon and Charles Levier. The coffered ceiling in a green apple shade with cream-colored woodwork further enhances the vibrant, garden-like atmosphere. Bruce Paul's personal space, a clubby card room, contrasts with Amy's preferences, featuring dark wood paneling, built-in bookcases, a bar, and masculine fabrics. This room, separated from the family room by a stone-front fireplace, includes Biedermeier chairs with leopard-print fabric and various personal artifacts. Stabile designed the fireplace with intricately carved mahogany lions and used a Serengeti Leopard carpet to connect Bruce’s adjoining office. The Pauls' children, Joanna, Ryan, Matt, and Jason, also contributed to the design of their respective bedrooms and bathrooms, incorporating elements such as Masland Carpets, Bernhardt furnishings, and Thibaut wallpapers. The master bedroom, with its vaulted ceiling, presented a challenge in scale, addressed by Stabile using Highland Court silk brocade for a cornice "headboard" that coordinates with custom curtains. The article highlights the Pauls' passion for art collection, which began with a French artist Charles Levier painting and expanded to include works from their travels to Europe, South America, Asia, and the Southwest. Despite concerns about diminishing wall space, their quest for art, driven by personal connection and memories from their travels, continues. #HomeDesign #InteriorDecor #ArtCollection #LuxuryHome #RyeResidence #JosephStabile #CustomDesign #ArchitecturalFeatures #PersonalStyle

Designers are increasingly drawing inspiration from English interiors, and tapestries are emerging as a prominent antique item in stylish spaces. These textiles are being embraced to introduce warmth and character into modern interiors, moving away from formal perceptions to appear cozy and confident. Whitney Romanoff of Meet West notes that tapestries instantly add mystery, romance, and softness, captivating with their historical craftsmanship and visual narratives. This trend signifies a shift towards cultivating atmosphere, reminiscent of English country houses where layered textures, mixed patterns, and a lived-in feel are valued over excessive polish. Modern applications of tapestries emphasize rich, moody aesthetics, often featuring velvets, fringe, and pastoral scenes that contribute texture and depth, creating an intimate, cocooning effect in living spaces and bedrooms. The renewed appeal of tapestries aligns with a broader desire for personalized rather than impeccably polished rooms. Designer Sarah Stacey highlights that tapestries are classic, versatile, and can function as wall art, a means to conceal televisions, or even as material for pillows and upholstery. She notes their ability to read as almost neutral despite intricate designs due to their non-repeating patterns. The growing appreciation for handmade items in an increasingly AI-driven world also contributes to the timing of this trend. For individuals seeking impactful decor without committing to extensive gallery walls or large paintings, a tapestry offers an accessible solution to complete a large wall. Designers recommend specific strategies for styling tapestries. Crystal Sinclair appreciates the texture antique tapestries bring, using them to introduce a sense of history and balance to modern environments. She advocates for pairing them with contemporary furniture to avoid a heavy or theatrical feel, emphasizing that the textile's age becomes an asset when contrasted with clean-lined pieces. Sinclair advises homeowners to be bold with their choices, suggesting that a tapestry should be a room's focal point. Both Stacey and Chiara de Rege agree on the importance of scale, encouraging oversized pieces that can extend almost wall-to-wall or behind furniture, making the layering appear intentional and allowing the tapestry to define the space. Achieving a current aesthetic with tapestries hinges on contrast. Designers stress the importance of combining them with modern furniture, streamlined shapes, or unconventional materials. De Rege particularly enjoys the dynamic tension created by juxtaposing very old tapestries with contemporary elements like steel consoles or modern seating, describing the effect as both grand and subtly satirical. The objective is not to replicate historical period rooms but to use the tapestry as a grounding element, allowing the rest of the decor to feel fresh and contemporary. When sourcing, designers overwhelmingly favor vintage pieces for their unique character and inherent narrative. Sinclair emphasizes the challenge and reward of finding suitable vintage tapestries, while Stacey often searches auctions, flea markets, and online marketplaces. De Rege encourages selecting pieces whose stories resonate with the client and project. In an era where warmth, personality, and thoughtful design are highly valued, tapestries provide a unique blend of intimacy, layering, and groundedness, offering a sense of escapism that aligns with current design sensibilities. #InteriorDesign #HomeDecor #TapestryTrend #AntiqueDecor #DesignInspiration #EnglishInteriors #TextileArt #VintageHome

The article showcases the work of Jared Abner, a 2021 Furniture Design graduate from RIT, focusing on his distinctive approach to creating furniture and sculptures. Abner's artistic philosophy is characterized by a unique combination of subtraction and addition, a process he describes as "creation through destruction." He begins by engaging in subtractive methods, such as turning, carving, and cutting raw materials, and then reassembles these modified pieces to form new creations. This methodology highlights a dynamic interplay between deconstruction and reconstruction in his design process. One prominent piece featured is a walnut and fiber rush bench from 2020. This work exemplifies his ability to blend traditional woodworking materials with contemporary design principles, resulting in a functional yet artistic piece of furniture. Another significant creation is an abstractly shaped chair crafted from stack-laminated cherry wood, also from 2020. This chair demonstrates his innovative use of lamination techniques to achieve complex forms and textures, transforming solid wood into a visually fluid structure. The intricate layering of cherry wood not only adds to the aesthetic appeal but also speaks to the meticulous craftsmanship involved in its construction. The article also presents a series of "Suspension Study" sculptures, which further illustrate Abner’s exploration of form, balance, and material interaction. "Suspension Study One" features a wood sculpture connected to a large blue ball, utilizing walnut, poplar, and milk paint from 2020. This piece suggests an investigation into equilibrium and the tension between different elements. "Suspension Study Two," from the same year, continues this theme with a wood sculpture incorporating a rope to hold a blue ball, again using walnut, poplar, and milk paint, alongside the addition of rope. The inclusion of rope introduces an element of flexibility and dynamic force, contrasting with the rigidity of wood. Finally, "Suspension Study Three," created in 2020, consists of a black sculpture where two large wood pieces sandwich a blue ball, made from ash, poplar, and milk paint. This piece explores containment and compression, with the blue ball acting as a focal point that is simultaneously supported and constrained by the wooden components. Collectively, these works underscore Abner’s versatility in transforming raw materials into pieces that challenge conventional notions of furniture and sculpture, emphasizing both aesthetic innovation and a thoughtful engagement with the physical properties of his chosen media. His portfolio reflects a deep understanding of material manipulation and an artistic vision that merges functionality with sculptural expression. #FurnitureDesign #Sculpture #JaredAbner #RITAlumni #Woodworking #MaterialManipulation #ArtisticProcess

The perception of mixing metal finishes in interior design, particularly in kitchens, has shifted from being a design faux pas to a celebrated trend, with designers advocating for its ability to create a "less-pretentious" and more personalized aesthetic. Historically, combining metals like gold and silver was avoided, but in 2025, this approach is gaining significant traction. A recent poll indicated that 52% of respondents favored mixing metals, highlighting a growing acceptance and enthusiasm for this design choice. Designers emphasize that the era of meticulously matching all metallic elements is over. This shift allows for greater flexibility in selecting items, eliminating the need to compromise on beloved pieces to maintain uniformity. Lucas Goldbach, Design Director at En Masse, explains that an overly matched scheme can appear "over-designed," while a thoughtful mix introduces personality and unique character to a space. However, achieving a successful mixed-metal look requires adherence to specific guidelines to ensure the outcome appears intentional rather than accidental. A fundamental principle for mixing metals is to establish a common thread throughout the design. Bob Bakes, co-founder of Bakes & Kropp Fine Cabinetry, suggests creating connection points between different metallics. This could involve matching sink fittings and hardware while choosing contrasting finishes for lighting and accessories. For instance, a standout element like a range hood or metal doors can serve as a focal point. Another strategy, according to Lucas Goldbach, is to select materials with a warm base when combining gold-tone and silver-tone metals. Nickel, with its warm undertones, pairs effectively with brass and bronze, whereas chrome, with its cooler undertones, is more challenging to integrate seamlessly. It is also recommended to maintain consistency in the finish or surface treatment, such as pairing polished metals with other polished metals, or brushed with brushed. Achieving the right balance is crucial to avoid an overly ostentatious or "blingy" appearance. While combinations like polished chrome and polished brass can evoke an edgy, mid-century Italian vibe, they can also lean towards an 80s aesthetic if not handled carefully. Given that kitchens typically incorporate stainless steel appliances like sinks, ranges, and ovens, designers often suggest using a simple stainless steel faucet as part of this appliance suite, then introducing brass or bronze hardware for lighting, cabinet pulls, and decorative items. Bob Bakes advises restraint, emphasizing the importance of balancing metallic elements with other materials such as wood, paint finishes, stone, and fabrics to create visual harmony within the space. Designers encourage bravery and thinking outside the box when incorporating mixed metals. Lucas Goldbach notes that mixing metals can add warmth and depth to a space, despite initial intimidation. Bob Bakes reinforces the idea of taking calculated risks while maintaining restraint and striving for balance. For those hesitant to experiment in the kitchen due to numerous hardware and metallic components, starting in other areas of the home, such as living rooms or dining rooms, where plumbing and appliances are less dominant, can be easier. A modern chrome lamp beside antique brass bowls, for example, illustrates the eclectic and curated mix achievable through this approach. For those new to the trend, Lucas Goldbach offers a simple rule: nickel pairs well with brass, nickel with bronze, and brass with bronze, with black serving as a versatile accent. This guideline provides a solid starting point, allowing individuals to gradually experiment with different ideas as they become more comfortable. Products like a mixed metal pepper mill, a chrome kitchen faucet, and acrylic and brushed brass cabinet pulls are highlighted as examples of items that can facilitate a chic and balanced mixed-metal scheme without appearing excessive. #MixedMetals #KitchenDesign #InteriorDesignTrends #HomeDecor #ModernKitchens #DesignTips #MetallicFinishes #CabinetHardware #KitchenAppliances

The article explores the evolving landscape of antique collecting and interior design, highlighting a shift in how antiques are incorporated into modern homes. Anthony Baratta, a seasoned designer and shop owner, observes that a younger clientele integrates antiques as unique feature pieces within contemporary settings, moving away from rooms exclusively furnished with antique items. This trend emphasizes building a quality collection over time rather than accumulating mass-produced reproductions. Eleven top designers and dealers offer insights into specific antique categories that are expected to appreciate in value. Erik Retzer, a Chicago-based antiques dealer, recommends bronze sculptures, noting their durability and the significant artistry involved in their creation, making them valuable and scarce. Laurin Beard of B. Viz. Design points to Suzani textiles, which originated from Central Asian nomadic tribes and were historically used as protective panels and wedding dowries. These textiles are now appreciated for their craftsmanship, vibrant patterns, and rich colors, with growing interest in repurposing them as wall art, pillow covers, or even clothing. Baratta and Philip Mitchell, a Toronto-based designer, suggest investing in furniture from the 1980s and 1990s. They argue that the widespread reproduction of mid-century modern pieces has diminished their future investment potential, making more recent vintage furniture a better bet for those looking ahead. Martyn Lawrence Bullard, an L.A.-based designer, highlights Georgian and Regency furniture, particularly chests of drawers, dining chairs, secretaries, and side tables. He notes their current affordability and timeless character, predicting a rise in their value due to renewed interest, partly fueled by popular period dramas like Netflix's Bridgerton. Gary McBournie, a Boston-based designer, advocates for mid-century Italian lighting, which he believes adds a colorful and shapely touch to entertaining spaces. Joy Moyler, a New York-based designer, advises investing in timepieces, such as ornate clocks, which she considers jewel-like additions to interiors and offer a good return on investment. Mitchell also champions Baroque-era pieces, including furniture with stone and metal details, oversized mirrors, and crystal candelabras, for their ability to create focal points and add unique character to modern homes. Houston-based designer Margaret Naeve Parker recommends 20th-century Danish and French furniture from renowned post-war designers like Pierre Chapo, Charlotte Perriand, Otto Schulz, and Poul Kjærholm, citing their consistent value appreciation. Baratta also finds value in vintage reproductions of Louis XV and XVI furniture and decor, seeing them as accessible entry points for new collectors seeking quality items at reasonable prices. He cautions against DIY refurbishing, emphasizing the importance of preserving original finishes to maintain resale value and the difficulty of finding skilled craftsmen. Finally, Charlotte Moss, a New York-based designer, emphasizes personal taste as the ultimate guide for antique investment. She encourages new collectors to explore auctions and antique shops, ask questions, and learn to evaluate pieces for quality and style, rather than focusing solely on specific types of antiques. The article underscores that the current market offers numerous opportunities for collectors to acquire unique, valuable, and sustainable pieces that enhance home aesthetics while potentially growing in financial worth. #AntiqueCollecting #InteriorDesign #HomeDecor #InvestmentPieces #BronzeSculptures #SuzaniTextiles #VintageFurniture #GeorgianRegencyFurniture #MidCenturyItalianLighting #BaroqueDecor #DanishFrenchFurniture

The article explores the evolution of decoration in interior design, focusing on how ceramic materials and advanced technologies are redefining the concept of surface ornamentation, moving beyond traditional pictorial motifs to incorporate more complex, full-bodied effects. It highlights that decoration, historically integral to living spaces across cultures and eras, continues to adapt and interpret contemporary tastes and architectural styles. Ceramic material, known for its ductility, resistance, and versatility, remains a central element in interior cladding projects, constantly evolving to stay current. The discussion emphasizes how new technologies and aesthetic sensibilities combine to create "decor 2.0," integrating camouflage effects like marble and concrete looks, and offering innovative formats, geometries, and patterns. The piece delves into current trends in coverings that update mosaic and insert techniques using the technological capabilities of porcelain tiles. This integration brings a sense of preciousness combined with the inherent durability of advanced materials. The article notes a dual aesthetic preference emerging in surface design: a leaning towards neutral tones for their sobriety, or a shift towards more daring solutions that imbue spaces with distinct character. This trend is particularly evident in Atlas Concorde's collections, a brand committed to expressive experimentation for architects and designers. The Boost collection is presented as an example, catering to urban chic aesthetics with its imitation of rough, spatulated concrete, enhanced by graphic and material details. It features decorative textures like the Hex Mosaic, which blends concrete's ruggedness with the sparkle of Murano glass to form contemporary hexagonal patterns with translucent and reflective elements. Similarly, the Marvel Edge collection's Hex Gold Mosaic decoration showcases material contamination, where marble-inspired surfaces, such as Calacatta, are brightened by golden inserts, utilizing hexagonal and triangular geometries for unique combinations. The Marvel Dream collection further explores marble effects with colors not found in nature, aiming to modernize the material's classic appeal. Its strong point is a rich decorative system that reinterprets traditional rosette inlays into a modern language, exemplified by the visually striking Leaf Mosaic, available in three color variations, which introduces a fluid and dynamic surface by emphasizing marble's chromatic component. The Blaze collection takes inspiration from oxidized metal, reproducing the vintage aesthetics of rusty walls through characteristic halos, leaks, and iridescent reflections on porcelain tiles, offering a "Rusty Chic" appeal with decorative options like the Blaze 3D Factory macro scale mosaic. Metallic reflections are also prominent in the Mek porcelain wall tiles, featuring contemporary surfaces reminiscent of brushed metal slabs. This collection provides a diverse range of decorations for both commercial and residential interiors, including tonal mixes, geometric motifs, and three-dimensional mosaics like the Hexagon Mosaic and Prisma Mosaic, which feature elegant triangular tesserae with scratches and iridescent flashes, ideal for modern design. Finally, the Dolmen Pro collection addresses the stone look, evoking the natural imperfections and material essence of Trentino Alto Adige porphyry. While the original material is typically for outdoor use, Dolmen Pro's ceramic formats are adapted for refined interior projects, enhancing the raw stone's expressive strength. The Mosaico Squares Mix4 decoration, with its brass inserts and geometric patterns of squares and trapezoids, is designed to illuminate interiors with precious details. #InteriorDesign #CeramicTiles #PorcelainTiles #HomeDecoration #SurfaceDesign #AtlasConcorde #MaterialInnovation #ModernDecor #ArchitecturalFinishes

The Japanese brand Time & Style has introduced its Sculpture Casting Bronze table, aiming to create dining furniture that possesses a bold and sculptural presence. This piece is featured in the Dezeen Showroom, highlighting innovative designs within the furniture industry. The table's distinctive characteristic is its large base, which is meticulously crafted using a traditional metal casting technique. This technique holds cultural significance, as it has historically been employed in Japan for the creation of intricate Buddhist statues and various ceremonial objects. Time & Style's intention behind utilizing this ancient craft for a contemporary dining table is multifaceted. Primarily, the brand seeks to preserve and revitalize traditional Japanese craftsmanship by applying it to modern furniture design. This approach bridges the gap between historical artistry and contemporary utility, ensuring that time-honored skills remain relevant and valued. Additionally, the brand aimed to produce a statement piece that unmistakably showcases the inherent beauty and robust aesthetic of cast metal. The goal was to develop a table that is not merely functional but also serves as a work of art, commanding attention within any dining space. According to Time & Style, the design was conceived to evoke a sculpture-like form, drawing specific attention to its hollowed leg section, which is a testament to the intricate capabilities of metal casting. This design choice emphasizes the material's ability to be shaped into complex, visually impactful structures while maintaining its intrinsic strength and character. The bronze base, a central element of the table, is available with various finish options, including a light satin finish for a more subtle gleam or a black stain for a bolder, more contemporary look, allowing for customization to suit diverse interior design preferences. Complementing the striking bronze base is a large elliptical oak tabletop. Time & Style deliberately designed this tabletop to impart a “soft impression,” providing a visual and tactile contrast to the metallic base. The elliptical shape is not only aesthetically pleasing but also functional, as it is intended to facilitate comfortable seating arrangements, allowing individuals to dine at a pleasant distance from one another while promoting ease of conversation. The table is offered in two different sizes, providing options to accommodate various dining areas and spatial requirements. This product launch by Time & Style reflects a broader trend of incorporating traditional craft techniques into modern design to create unique, high-quality, and culturally rich furniture. The Sculpture Casting Bronze table exemplifies a fusion of Japanese heritage and contemporary design principles, offering a piece that is both practical for daily use and a significant decorative element within a home environment. The use of durable materials like bronze and oak also underscores a commitment to longevity and enduring design. #DiningTable #BronzeFurniture #JapaneseCraftsmanship #TimeAndStyle #MetalCasting #FurnitureDesign #HomeDecor #StatementPiece

The article highlights a growing trend in home decoration: the resurgence of bespoke, hand-crafted wall coverings. This movement is fueled by consumers' desire for unique furnishings that embody craftsmanship and authenticity. Laura Cheung Wolf, founder of the home decor and lifestyle brand Lala Curio, is a central figure in this narrative, emphasizing the critical importance of preserving traditional artisan skills. She draws a parallel between the reconstruction of Notre-Dame Cathedral, which relied on centuries-old craftsmanship, and the meticulous techniques used in her company's Chinoiserie wallpaper. Cheung Wolf's Lala Curio specializes in dreamy Chinoiserie wallpaper, meticulously hand-painted and embroidered using the ancient Chinese gongbi technique. She argues that the ability to restore and rebuild architectural marvels like Notre-Dame within a relatively short timeframe is a testament to the continuous fostering of traditional crafts across generations. These skills, encompassing woodworking, hand-painted murals, and stained-glass restoration, are not just historical relics but living traditions that European societies have actively nurtured, ensuring their availability when needed. The article underscores that this integration of ancient knowledge into contemporary design and architecture is gaining significant traction. Modern consumers, increasingly seeking deeper connections to heritage and the authenticity of handcrafted goods, are driving demand for products like hand-painted Chinoiserie wall coverings. These unique wall products, which grace grand homes, royal palaces, and luxury hotels worldwide, owe their allure to their genuine, artisanal nature. Cheung Wolf's personal journey reflects this commitment to traditional craftsmanship. After spending time between Hong Kong and Washington, she returned to Hong Kong for the May 1 opening of Lala Curio’s flagship showroom at The Peninsula Hong Kong. This marks a significant milestone, being the first physical shopfront for her brand in Hong Kong in three years, despite her continuous efforts to expand Lala Curio globally with distributors in Britain, the Middle East, Thailand, and the US. Her latest collection, Feuillage (“foliage”), debuted at Paris Déco Off in January and features wall coverings with diverse backgrounds such as suede, velvet, seagrass, wood veneer, and cork. This collection further exemplifies the brand's dedication to combining traditional hand-painted designs with a variety of rich textures, offering a unique and luxurious aesthetic. The success and expansion of Lala Curio illustrate a broader cultural shift towards valuing the narrative, history, and intricate skill embedded within handcrafted interior design elements. #HandCraftedWallCoverings #ChinoiserieWallpaper #ArtisanSkills #TraditionalCraftsmanship #HomeDecor #LalaCurio #InteriorDesign #AuthenticFurnishings

The article introduces "Jewelachite," a new faux painting technique conceptualized by interior designer Jewel Marlowe, which is gaining traction as a DIY home decoration trend. This technique allows individuals to create a luxurious malachite or agate design on various surfaces using jewel-toned paints, offering a cost-effective alternative to expensive wallpapers. Marlowe successfully debuted this technique on a set of doors for a Hampton’s Designer Showhouse, highlighting its ease and significant impact. The "Jewelachite" method involves using two shades of a jewel-toned color: a lighter hue for the base and a darker one for the design. The process begins by painting the chosen surface with the lighter color and allowing it to dry completely. Subsequently, the darker paint is mixed with an acrylic glaze to thin it. A piece of cardboard, with one side torn to create a jagged edge, is then used as a tool. A small amount of the thinned darker paint is applied to a section of the surface, and the cardboard is pivoted with varying pressure to create the intricate malachite texture. Marlowe suggests practicing the technique a few times to achieve the desired effect, noting that mistakes can be easily corrected by reapplying thinned paint over unwanted patterns. It is recommended to work in small sections to prevent the paint from drying prematurely, ensuring a smooth application of the texture. After completing the malachite design, applying a glossy top coat is advised to enhance the mineral-like appearance and provide a deeper finish. The versatility of the Jewelachite technique extends beyond doors. Marlowe envisions its application on ceilings, furniture, floors, and frames, offering numerous possibilities for adding vibrant color and intricate patterns to different elements within a home. The trend is anticipated to become widely popular on social media platforms, encouraging DIY enthusiasts to experiment with this innovative painting method. This technique provides an accessible way for individuals to transform their living spaces with a sophisticated and unique aesthetic, mimicking the look of natural minerals without the high cost. The step-by-step guide provided by Marlowe makes it approachable for those without extensive painting experience, promising a stunning, custom finish for various home decor projects. #Jewelachite #FauxPainting #DIYHomeDecor #PaintTrends #InteriorDesign #MalachiteDesign #HomeImprovement #AcrylicGlaze #JewelMarlowe

While marble has historically been a foundational element in both architectural marvels and sophisticated home interiors, a new material is emerging as a compelling alternative: onyx. Often confused with agate, onyx is characterized by its layered bands of chalcedony and has long been revered for its perceived protective qualities. Traditionally utilized in small-scale applications like jewelry, onyx is now making a significant impact in interior design, thanks to innovative architects and designers. Famed French design studio Liaigre, in collaboration with Dutch architects Powerhouse Company, recently showcased onyx's potential in a Munich home. They transformed the space into an avant-garde masterpiece, featuring a green onyx bar where the veiny panels enveloped nearly every surface, save for a dark floating shelf. The master bathroom pushed this dramatic use further, extending the stone to the ceiling, creating a luxurious and immersive retreat. Onyx, while sharing some characteristics with marble, distinguishes itself with a unique richness and depth that can often be absent in its more ubiquitous counterpart. This material introduces vibrant and diverse aesthetic possibilities across various applications in the home. One notable category is the green variety of onyx, which evokes a sense of calm and restfulness, reminiscent of natural elements like eucalyptus. Its wave-like veins make it an ideal choice for accent walls in bathrooms, contributing to a serene atmosphere. For those looking to incorporate green onyx on a smaller scale or a tighter budget, accessories such as raw-edged coasters can introduce the stone's beauty. Even alternatives like agate trays, with their unique patterns, can offer a similar high-end aesthetic. Another striking application of onyx is in pink hues, which can infuse warmth into otherwise cool stone surfaces. Examples include pink onyx gracing bathroom sinks, as seen in notable establishments like Annabel’s Mayfair Club. Designers are also exploring its use in furniture and decorative items, such as the aspirational chair by Claste, which combines rose-tinted onyx with clear glass for a transcendent effect. Smaller, functional items like sculptural, hand-polished soap dishes offer an unexpected way to introduce pink onyx into a bathroom, preventing bar soaps from slipping while adding a touch of luxury. Additionally, medium-sized onyx tables, like those from Baxter, can serve as elegant accent pieces or complement existing coffee tables. Beyond vibrant greens and pinks, onyx also presents in a range of natural earth tones, including scorched yellows, muddled browns, and lustrous taupes. These warmer variations highlight the stone’s versatility, seamlessly integrating into contemporary furniture designs. The UÑA table by Nomade Atelier, with its coffee-colored swirls and seemingly levitating tiered slabs, exemplifies how Mexican-sourced onyx, a product of the world’s largest onyx producer, can create a sophisticated and modern aesthetic. Even small decor items like Carl Kleiner's block-like vase, featuring a slim brass wire stemming from an onyx and marble base, demonstrate how earth-toned onyx can be incorporated with minimalist elegance. Furthermore, onyx in caramel-colored swirls can set the stage for luxurious displays of perfumes and beauty products, elevating the everyday experience of a bath or dressing area. This diverse color palette and inherent beauty make onyx a compelling and sophisticated alternative to traditional marble in various interior applications. #OnyxDesign #HomeDecor #InteriorDesignTrends #LuxuryMaterials #StoneDecor #BathroomDesign #LivingSpace #ModernInteriors #DesignInspiration

The Heritage throw by Norwegian design studio Plesner Patterns integrates traditional Scandinavian craft techniques, such as weaving and wood carving, into a contemporary woollen blanket. Designed by Kiki Plesner-Löfroth for her brand, the throw is made from 100 per cent merino wool, aiming to evoke a sense of coziness and grounding. The design features patches of soothing colors and cream-colored tassels, with the textile woven using herringbone and waffle techniques, which are traditional methods historically employed by Norwegian artisans. Plesner Patterns' approach interprets traditional elements in a modern context, creating a connection to the past that is perceived as comfortable and safe. The design is intended to reveal new shapes and colors with movement, adding to its appeal. For 2024, the brand expanded its color palette to include blue and yellow, complementing existing versions in red and light blue, and green and ochre, which were introduced in 2022. Each throw measures 2000 x 1300 millimeters. The Heritage blankets are manufactured in Grinakervev, Norway, a detail that underscores their regional craftsmanship. The product has received critical acclaim, notably being awarded the Red Dot Award in the product design category in 2024. This recognition highlights the throw's design quality and adherence to established design principles, combining functionality with aesthetic value and cultural reference. The production process emphasizes quality materials and traditional methods, ensuring durability and a unique texture. Key product details include its primary material, 100 per cent merino wool, which is known for its softness, warmth, and natural properties. The available color combinations offer consumers a range of aesthetic choices to suit various interior designs. The dimensions of the throw make it suitable for a variety of uses, from decorative accents to practical warmth providers. The product's success in design awards further solidifies its position in the market as a noteworthy piece of textile design. #ScandinavianDesign #MerinoWool #TextileDesign #TraditionalCraft #HomeDecor #ProductDesign #NorwegianDesign #WoollenBlanket #RedDotAward

Martha Friend, a found object artist residing in Somerville for nearly three decades, has transformed her home into an expansive and whimsical art installation. Her property features outdoor and indoor creations crafted from repurposed materials, offering a unique visual experience for passersby and visitors. One notable outdoor piece is “The Emerald City,” an intricate installation made from green glass, metal, and other salvaged items, located near the community path by Magoun Square. This installation, built approximately a decade ago, continues to stand in her backyard, despite requiring periodic rebuilding due to its fragile nature as an outdoor glass sculpture. Following its creation, Friend also constructed “Sapphire City” in her front yard, primarily using blue glass, though she noted the materials for this piece were more challenging to acquire. Inside her home, Friend’s artistic vision extends to almost every wall, adorned with her original creations. These include patchwork designs attached to vintage mesh box springs and themed dioramas illuminated with lights. Her personal collection also incorporates art from local artists, such as a steampunk-inspired lamp, and aged imaginative artwork by her children, reflecting the creative environment in which they were raised. Friend primarily utilizes “found objects” for her art, sourcing materials from flea markets, thrift stores, yard sales, and natural environments. She believes these materials are widely accessible, requiring only a keen eye to discover them. Beyond creating art, she enjoys collecting unusual items, evident in her display of portrait mannequin heads throughout her common areas. Friend's lifelong passion for art traces back to her early years, where she engaged in sewing and developed an appreciation for weathered, rusty objects. Before becoming a found object artist, she worked as a professional photographer, specializing in brides and children, with a cherished photograph of her own children prominently displayed in her living room. Later in life, she pursued a master’s degree in social work and taught health and English as a Second Language at Revere High School. After retiring from teaching due to administrative micromanagement, she fully dedicated herself to her art, leading to the creation of her first major installation, “The Emerald City.” Her outdoor installations also include intentionally placed painted plastic animals. An installation called “Dance Parties” features multicolored horses and action figures on her roof, while “All Hail Grand Poobah” showcases a herd of silver elephants beneath a tree. Friend is currently developing a third “city” installation that explores themes of humanity restarting after an apocalyptic event, building new communities from discarded civilization materials. Friend's art is intended for public enjoyment, with her property open to observation year-round. Annually, during the first weekend of May, she participates in the Somerville Open Studios event, opening her home for visitors to explore her extensive interior decor. While she previously sold her work, she now prefers to keep her creations as part of a larger, integrated artistic environment. #FoundObjectArt #SomervilleArtist #HomeArtInstallation #RecycledArt #CreativeHome #OutdoorSculpture #CommunityEngagement #ArtisticExpression

In the spring, patrons and neighbors of the Elite Cafe were concerned about the sale of the 35-year-old restaurant, fearing that its historic interior would be gutted. However, reassurance came with the news that San Francisco restaurateur Andy Chun, known for his sensitive 2014 remodel of Schroeder’s, was leading the buying group. Chun stated his intention to preserve much of the Art Deco interior, while offering a contemporary interpretation of the 1920s and 1930s decorative style. The Elite Cafe, located at 2049 Fillmore Street since 1981, resides in an Art Deco building originally commissioned for the Lincoln Grill in 1932. Building permits from September 1932 indicate an estimated cost of $5,000 for the structure, designed by Irvine & Ebbets in the “modernistic” style. The firm was noted for its Art Deco apartment buildings in San Francisco. For the Lincoln Grill, Irvine & Ebbets incorporated colorful tiles, with black and yellow zigzag patterns above transom windows and as wainscoting along the facade. A raised zigzag cornice and a large, repeated diamond pattern etched in cement adorned the building's top. Stepped designs framed the Philippine mahogany front doors and main plate glass window. These exterior details, along with a reconfigured neon sign from the 1980s, largely remained intact until the recent remodel, which saw the zigzag and diamond patterns obscured by black paint. Inside, the remodel, designed by BCV Architects, involved painting nearly all the wooden surfaces in shades of gray, including dark bluish slate (Benjamin Moore’s Polo Blue) for booths, the bar, and woodwork, and a charcoal color (Englewood Cliffs) for the walls. Chris von Eckartsberg, principal architect at BCV, explained that the booths had been previously painted and required refinishing. The design team aimed to maintain the cafe's essence while updating the color palette to a more luxurious collection of hues. The moldings on the high ceiling were highlighted in white, complementing a new retro-inspired white and black hexagon tile floor, which mirrored the original magnesite floor. However, most Art Deco light fixtures, whether original or added through previous renovations, were removed. Curved Art Deco glass sconces in the booths were replaced by small brass lampshades, which were described as more suitable for bedside reading. While the previous sconces were not original to the 1930s, the replacements were seen as less appropriate for the cafe's style. The non-working bells to summon waiters were kept, but the rails for privacy curtains were over-polished. A press release announcing the reopening mentioned the use of marble and brass for working surfaces to acquire a graceful patina over time. Many existing fixtures with their own patina were discarded for new "faux" old elements. The previous ceiling lights, white milk glass in a skyscraper shape with era-appropriate fans, were replaced by cheaper-looking fixtures that unsuccessfully attempted a Deco style. A mahogany workstation separating the kitchen from the dining room was replaced by an out-of-place mesh-like charcoal drape. The most significant change was the repainting of the back bar, which previously showcased the warmth of polished mahogany reflecting bottles and glasses. The new bar, along with the booth tabletops, was covered in white, veined Carrera marble, providing a more utilitarian but less comforting surface. The Elite Cafe, along with other historic San Francisco restaurants like Tadich Grill, Sam’s Grill, and the Far East Cafe, are among the few that retain elements of their original interiors. While Chun and his team preserved the restaurant's basic structure, largely by painting over existing elements, this approach is criticized as an easy solution for interior designers, leading to a space that has lost decades of warmth and character. #ArtDeco #HistoricPreservation #RestaurantDesign #InteriorRemodel #SanFrancisco #ArchitecturalHistory #EliteCafe #DesignCritique #UrbanLandmarks