F5: Tom Kundig Talks a Seal Sculpture, His Cowboy Hat, a Pencil + More

Interior Designer Sam Sacks, founder and principal of her eponymous firm based in Toronto, Canada, shares five things that currently inspire her work and worldview in a feature called Friday Five. Sacks transitioned into interior design after a career in journalism, where she served as an editor for a shelter publication. Her extensive background in writing about interiors, researching textile history, and studying architecture provided her with a unique education for her current role. She approaches design as a storyteller, aiming to reflect clients' personalities within their spaces through elements like wallpaper, millwork, and rugs. Sacks begins her list with her appreciation for the smell of Spanish Cedar, describing it as fresh and woodsy with a touch of nostalgia. She notes its ability to evoke a sense of history and warmth, making it a material she frequently incorporates into her designs. Her second inspiration is Coqui Coqui perfumeries, particularly the locations in Merida and Valladolid, Mexico. She admires their authentic and beautiful decoration, which features delicate antiques set against 16th-century ruins. Beyond scents, these locations offer spas, private residences, and unique hammocks made from Sansevieria. Anthropomorphic furniture is Sacks' third source of inspiration. She finds joy in pieces that resemble animals or the human form, favoring fun and fantastical designs. Her personal record collection, featuring artists like Bob Dylan and Roberta Flack, is her fourth inspiration. She enjoys listening to their music on repeat, as it helps create an atmosphere conducive to creativity. Finally, Sacks is inspired by textile hunts around the world, which she experiences as a sensory journey filled with the smells of diesel, incense, heat, and humanity. She cherishes the intense, fragmented conversations that occur as people from different backgrounds connect over shared appreciation for beauty, and she has a particular fondness for embroidered textiles from Africa, Central Asia, and Central and South America, noting the joyful expression of nature in designs like Otomi, suzani, and vibrant kilims. The article also showcases several of Sacks' projects. The Majorelle Project involved the meticulous renovation of a three-story Victorian 'workers cottage' in Toronto, where Sacks balanced bold color strokes, such as an electric Yves Klein-inspired blue kitchen, with largely white rooms, natural fibers, and Matisse-esque rugs. Project BFFs, a comprehensive overhaul of a detached Edwardian home in Toronto's Riverdale neighborhood, included a two-story addition, interior gutting, and the integration of soft modern finishes with architectural elements like coffered ceilings and plaster moldings. The Ninth Line project, a smaller endeavor involving a living room and hallway in a Georgian farmhouse, mixed English, African, and Canadian elements to create a whimsical space with reupholstered vintage chairs and custom divans. Cartwright Point, a new build completed in 2023 along the St. Lawrence River, emphasizes timelessness and seamless integration with nature through a quiet palette, tactile finishes, and thoughtful architectural details. Lastly, the Aldwych project transformed a miniature row house in Toronto's east end by restoring its original character while maintaining functionality and openness, inspired by midcentury Northern California cottages with deep blues and electric greens, and a budget-conscious approach that utilized striking materials like zellige-style tiles and a copper range hood for significant impact. #InteriorDesign #SamSacks #DesignInspiration #FridayFive #TextileHunts #AnthropomorphicFurniture #SpanishCedar #CoquiCoqui #ResidentialDesign

Seattle architect Tom Kundig has developed a collection of over 100 hardware items, including drawer pulls, door handles, fire pokers, and shovels. This product line, known as the Tom Kundig Collection, was launched in 2012 in collaboration with Seattle foundry 12th Avenue Iron, with new items being added annually. Kundig, co-founder of Olson Kundig Architects, emphasizes that the collection is born out of architectural necessity, rather than a primary focus on industrial design. The firm's approach is to create a 'parts store' where different components can be assembled, much like a 'Frankenstein' creation, allowing for versatility and repurposing. Olson Kundig Architects is renowned for its robust and raw architectural designs, often situated in challenging or remote environments. Notable projects include the concrete and glass Pierre house, which is integrated with giant boulders, and the oxidized-steel Delta Shelter, elevated on stilts above a floodplain. The firm also designed a weekend cabin described as "virtually indestructible" and a collectors' lounge featuring massive timber beams. These architectural projects frequently incorporate custom hardware systems, such as hand-cranked windows, mobile rural cabins, and a gallery with a facade operated by gears and pulleys, illustrating the practical origins of Kundig's hardware line. In an interview, Kundig explained that the product additions are direct responses to needs arising from ongoing architectural projects. He clarified that they do not approach product design in the same way a dedicated product designer would, but rather as architects who actively use these items. The core philosophy behind the collection is to create "modifiable, morphable products" that can be adapted for various functions, such as a door handle that could later be repurposed as a light fixture. This focus on flexibility and repurposing is a key characteristic of the line. Developing these products is not necessarily easier than designing buildings, according to Kundig; it simply involves a different scale of scrutiny. While the objects are smaller, the micro-level detailing requires intense focus. Research and development for these pieces can take considerable time to ensure their functionality and durability. Despite not tracking the profit of the hardware line separately from the architectural firm, Kundig considers it a significant success because the products are actively used within their projects and are being sold internationally, with requests coming from other architects worldwide. Kundig's current architectural work spans the globe, including projects in Sydney, Rio de Janeiro, Geneva, Seoul, and the Austrian Alps, alongside significant work in New York, California, and Vancouver. These diverse projects include mid-rise mixed-use developments, hotels, wineries, residences, retail stores, and museums. When working in dense urban environments like New York City, Kundig adapts by engaging with the local context and cultural typography, applying the same design process as in rural settings. He highlights that while New York, London, Milan, and Los Angeles are design meccas, the design world is globally interconnected, with digital communication playing a crucial role in spreading ideas. Kundig, who describes himself as a "luddite" regarding digital interfaces beyond basic devices, acknowledges the importance of digital tools in contemporary design and his office's active engagement with them. He views architecture as an evolutionary rather than a revolutionary process, rooted in the present while anticipating the future. For him, the pinnacle of his career is the continuous journey itself, and the accessory line represents another unpredictable path in this ongoing exploration. He seeks out all-around designers for his firm who are skilled in technical design and capable of working across all scales, from large structures to small accessories, emphasizing the importance of versatility and the embrace of new possibilities. #TomKundig #OlsonKundigArchitects #ArchitecturalHardware #ProductDesign #SteelAccessories #CustomDesign #ArchitectInterview #ArchitecturalPractice #DesignPhilosophy

Mark Jupiter, a designer and builder, discusses his journey and inspirations in the latest "Friday Five" feature. From a young age, Jupiter felt a strong inclination towards creation, which eventually led him to design and construct his first house. He meticulously crafted every element, a process he considered essential to experience at least once. This initial venture involved building a massive Gambrel timber frame and constructing some of the country's first LEED Platinum homes, solidifying his belief that his true calling lay at the intersection of craft and invention. Jupiter's path was not without significant challenges. He faced personal tragedies with the loss of both parents and the collapse of his housing company during the 2008 financial crisis. These events left him at a crossroads, but with the steadfast support of his wife, he found the courage to reinvent himself. Her unwavering belief in his abilities inspired him to return to his roots in furniture making, a field he was intimately familiar with through his upbringing. Having learned the intricacies of the trade from his father, a general contractor, Jupiter's hands-on experience ranged from lifting materials to sanding wood. This innate aptitude led him to relocate from upstate New York back to the city to establish his own business. In 2013, he opened his eponymous studio in Brooklyn's DUMBO neighborhood. Starting with a collection of a dozen pieces, which he describes as "the functional jewelry of any room," his operation has since expanded significantly. Today, Mark Jupiter's studio has evolved from a one-man endeavor into a leading, state-of-the-art manufacturing facility and showroom on the East Coast. This growth is particularly notable given the continuous displacement of craft-based businesses from high-end urban areas. The workshop serves not only as a production space but also as a community hub, fostering connection and inspiration among its members. Jupiter values collaboration, emphasizing that the success of his brand is a testament to the collective talent, passion, and precision of his team. In the "Friday Five" segment, Jupiter shares five key inspirations. His wife's pottery, with its quiet power and focus on form, texture, and restraint, consistently impresses him and teaches him about the enduring quality of subtle craftsmanship. Chopping wood provides him with a satisfying, rhythmic activity that connects him to direct consequences and the primitive essence of design. His daughter's honest and unpretentious poetry and singing remind him of the importance of genuine creative expression. He finds immense value in observing master artists at work, citing his experience with painter Craig Anthony Miller, whose process of creating a mural in Jupiter's showroom exemplified dedication and confidence. Finally, his deep affection for goats and other farm animals reflects his connection to a grounded, soulful way of life, providing a refreshing contrast to his urban professional environment. His DUMBO showroom, KITH collaborations, the Jacqueline Desk, the Gabriel Credenza, and the Bose collaboration are highlighted as examples of his work. Each of these inspirations, from personal relationships to practical activities and professional collaborations, underscores Jupiter's philosophy: that authentic creativity and masterful craftsmanship are born from genuine experience, collaborative effort, and a deep appreciation for both the refined and the natural aspects of life. His work, whether furniture pieces or larger installations, consistently reflects this integrated approach to design and living. #MarkJupiter #FurnitureDesign #Craftsmanship #DesignInspiration #BrooklynDesign #CreativeProcess #Entrepreneurship #HomeFurnishings #Woodworking

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

Kit Kemp, co-owner and creative director of Firmdale Hotels, shares her design philosophy and tips, coinciding with the opening of her pop-up at Bergdorf Goodman. Known for her distinctive and whimsical approach to interiors, Kemp emphasizes creating rooms that are engaging and fun, rather than timid. Her work at Firmdale Hotels has established her reputation for crafting unique and inviting spaces, leading to her recent collaboration with Bergdorf Goodman. The Bergdorf Goodman pop-up showcases a comprehensive collection of Kemp's designs, integrating various elements she has developed over the years, including furniture, fabrics, lighting, homeware, and fragrances. This initiative addresses frequent inquiries from her audience about where to purchase her distinctive pieces, marking a significant step in making her designs more accessible. The pop-up is divided into three distinct spaces, each characterized by its own color scheme and personality, yet maintaining a cohesive aesthetic that is uniquely Kemp's. Kemp offers practical advice for incorporating color into home interiors, suggesting that hesitant individuals can start with a statement chair. She explains that by adding a vibrant piece, such as a wing chair, and then coordinating it with cushions, one can gradually introduce color into a room without it becoming overwhelming. Her philosophy is that color should contribute to a sense of calm and harmony, rather than creating a chaotic environment. She also provides quick and easy design tips to enliven a space. A notable suggestion is to use decorative plates as artwork, hung with black felt behind them to enhance their visual impact. Kemp credits Picasso with this technique, indicating its timeless appeal. When it comes to lighting, she advises viewing light fixtures as sculptures, and using fabric on lampshades to dramatically alter a room's focal point, underscoring that only a few focal points are necessary for an effective design. Folk art serves as a primary source of inspiration for Kemp, influencing her overall design aesthetic. Her process for discovering emerging artists is rooted in natural curiosity and a desire for tactile engagement with art, preferring hands-on experience over digital browsing. Among her favorite pieces in the pop-up are bespoke candlesticks and bird baths, which she repurposes for indoor display, highlighting her unconventional and playful approach to design. The article is accompanied by several illustrations showcasing various nooks and displays from her Bergdorf Goodman pop-up, including hand-painted plates, a bespoke 'Pippa sofa,' and a display of signature-style gifts. #KitKemp #InteriorDesign #HomeDecor #BergdorfGoodman #FirmdaleHotels #DesignTips #ColorInDesign #FolkArt #WhimsicalInteriors

Rita Konig, a prominent figure in interior design, shares insights into her extensive career, emphasizing her approach to decoration and personal style. Growing up in the industry with her mother, Nina Campbell, Konig initially explored other career paths before finding her calling in interior design. Her early experiences included decorating a flat in Holland Park and later moving to the US, where she contributed to Domino magazine by curating shopping stories in various cities across America. Upon her return to London in 2012, Konig focused on building her decorating business, which now includes a team of four designers and a Chief Operating Officer. She also contributed a monthly column to House & Garden for several years. Konig identifies herself as a decorator rather than a designer, a distinction she attributes to her mother's influence and her belief that much of interior decoration involves embellishment. She argues that personal objects, memorabilia, and artwork are crucial in making a house feel like a home, advocating for their inclusion even over immediate paint choices. She highlights the importance of incorporating personal items to infuse a space with individuality and warmth, preventing it from resembling an impersonal display. Konig has also engaged in numerous collaborations throughout her career, including projects with The Lacquer Company, for which her Belle Rive tray is credited with inspiring a 'tray renaissance,' and upcoming collections with Schumacher and Officina. She recently launched her second online course with Create Academy, which focuses on the renovation of her own home, covering practical aspects like budgeting and the iterative nature of the design process, especially concerning joinery. She stresses the importance of allowing time for reflection and adjustments during renovations, noting that initial drawings often require modifications. Konig shares specific elements that are consistently present in her own home, such as artwork, objects, books, and a drinks tray, which she considers essential for making a place feel lived in. She recalls cherished items she brought with her to New York that continue to hold pride of place. Her approach to color has evolved over time, from vibrant sorbet hues in her first flat to more grounding ochres, tobacco browns, and burnt oranges in her current home. She views color as a unifying element in a room, citing the use of red to link different components in her living room. Konig also advocates for a 'hero fabric' in each room, around which other elements are coordinated, and suggests incorporating unexpected patterns, like a zebra print sofa, to add character. Regarding lighting, Konig advises simplifying circuits and utilizing a lighting designer to create different scenes for various times of day. She mentions Sally Storey's method of designing 'morning,' 'afternoon,' and 'evening' settings, and her use of integrated spot lighting with decorative pendants. For window treatments, she prefers sheer fabrics, sometimes paired with blackout blinds, for both aesthetic and practical reasons, noting their cost-effectiveness compared to traditional curtains. She also uses woven blinds from India for their ability to filter natural light. The article concludes with a curated list of Konig's preferred brands and suppliers across various categories, including antiques, rugs, wallpaper, glassware, books, bedlinen, towels, eiderdowns, blankets, lamps, and general home goods, offering readers a glimpse into her trusted resources for creating stylish and personalized interiors. #InteriorDesign #HomeDecor #RitaKonig #CareerHighlights #DesignPhilosophy #DecoratingTips #OnlineCourse #HomeRenovation

Kengo Kuma, born in 1954 in Yokohama, Japan, initially favored modern concrete homes over his traditional wooden childhood dwelling, which featured rice paper screens and tatami mats. His perspective on traditional architecture shifted after being deeply impressed by Kenzo Tange's Yoyogi National Gymnasium, designed for the 1964 Tokyo Olympics, which ignited his passion for architecture. Over time, Kuma developed a profound appreciation for his childhood home's craftsmanship, natural materials, and the unique sensory experience it offered, influencing his architectural philosophy. Kuma's current architectural approach emphasizes harmony with the environment, history, and local traditions, focusing on the use of natural and handmade materials. This philosophy is evident in his diverse projects globally, including the wooden Japan National Stadium in Tokyo and the stone-clad V&A Dundee in Scotland. He begins each project with an immersive site visit to understand its 'spirit,' feeling the breeze and smelling the soil, often spending an entire day there to grasp its essence before selecting the most suitable materials. He believes that finding the 'protagonist material' for a place is crucial for architecture. His recent works demonstrate this material-focused approach. The UCCA Clay Museum in Yixing, China, incorporates handmade ceramic tiles to celebrate the region's pottery heritage, while the CMP Inspiration museum in Taichung, Taiwan, features a green-planted roof seamlessly integrated with partially buried exhibition galleries. For the Banyan Tree Higashiyama Kyoto, Kuma drew inspiration from traditional Japanese Noh theatre, creating an outdoor stage using yellow cedar and Kyoto cypress, highlighting the ethereal beauty of local traditions. In the South of France, Kengo Kuma & Associates designed the World Heritage and Pyrénées National Park House in Gavarnie, emphasizing harmony with the stunning natural landscape through traditional materials. The building's fluid form and glazed walls offer mountain views, while its thatched roof celebrates local haymaking traditions. Kuma actively advocates for the sustainable properties of thatch, using it in innovative ways such as exterior walls in the Yusuhara Marche and an upside-down thatched roof at Greenable Hiruzen, despite the challenges of reintroducing traditional materials into contemporary construction. Kuma has designed over 70 museums worldwide, including the V&A Dundee and the Hans Christian Andersen Museum. He redefines museums not just as spaces for art, but as places for conversation with art, space, and gardens, prioritizing intimacy and a sense of belonging within urban environments. His favorite museum project is the Nezu Museum in Tokyo, which he redesigned to integrate with its gardens, preserving the spirit and lifestyle of its founder, Nezu Kaichiro. He sees the museum as a tender, intimate space with a soft atmosphere, particularly appreciating the small café where Nezu's living room once stood. Addressing challenges in contemporary architecture, Kuma notes the rising costs of projects due to global events. He believes the solution lies in a long-term vision, emphasizing that architecture should create 'treasures' for future generations. He advocates for a return to nature, natural materials, and craftsmanship, which he sees as the foundation of community and economy. Kuma aspires to be remembered as the architect who transformed concrete-centric architecture back to using natural materials, drawing inspiration from the simplicity and sensory richness of his childhood home. He also admires Geoffrey Bawa's work, finds inspiration in Japan's onsens and ryokans for design ideas, and considers the Bamboo House in China one of his favorite projects due to its contrast with the Great Wall. #KengoKuma #Architecture #NaturalMaterials #SustainableDesign #JapaneseModernism #MuseumDesign #CulturalHeritage #ThatchArchitecture #EnvironmentalHarmony

The article presents an interview with Tom Pergola, an artist known for his "Assemblage Plastique" art form. Pergola discusses his journey into the art world, which began in 1978 with Martin Lawrence Limited Editions as an artwork shipper. He quickly advanced to curator and general manager, gaining extensive knowledge of the business aspects of fine art. After eight years, he transitioned to managing artists and producing videos of prominent artists, contributing to millions in art sales globally. Pergola later co-founded DATZ ART with a friend, focusing on art created with resins. Their work gained national recognition through fine art trade shows and exhibitions in prestigious galleries, including Caesars Palace Las Vegas and Rodeo Drive in Beverly Hills, California. His unique 3-dimensional wall and table sculptures, which immortalize everyday objects and popular culture icons, are highlighted as a continuation of the Pop Art tradition established by artists like Andy Warhol and Claes Oldenberg. He was invited by the Los Angeles County Museum of Art to participate in their "Appetite for Art" exhibition, where his works were also sold. Pergola's "Pop Art Sculptures" have been purchased by thousands, and his work has been displayed in galleries across the United States. Notable celebrity collectors include Jay Leno and Carol Burnett. His art has been featured in various cities, including New York, Los Angeles, and Las Vegas. Pergola has received commissions for hundreds of limited-edition pop art sculptures from major brands such as Kellogg's (Fruit Loops and Frosted Flakes) and Corona Beer. He also undertakes custom commission work for private clients. Beyond commercial endeavors, Pergola has contributed his sculptures to charity events for organizations like Make-A-Wish and Stop Cancer, helping to raise funds for their causes. His artwork has also been showcased at major golf tournaments, with full-page announcements in high-end golf magazines featuring his pieces like "Hole In One" and "It Takes A Lot Of Balls." Pergola's primary mission in his creative journey is to create large-scale installations of his images, aiming for pieces 20 to 50 feet tall to be displayed in front of corporate headquarters and in museums. He expresses that the most rewarding aspect of his creative work is bringing smiles to people's faces through his art. #TomPergola #AssemblagePlastique #PopArt #FineArt #ArtistInterview #ArtBusiness #Sculpture #CreativeJourney #ArtExhibitions

Henry Holland, a prominent figure initially known for his contributions to the fashion industry, has successfully transitioned into a ceramics artist, establishing Henry Holland Studio. This article delves into his creative journey and the diverse influences that have shaped his distinctive style, characterized by boldness and playfulness, which he views as a direct reflection of his personality. Holland emphasizes the role of clothing and home decor as forms of self-expression. His artistic inclination was evident from a young age, with teachers recognizing his creativity and early entrepreneurial endeavors like starting a Christmas card business. His mother served as a significant source of inspiration, fostering his creativity and exhibiting a strong sense of style. The profound impact of her loss over a year ago compelled him to actively seek joy in his work, as he believes sadness hinders his creative output. Presently, his inspiration primarily stems from his friends, family, and husband, as he is drawn to human stories and enjoys weaving narratives into his characterful ceramic and homeware designs. Moving to London from Northern England marked a pivotal moment in Holland's development, where he recognized the importance of taste and personal style amidst the city's diverse cultural landscape. His career path has been serendipitous; he initially pursued journalism but found himself drawn to fashion through a hobby that quickly evolved into a brand. Similarly, his foray into ceramics during the pandemic began with lessons and organically grew into his current studio. He highlights the unexpected synergies between the fashion and homeware industries, noting that his fashion background provided invaluable business training, and he now appreciates the more relaxed pace of the homeware sector. Travel has also played a crucial role in shaping his creative vision. Childhood experiences in the French countryside, accompanying his parents to antique markets, exposed him to various design periods, from art deco to mid-century modern. This early exposure instilled a deep appreciation for diverse aesthetics. He is an avid collector of Richard Bernstein's *Interview* magazine covers from the 1970s and 80s, valuing them as miniature pieces of pop culture history that illustrate the nascent intersection of fashion, culture, and celebrity. His most cherished item is a Debbie Harry cover signed by Andy Warhol and Truman Capote. While not an extensive reader, Holland finds value in self-help and spiritual guides, citing Eckhart Tolle's *The Power of Now* as particularly impactful. He also utilizes Blinkist to access condensed book summaries, a testament to his admitted impatience. Film, specifically costume and set design, provides another rich source of inspiration. He admires Baz Luhrmann's visually striking films, particularly *Romeo & Juliet*, and often references 1990s teen movies like *Clueless*, *Hackers*, and *Empire Records* in his fashion work. His musical tastes lean towards 90s pop, influenced by his first job at *Smash Hits* magazine, and he enjoys sharing these playlists with his studio team. Despite not being a keen cook, he hopes a forthcoming kitchen renovation will spark culinary creativity, though he prefers dining out. His favorite restaurant is Brat in London, known for its exceptional food and cocktails and its chef, Tomos Parry, whom he considers a friend. Holland expresses admiration for numerous contemporary creatives. He acknowledges the challenges faced by professional creatives and values the heart and soul they invest in their projects. He is particularly impressed by Es Devlin's set design and fellow ceramicists like John Booth, whose vibrant use of color he appreciates, and Alma Berrow for her humor. He also follows Christabel MacGreevy's transition into ceramics and is a significant admirer of Dirk Vander Kooij's work, especially his innovative use of recycled plastic materials, exemplified by a Melting Pot dining table that represents their first significant home investment. #HenryHollandStudio #InteriorDesign #CeramicsArt #CreativeInspiration #FashionToHomeware #PopCultureInfluence #TravelInfluence #DesignPhilosophy

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

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

Clynton Lowry, editor-in-chief of 'Art Handler' magazine and its accompanying Instagram account, offers a unique behind-the-scenes look into the blue-collar discipline of art handling within the high-stakes, white-collar art world. Lowry's publication serves as a 'fly-on-the-wall' observer, documenting the often-unseen realities of transporting, installing, and safeguarding some of the world's most valuable cultural artifacts. He recounts numerous anecdotes from his experiences, ranging from rumors of massive hidden art storage facilities and artworks being transported in unconventional ways, to dealing with the eccentricities of the ultra-wealthy. These include instances of priceless paintings being damaged, Hurricane Sandy-related insurance scams, and forklifts accidentally piercing million-dollar canvases. The article delves into the peculiar requests and situations art handlers encounter while working for affluent clients. Lowry describes an assignment at a Christie’s Auction for a Hockney sale, where he was tasked with meticulously spacing chairs exactly ten inches apart using a custom PVC wand, all while the auctioneer rehearsed bids reaching tens of millions. He also recalls a client asking him to hang a painting sideways to fit a space, asserting the deceased artist wouldn't mind. Such requests highlight the stark contrast between the art handler's practical role and the often-unconventional demands of their wealthy patrons, who live in a world where their wishes are rarely denied. Lowry notes that making these challenging requests work, like hoisting a painting up 40 flights of stairs or using a crane to bring art through a window, eventually normalizes the seemingly outlandish. A significant theme explored is the inherent wealth disparity and awkward social dynamics between art handlers and their billionaire clients. Lowry highlights the discomfort of performing favors for individuals accustomed to always getting their way, and the peculiar nature of receiving tips that are often disproportionately small compared to the value of the art being handled. He humorously suggests that collectors should tip at least ten percent of an artwork's value, given that restaurant servers receive 20 percent for less valuable services. He shares a story of a friend installing an Ad Reinhardt, only for the owner to request solitude with the painting. Another incident involved Lowry, a former grad school student, cleaning broken glass at a John Giorno dinner party, finding himself unnoticed beneath notable figures like Michael Stipe and his former critic, Joan Jonas. Lowry recounts some of the most bewildering locations he's worked in, including Steve Wynn’s two-story penthouse at the Ritz-Carlton. This job involved navigating a chaotic environment with multiple crews—art handlers, interior decorators, contractors, specialized cleaning staff, German-speaking alarm technicians, and Wynn's extensive personal staff, including ex-Navy SEAL bodyguards. He describes the immaculate, carpeted walls and the moment he held Picasso’s 'Dora' amidst this surreal scene. Another memorable experience was installing art for Ivanka Trump and Jared Kushner at Trump Tower in 2012, where he received a modest $60 tip for installing works by artists like Dan Colen or Alex Israel. The article also touches upon the severe workplace injuries in the field, referencing a handler who died from a falling Richard Serra sculpture and another who lost a leg, as well as a rumored heart attack death at Miami Basel. The discussion then shifts to the distinctive workwear of art handlers, with Lowry playfully categorizing them by their footwear choices, from Red Wing-wearing 'urban carpenters' to Timberland-donning union handlers and Wolverine-clad individuals. He describes himself as a sneaker-wearer, acknowledging the inherent danger to his feet. Finally, Lowry addresses the art world's reaction to 'Art Handler,' noting that his objective, often revealing, perspective has ruffled feathers among those who prefer to maintain secrecy in the business. Despite the resistance, he observes a gradual shift in attitudes, indicating a growing acceptance of transparency in a field traditionally defined by discretion and client satisfaction. #ArtHandling #ArtWorld #ClyntonLowry #ArtHandlerMagazine #LuxuryArt #WealthDisparity #BehindTheScenes #ArtMarket #WorkplaceCulture