Martha Friend’s Somerville home is a canvas for her found object art

The article highlights how interior designers are increasingly embracing eclecticism and individualism by incorporating vintage and antique decor into their projects to add character to homes. Decorating with art is presented as a classic and effective method to infuse personality, showcasing individual tastes and styles while adding color, pattern, and texture to a room. Emily Henderson, a prominent designer, recently shared her passion for vintage art on Instagram, revealing her collection of eleven pieces and offering insights on how to select and place art within a home. Henderson demonstrates that shopping secondhand for art can be a cost-effective yet impactful way to introduce unique character. Her collection includes a cubist-style painting in a kitchen nook and a small framed dog painting unconventionally placed on a bathroom window. This particular placement is highlighted as a clever strategy to accessorize an otherwise empty space and bring a pop of color. She also features a pair of flower still lifes, bought for only $75, which she hung one above the other, transforming a blank wall into an eye-catching display. These pieces are complemented by gold tarnished frames and a matching gold reading light, creating an antique-inspired setup. The article emphasizes that antique and flea markets are excellent sources for art. Henderson showcases a statement piece in her dining room and a scenic seascape above a chest of drawers in her hallway. A notable flea market find is an Expressionist painting depicting a woman's side profile, rendered in bright primary colors. Henderson invested in a gold frame to enhance its vibrancy, pairing it with an antique-style gold sconce to create a sophisticated and timeless display. Art is presented as a simple yet powerful tool for decorating with antiques, capable of elevating any empty surface. Still-life paintings, often simple in subject matter, are shown to convey a classic and high-end aesthetic. Henderson places another still-life painting on her kitchen countertop, infusing the area with color and warmth. Her ninth vintage piece, a geometric, cubist-style artwork, is positioned above her fireplace mantel, providing character and rustic charm to a living room, especially when contrasting with minimal white walls and neutral decor. Emily Henderson's approach to art placement is noted for its unconventionality, as she isn't afraid to utilize overlooked areas. A small painted landscape, set in an antique wood frame, is placed within her kitchen shelves. This charming addition brings warmth and character to the kitchen, elements that are often neglected in kitchen design. With a total cost of $80 for this framed picture, Henderson exemplifies how secondhand shopping can effectively refresh dull areas. Ultimately, Henderson’s collection serves as inspiration for adopting the vintage trend for 2025, demonstrating that an eclectic and charming space can be achieved even on a limited budget through thoughtful art acquisition and placement. #EmilyHenderson #VintageArt #HomeDecor #InteriorDesign #SecondhandFinds #ArtPlacement #EclecticStyle #AffordableDecor #FleaMarket

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

This article highlights the interior design of a 7,500-square-foot Chestnut Hill home, orchestrated by Cohasset-based interior designer Katie Frazier. The project focused on creating a comfortable, convenient, and aesthetically pleasing living space for a family of five who transitioned from city life to the suburbs during the COVID-19 pandemic. The homeowners, both holding demanding corporate careers, sought a highly personalized interior for their newly acquired house, which was already nearing completion by architect Marcus Gleysteen when they purchased it. Frazier's design approach centered on a transitional aesthetic, blending modern and traditional elements to achieve a "light and bright with interest" scheme. A key aspect of the design was the integration of "invisible" features that prioritize functionality and comfort. For instance, the kitchen's stove hood conceals a television screen that can be revealed for viewing from the island, eliminating the need for guests to crane their necks. The home office includes refrigerated drawers for beverages and snacks, and a dedicated closet was designed specifically for luggage storage. The husband's T-shirts each have their own designated drawer, illustrating the meticulous attention to organization and convenience throughout the home. Furthermore, electronic wiring is seamlessly hidden, contributing to the clean and uncluttered environment. Despite the prevailing pale and serene color palette in many areas, Frazier introduced vibrant statements of color and pattern to add character and visual interest. Examples include a custom-designed red wallcovering in the powder room located off the mudroom, saturated teal cabinetry in the butler’s pantry, and a soft, dark gray hue for the woodwork in the home office. The living room features elegant green-velvet sofas, providing a rich focal point. The design also incorporated spaces to display the family's expanding art collection, with a colorful abstract painting by Josh Jensen in the home office and an enigmatic painting by Brittney Ciccone above the living room mantel. The majority of the furniture in the house is new, carefully selected to complement the larger scale of the rooms compared to their previous city residence. Custom cabinetry, crafted by JD Millworks, was installed throughout the home to meet the family's specific needs and preferences. Importantly, the design process did not involve any structural modifications to the house; the existing architectural layout proved suitable for the family's requirements. Frazier's firm, established after her mentorship at Hudson Interior Designs, undertook this project in April 2020. A significant challenge during the project was navigating the uncertainties and safety protocols associated with working during the COVID-19 pandemic. Despite these obstacles, the project was completed successfully and on schedule, without any health incidents, resulting in a luxurious and comfortable suburban sanctuary for the family. The article was originally featured in Boston Home's Fall 2024 issue under the title “Easy Living.” #InteriorDesign #ChestnutHill #HiddenFeatures #LuxuryHome #TransitionalDesign #CustomCabinetry #FamilyHome #KatieFrazierInteriors #BostonHome

Erik Wyckoff, a professional woodcarver operating out of Minneapolis for 28 years, specializes in creating bespoke wooden elements that add unique character and timelessness to homes. His interest in wood carving began in childhood, inspired by the intricate details of historic homes like the James J. Hill House. Wyckoff's parents encouraged his passion for traditional craftsmanship, leading him to pursue formal training. He honed his skills under the tutelage of master carver Konstantinos Papadakis, who passed down artistic, historical, and practical knowledge, including tool handling, carving efficiency, and the fundamental decorative styles. Papadakis's instruction covered various motifs such as birds, flowers, grapes, and the scrolling acanthus leaf, which forms the basis for numerous historical carving styles. This comprehensive training has enabled Wyckoff to undertake a diverse range of projects, from Italian-style wine cellar doors and French mantels to Black Forest-style mantels for rustic cabins. Wyckoff's portfolio includes notable projects such as a Renaissance-Revival-style carved paneled study featuring hidden loons, deer, and beavers, inspired by the Minnesota State Capitol. He also replicated missing wood carvings for the restoration of the Donaldson Mansion in Minneapolis and created a French-style relief carving over a door in Medina, incorporating the owner’s industrial symbols. Wyckoff places significant emphasis on research, drawing inspiration from historic decorative arts ranging from medieval churches to French tapestries, ensuring historical accuracy and a sense of permanence in his creations. Among his favorite projects are the doors and panels for a Maplewood home's wine cellar, which were inspired by France's Château de Chambord, designed to immerse the owner in a French aesthetic. This project also included a unique bar top under glass, carved with mythical beasts and foliage, conceived as a conversation-starting "cabinet of curiosities." Another deeply sentimental piece involved a carved panel with vines and a pair of cardinals for an older couple, symbolizing their lifelong partnership. Wyckoff collaborates frequently with design professionals, integrating his custom carvings, which often feature Old World decorative art motifs like animals, flowers, and scrollwork, seamlessly into the overall architecture and interior design. He ensures historical accuracy and tasteful integration, often being part of a larger design team to achieve the client's vision. Clients like Steve and Susan Rudolph of Orono attest to Wyckoff's ability to create custom pieces that perfectly match existing architectural details, as demonstrated by the eight unique willow corbels he carved for their Spanish Revival home's entry gallery. These corbels not only highlighted the groin vault ceiling but also subtly incorporated the initials of each family member, adding a personal touch while maintaining historical consistency. Wyckoff expresses profound satisfaction in knowing his work brings joy and lasting beauty to clients' homes. #Woodcarving #BespokeDesign #InteriorDesign #CustomCraftsmanship #HomeDecor #ArtisticWoodwork #HistoricalAccuracy #Renovation #ArchitecturalDetails

Amy Mitchell, a New Hampshire-based interior designer and owner of Home Glow Design, discusses her unconventional path into the design industry and her unique business approach centered around the concept of a 'forever home.' Initially pursuing a career as an opera singer, Mitchell transitioned through PR and marketing before discovering her passion for interior design, inspired by her childhood home's emphasis on quality and lasting design. Her parents, despite a blue-collar budget, invested in well-made furniture, instilling in her a belief that one's environment significantly impacts emotional well-being and that thoughtful purchases should endure. Mitchell's personal journey of decorating her own 'forever home' in New Hampshire highlighted a gap in the market: clients who desire quality and character in their interiors but aren't looking to spend exorbitant amounts or engage in frequent, trendy makeovers. She observed that many homeowners, particularly those in their 30s and 40s in her region, become disillusioned with disposable furniture as their families grow. These clients are ready to invest wisely but often lack the guidance to create cohesive, high-quality spaces. This realization led her to establish Home Glow Design, catering to this mid-priced market segment. Her services are designed to help clients make informed, long-term decisions about their homes. One notable offering is the 'Forever Home Road Map,' an online consultation service. This program helps clients align their personal style with their home's architectural style, especially when the two might seem disparate. It also addresses budget constraints by assisting clients in prioritizing spaces and creating a multi-year spending plan to achieve their design goals without feeling overwhelmed. This approach reflects Mitchell's own experience of renovating her home room by room over several years, guided by a clear vision. The Road Map aims to provide clients with a solid foundation and initial ideas for their priority spaces, enabling them to confidently tackle subsequent rooms. Mitchell also offers 'Forever Room Design Master Plans,' which she describes as a more personalized version of e-design, moving beyond the 'cookie-cutter' aesthetic often associated with such services. She emphasizes sourcing from a diverse range of suppliers, including trade brands and online resources, and provides detailed presentations and source lists. For clients who prefer hands-on project management, this service offers comprehensive guidance. For those seeking a fully managed experience, her 'Full-Service Design' option handles all aspects of a project. Operating in a rural New Hampshire setting presents unique challenges, such as limited access to design centers and manufacturer representatives. Mitchell compensates for this by relying on self-education, networking with metropolitan designers, and her blog, 'The Saturday Blog.' The blog, which she consistently updated for four years, has been instrumental in establishing her authority, sharing tips on investing in quality, and fostering a 'forever mentality' among readers. She uses it to address common homeowner dilemmas, such as updating knotty pine paneling without erasing a home's history, encouraging readers to balance personal style with architectural integrity. Mitchell also navigates the local 'Yankee frugality' mindset, where people often prioritize cost-saving over quality or aesthetic appeal. She combats this by emphasizing the long-term value of investing in durable, well-designed pieces and the positive impact a thoughtfully curated home has on emotional well-being. She advises clients to overcome 'money guilt' associated with discarding old, unloved items, viewing such decisions as sunk costs that free them to create a home they truly enjoy. Her pricing model, involving an hourly rate and a markup on products, is explained as a way to provide clients with high-quality results within their budget, while also covering the inherent risks and administrative efforts involved in sourcing and managing design elements. She reflects on her personal growth, prioritizing her family life and client satisfaction over an endless pursuit of more credentials or industry accolades, finding contentment in helping clients create homes they love. #InteriorDesign #HomeGlowDesign #ForeverHome #NewHampshireDesign #DesignBusiness #Edesign #HomeRenovation #YankeeFrugality

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

The home of Dr. Srikant and Ruta Gir, located in the gated Nottoway subdivision near Poplar and Kirby, is presented as an evolving work of art, meticulously designed and crafted. The Girs, both born in India, drew inspiration from Srikant's childhood estate in Hyderabad, an architectural wonder with 30-foot ceilings, mosaic tile work, a fountain, and European chandeliers. This early exposure motivated Srikant to imbue his own home with similar architectural grandeur and detail, including custom-made chandeliers from Hong Kong that replicate those from his grandfather's home, and traditional Indian imagery throughout the decor. Beyond Indian influences, the Girs incorporated elements from their extensive travels to Europe and Southeast Asia. Srikant, an engineer and co-director of the University of Memphis’ Biofuel Energy and Sustainable Technologies Center, spent over three years conceptualizing floor plans and acquiring pieces for their nearly 7,000-square-foot residence. In 2008, construction began with the help of Memphis builders Millard and Bonnie Townsend, bringing their vision to life. The exterior and interior design prominently feature Balinese influences, a result of Srikant's annual visits to Bali to source artists and materials. The front entrance is framed by a hand-carved sandstone border and pillars, a direct reflection of Balinese design. Inside, similar hand-carved sandstone Corinthian columns and a large wall art panel depicting cranes and lotus flowers reinforce this theme, reminiscent of his grandfather's home. A focal point upon entering is the flowing steel stairway banister and second-floor railing, a creation by renowned Memphis artist Yvonne Bobo. This piece, which took nearly eight months to complete, features creeping vines, gold leafing, and Swarovski crystals that refract light. The sitting room showcases a magnificent collection of hand-carved Louis XVI-style chairs, crafted over two years by French artisan Jean Phillips in teak wood, featuring intricate details and gold leafing. The dining room table, a custom creation, features an old European marquetry look. The Girs spent seven months acquiring a 5-foot by 13-foot solid mahogany piece for the tabletop and then enlisted skilled artists in Bandung, Indonesia, for the marquetry work, which involved carving veneer organic patterns inlaid into the table's top and sides. The final wood finishing was done by Furniture Medics in Memphis. Another distinctive feature is an abalone shell sink in one of the bathrooms, with the abalone sourced from New Zealand and then crafted into a unique basin in Bali. The home boasts two kitchens: a spice kitchen for Ruta's Indian cuisine and a second for dining and entertaining. The European-style cabinetry in the main kitchen was hand-carved in Bali with an ivory marble finish, complemented by speckled Brazilian granite countertops sourced locally. Local handymen Bill and John Rush were responsible for cabinetry installation, trim work, and other finishing touches. The Girs are also planning an addition: an eighteenth-century sitting area, styled after traditional Indian homes, adjacent to the kitchen. This project underscores the Girs' belief that patient effort and collaboration with skilled artisans from around the world can transform ideas into tangible, artistic living spaces. #HomeDesign #ArtisanCraftsmanship #GlobalInfluences #CustomFurniture #ArchitecturalDetail #InteriorDesign #MemphisHomes #BalineseDesign #IndianCulture

The article highlights a specific corner in Martha Stewart's 'tiny apartment' which she frequently uses for evening outfit photos, attributing its appeal to its Italian-style design. Stewart explicitly stated her design brief for the apartment was to emulate a 'mother-in-law's apartment in the back of the palazzo.' This particular space, featuring a stone fireplace and a gold mirror, is described as a masterclass in elegant gold decorating, avoiding an overpowering aesthetic. Key elements contributing to the luxurious feel include terracotta and marble-style floor tiles, high ceilings, and ornate crown molding, all reinforcing the Italian theme. The centerpiece of this admired corner is the combination of a striking stone fireplace and an opulent gold mirror. The mirror, reminiscent of museum pieces, is presented as a crucial decorative element. The article then suggests similar gold mirrors for readers to recreate the look, including a 19th Century American Federal Giltwood Eagle Bullseye Convex Mirror, a Willa Arlo™ Interiors Manawa Round Wall Mirror, and a contemporary Anassa Circular Mirror. These suggestions cater to different stylistic preferences and price points, enabling a broader audience to integrate such a statement piece into their homes. Beyond the aesthetic contribution of the mirror, the article emphasizes the significance of the stone fireplace itself. Owen Pacey, a fireplace expert from Renaissance London, is quoted, explaining that fireplaces serve as anchors for a space, providing context, personality, detail, and a sense of establishment. He stresses the importance of careful consideration when choosing a fireplace. Pacey elaborates on natural stone as a 'character builder' for a home, noting that the inherent imperfections and inconsistencies in each stone piece contribute to a unique quality. He further illustrates this point by mentioning the distinct pathways of Carrara marble veins and the one-of-a-kind constellations formed by nebulous fossils in jet-black Kilkenny limestone. The article concludes by asserting that natural stone, when introduced into a home, offers an authentic and warm effect, enhancing the home's fundamental structure. While it shouldn't be relegated to a secondary role, the individuality of each stone element, such as jambs, mantels, or corbels, elevates the fireplace to a work of art. Martha Stewart's admired corner exemplifies this principle, showcasing a harmonious blend of luxurious materials and thoughtful design that evokes a classic Italian aesthetic. #MarthaStewart #HomeDecor #InteriorDesign #FireplaceDesign #GoldMirror #ItalianStyle #CelebrityHome #LuxuryDecor #NaturalStone

Martha Stewart has unveiled a new paint collection in collaboration with Fine Paints of Europe, featuring 40 nature-inspired wall paint colors. This partnership marks a return to the brands' previous collaborations, which began in 1994 and became highly regarded among design enthusiasts and DIYers. The new collection offers four finishes—flat, matte, satin, and brilliant—and is available for purchase on the Martha Stewart storefront on Amazon. The line includes reissues of popular shades from Stewart's original collections, such as Araucana Blue, which was inspired by the eggshells of her favorite chicken breed, the Araucana. Other returning favorites include Glass of Milk, a warm, pink-tinted white, and Sharkey Gray, a versatile greige named after Stewart’s associate, Kevin Sharkey. These reissued colors aim to bring back the beloved aesthetic of her past paint offerings. The collection is organized into three distinct color categories: warm, cool, and neutral. The warm palette is designed to evoke a cozy and inviting atmosphere, making spaces feel more comfortable and welcoming. The cool colors are intended to impart a sense of sophistication and calm, contributing to a serene and refined interior. The neutral range focuses on creating balance and subtle elegance, serving as foundational elements that can complement various design schemes. Martha Stewart emphasized that the collection was curated to be both functional and appealing, reflecting her philosophy that a home should cater to both practical needs and aesthetic desires. Stewart expressed her hope that this new collection will inspire consumers' next home projects, highlighting that paint serves as the fundamental element in a well-designed space. She noted that choosing the perfect core design elements, with paint being the foundation, brings the entire interior together harmoniously. Although the paints are priced at $125 for less than a gallon, the article suggests that the rich pigmentation and luxurious finishes may justify the cost. The original Fine Paints of Europe collections were renowned for their silky texture and high quality, setting a precedent for the current offering. This launch signifies Stewart's continued influence in home design and her commitment to providing high-quality products that enable individuals to transform their living spaces. The collaboration leverages the established reputation of Fine Paints of Europe for premium paint formulations and Stewart’s discerning eye for color and design. The collection's nature-inspired theme underscores a timeless approach to interior aesthetics, encouraging the creation of environments that feel organic and harmonious. The availability of these paints across various finishes allows for versatility in application, catering to different design preferences and functional requirements within a home. The article also mentions ongoing plans to test the paints and provide further feedback, indicating an interest in evaluating their performance and confirming the quality associated with both Martha Stewart and Fine Paints of Europe. The high price point suggests that these paints are positioned as a premium product, targeting consumers who prioritize durability, richness of color, and a sophisticated finish. The reintroduction of classic shades from Stewart’s past collections aims to appeal to a loyal fan base while also attracting new customers seeking trusted and aesthetically pleasing paint solutions for their homes. Ultimately, the collection is presented as an opportunity for homeowners to elevate their interiors with colors that are thoughtfully curated and inspired by the natural world. #MarthaStewart #PaintCollection #HomeDesign #InteriorDecor #FinePaintsOfEurope #HomeMakeover #DesignInspiration #WallPaintColors #DIYHome

Sophie Stone, a textile artist based in Long Island City, Queens, is known for her intricate textile works that blend classic crafts with contemporary narratives. Her studio is a treasure trove of fabrics, ranging from 19th-century crazy quilts to vintage napkins and even stretchy strings, all serving as material for her creations. Stone's artistic journey began at the Rhode Island School of Design, where she studied painting but gravitated towards unconventional surfaces. She collected various found objects and materials, pondering how to integrate them into her art. The turning point came with a dream about crafting large rugs from bedsheets. This vision materialized when artist Jessi Reaves invited Stone to participate in a 2016 two-person exhibition at Del Vaz Projects in Los Angeles. For this show, Stone created unique, mesmerizing composites for floors and walls by cutting and weaving plastic mats, industrial carpeting, and everyday fabrics. Her process is largely intuitive; she describes entering a trance-like state as she selects materials and begins to work. Stone’s versatility is evident in her diverse commissions and projects. She has created bespoke rag rugs from salvaged and new materials for a Brooklyn project with AD100 designer Adam Charlap Hyman, who also commissioned a slipcover for a Hudson Valley fireplace. For a recent group show, "The Loving Cup," at Manhattan’s Jacqueline Sullivan Gallery, Stone reimagined antique doilies, traditionally used to cover open glasses, by decorating them with sparkly fishing lures, adding a modern and whimsical touch. Her studio reflects her creative ethos, filled with textiles sourced from eBay and estate sales, alongside beads, dried flowers, charms, and other decorative elements. This eclectic mix consciously or subconsciously links womanhood and traditional crafts, reminiscent of quilting circles and slumber party bracelet-making. Stone values the slow, manual nature of her work, which she finds grounding. She notes that the time-consuming process of using her hands, away from digital distractions, keeps her engaged in the present moment. Stone’s work, which combines historical textiles with contemporary artistic expression, has garnered attention, with her creations being featured in AD’s June issue. Her ability to transform disparate materials into cohesive and compelling art pieces highlights her unique approach to textile art, giving new life to old threads and infusing them with personal and contemporary narratives. #SophieStone #TextileArt #ContemporaryCrafts #TextileArtist #QueensStudio #RagRugs #FoundObjects #ArtisticProcess #HomeDecor #HandmadeArt

This article offers comprehensive guidance on effectively hanging art, drawing insights from award-winning designers, a museum director, and Christie’s specialists and art handlers. It emphasizes the importance of considering the context in which art will be displayed, noting that factors such as whether the space is domestic, business, or institutional, along with architectural elements like windows, doors, ceiling height, and floor quality, all influence how an artwork is perceived and interacts with its environment. The article advises against hanging art in locations that could lead to damage. Specifically, it cautions against placing artworks above fireplaces or radiators, as heat can melt or damage canvases over time. Similarly, direct sunlight is highlighted as a risk for fragile or unprotected works, with a strong recommendation to avoid hanging drawings or watercolors near windows. To mitigate these risks, smart framing techniques are suggested, including the use of special glazes that block UV light to prevent fading and seals that create artificial environments to protect against humidity and temperature fluctuations. The article references a guide to framing for further expert advice. Establishing the correct height for hanging art is another key aspect. It notes that modern and contemporary works are typically hung at 1.55 meters to the middle of the picture, a standard adopted by museums and Christie’s. Old Masters are often hung slightly higher. However, domestic settings may require adjustments based on furniture and ceiling height, and some artists, like Le Corbusier, provided specific hanging instructions. The importance of using double fixings rather than a single central one is stressed to prevent works from tilting forward or moving easily. The article also delves into the aesthetic considerations of art display. It introduces the concept of “negative space” as a crucial element when arranging multiple artworks, defining it as the space between works that guides the spectator's eye. Designers encourage variety in art arrangements, advocating for the mixing of periods and genres to create dynamic visual dialogues. Examples include pairing 17th-century portraits with contemporary paintings or combining a large painting with smaller groups of photographs. Finding visual or thematic links between artworks is suggested as a method for grouping, even if they span centuries apart, as demonstrated by juxtaposing a Leda and the Swan painting with modern bird sculptures, or a David LaChapelle work with a Dutch Old Master to explore shared themes. Conversely, playing on contrasts is also presented as an effective strategy to allow individual works to stand out as singular forces. Finally, the article provides practical advice for installation, emphasizing the need for technical precision over subjective judgment. It recommends using a tape measure and spirit level to ensure artworks are hung straight, especially for symmetrical arrangements. Structural considerations are also paramount: understanding wall composition is crucial, particularly for heavy pieces, and it's important to be cautious of water pipes and electrical wiring, especially in older homes where their placement might be less predictable. Despite these technicalities, the overarching message is that personal preference should ultimately guide the arrangement, stating that there is no absolute right or wrong way to organize a collection. Experts’ personal approaches reveal diverse methods, from protecting prints in bedrooms to integrating small works into bookshelves, underscoring that a good artwork will look appealing regardless of its placement. #ArtHanging #HomeDecor #InteriorDesign #ArtCollection #FramingArt #ArtDisplay #MuseumStandards #ArtPreservation #ContemporaryArt

This article highlights Martha Stewart's sophisticated approach to fall and Halloween decorating, focusing on a specific display she created above her kitchen stove. The author, Eleanor Richardson, expresses how Martha's simple yet impactful design transformed her own perception of seasonal decor, leading her to abandon more 'kitschy' elements. The core of Martha Stewart's display involves three large pumpkins and three vintage glass turkeys arranged on a shelf above her kitchen stove. This combination is presented as a tasteful and understated way to incorporate festive elements for both Halloween and Thanksgiving. The author notes that the beauty of the arrangement lies in its simplicity and the intelligent use of vintage items, specifically the retro glass turkeys, which evoke a nostalgic yet festive feel. These are paired with vibrant pumpkins to create a look that is traditional but still fun, avoiding the common pitfall of overly elaborate or 'kitsch' fall foliage decorations. The article emphasizes that Martha's method brings color and fun to an often-overlooked area like the kitchen, making it a focal point. It further suggests that this concept is easily replicable for various spaces in a home, including kitchen shelves or dining tables for fall meals. The versatility of the display is also mentioned, proposing that the vintage turkeys can be swapped out for Halloween-themed alternatives like skull heads or witches' hats, and then replaced with more generic fall motifs once Halloween is over, extending the display's relevance throughout the season. To aid readers in recreating this sophisticated look, the article provides a 'Shop the Martha Stewart edit' section. This section features specific product recommendations, such as a cream ceramic pumpkin from Threshold for those who prefer neutral tones, suggesting it can be paired with retro glass ornaments for a subtle yet festive display. Amber glass turkey candlestick holders from Chairish are highlighted as 'vintage gems' that are 'kitschy, fun, and perfect for fall,' suitable for dining tables or stove-top arrangements. Lastly, a carvable faux Halloween pumpkin from Hyde and EEK! Boutique is recommended for a long-lasting fall display, encouraging readers to scatter them along shelves with vintage accents. Ultimately, the article praises Martha Stewart for demonstrating that seasonal decorations don't need to be excessive to be effective. Her approach showcases how thoughtful, minimalist arrangements can be both festive and chic, transforming the atmosphere of a home without being overwhelming. The author concludes by reinforcing that Martha's simple fall decorations make a significant difference in her kitchen, bringing festivity to the cooking space in a way that is easily adaptable to any area within the home. #MarthaStewart #FallDecor #HalloweenDecor #KitchenDecor #VintageDecor #SeasonalDecor #HomeStyling #DecoratingIdeas

Rosemary James, a designer and local literary figure, has meticulously transformed her 1910 Queen Anne-style home near Audubon Park into a personal sanctuary, dubbed the 'Putti Palace' by her late husband, Joseph DeSalvo. The 4,000-square-foot residence is a testament to James's passion for period detail, European antiques, and objects d'art, particularly those featuring winged infants known as putti. The home's design is heavily influenced by classical mythology, with Diana, the goddess of the moon, serving as its patron deity, and numerous images of Greek and Roman gods adorning its spaces. The renovation of the home, which James and DeSalvo purchased in October 2019, was extensive, addressing both aesthetic desires and practical needs. The couple's previous residence, a four-story French Quarter building above Faulkner House Books, became unmanageable due to DeSalvo's severe spinal condition, necessitating a move to a home where an elevator could be installed. This 1910 house provided the ideal solution, despite James' initial dislike for its Dutch Revival façade. The property's existing allee of tea olive trees and tall wrought-iron fencing were appealing features. A serendipitous discovery during the renovation revealed that the home had previously been owned by the family of Tom Lowenburg, co-owner of Octavia Books, another independent bookstore, adding to its literary charm. The renovation encompassed a complete overhaul, including rewiring, plumbing updates, and internal and external repainting. Significant structural and decorative changes were implemented, such as adding two bathrooms upstairs and incorporating Victorian embellishments like corbels, ornate door casings, and diamond-paned windows. The installation of classic marble in all bathrooms and the kitchen was a major undertaking, dictating much of the construction schedule due to high demand for the installer. Period-appropriate mantels replaced modern alternatives, enhancing the home's historical integrity. A decorative artist was commissioned to create custom Diana transoms, stencil the library ceiling, and apply a Shagreen pattern to the library walls. The artist also crafted a screen, copying an expensive Venetian painting, to discreetly conceal the library's television. James herself took an active role in the design process, creating custom furniture, bookcases, pocket doors, and a fountain wall specifically for her beloved putti. The exterior was painted in Benjamin Moore’s Winds Breath, complemented by French blue shutters in Farrow & Ball's Lulworth Blue No. 89, and a versatile Chantilly Lace white for the trim. James also restored the first floor's original layout, reinstating walls that had been removed over the house's 110-year history. This decision re-established distinct functional spaces, with the foyer serving as a clear transition point to public areas, the staircase to the second floor, or a hallway leading to the library and a full bath. James expressed her disdain for open-concept layouts, citing practical concerns regarding privacy, kitchen mess visibility, and heating/cooling efficiency. On the second floor, six bedrooms were reconfigured into three: a primary bedroom and two guest rooms. Another room was converted into a dressing room, with the potential to serve as an overflow bedroom. A primary bathroom was created from one of the former bedrooms, featuring a cabana-style shower. A rear exit and utility closet were also added, addressing practical storage needs. James lived in the home with DeSalvo until his passing in December 2020. Since then, she has continued to enhance the property, transforming a former garage into a rentable guest house and dedicating significant time to maintaining the extensive gardens surrounding the pool and driveway, likening the effort to farming. #HomeRenovation #PeriodDetail #Antiques #ClassicalDesign #NewOrleansHomes #InteriorDesign #HistoricalHomes #RosemaryJames #PuttiPalace

Interior designer Emily Henderson has unveiled an innovative and flexible approach to displaying artwork, particularly beneficial for those who are indecisive about art placement or wish to avoid excessive wall damage. This method, showcased in her home's entryway, addresses the common challenge of decision paralysis when curating a gallery wall and offers a practical solution for seasonal or whimsical art changes. Henderson's technique involves installing a gold-colored rod above a cozy entryway bench, from which individual pieces of art are hung using thin chains. This creates a layered aesthetic that is easily modifiable. The vintage-inspired gallery rail was chosen not only to complement her over 100-year-old home but also to provide the flexibility of swapping out artwork without creating additional holes in her wallpapered walls. This is especially advantageous for someone in her profession, who frequently engages with art and styling. The adaptability of this system was highlighted by Henderson, who mentioned that while she doesn't frequently change her art, having the option makes the space feel fresh. She recalled switching out art for a holiday wreath last year, which was a hit with her family. The system also allows for varying degrees of maximalism or minimalism, as demonstrated by a previous rendition of the space featuring more pieces. The visual appeal of the design is further enhanced by the contrast between the sleek gold bar and the textured white walls, which draws the eye upwards, emphasizing the high ceilings of the entryway. This art-hanging method is not only practical but also contributes to the overall aesthetic of the space, making it both museum-like and homey. For those who prefer alternative solutions to a built-in art-hanging bar, Henderson suggests other damage-free options. These include removable adhesive hooks, suitable for lighter pieces, and picture ledges, which allow art to be leaned against the wall and easily interchanged. These alternatives offer similar flexibility without permanent installation. Ultimately, Henderson's strategy demonstrates that displaying art does not necessitate a long-term commitment. By incorporating adaptable hanging systems, homeowners can easily refresh their gallery walls and personalize their living spaces to reflect changing tastes, seasons, or moods, without the concern of permanent alterations or damage to their walls. This approach offers a simple yet sophisticated way to integrate art into interior design, ensuring versatility and ease of change. #EmilyHenderson #GalleryWall #ArtHangingHack #InteriorDesign #HomeDecor #EntrywayDecor #FlexibleArtDisplay #VintageInspiredDecor #DamageFreeArt

In 1967, fiber artist Sheila Hicks collaborated with architect Warren Platner to design two linen-and-silk wall panels for the Ford Foundation headquarters in New York City. Platner was responsible for the interiors of the 12-story modernist landmark, designed by Kevin Roche John Dinkeloo and Associates. Hicks's original wall panels, which featured rosettes threaded around metal discs, suffered significant damage over the years due to an attempted fire retardation treatment in the 1980s, the abrasion from Eames executive chairs in the conference room, and cigarette smoke in the auditorium. Recognizing the historical and artistic importance of these pieces, Ford Foundation President Darren Walker, appointed in 2013, initiated their replacement. He commissioned Hicks to recreate the murals. Hicks accepted the project without an artist's fee, underscoring her commitment to the foundation and her artwork. The re-installation took place in August 2014, with Hicks overseeing the process. This reprisal of her work for the Ford Foundation coincided with a broader resurgence of interest in Hicks's art, marked by other large-scale public commissions, including a yearlong exhibition at the Palais de Tokyo in Paris, and a general renewal of appreciation for weaving as an art form. The modern tapestry was produced in smaller, modular sections by Enrico Martignoni, the chief installer, and project leader Dominique Pastor. This modular approach was adopted to facilitate easier replacement if any section were to be damaged in the future. Crucially, the new silk-blend threads will not undergo the same caustic chemical fire-proofing treatment that damaged the original works. Additionally, the new panels are more cost-effective, utilizing a silk-blend thread and plastic discs in place of the original metal components. The article also touches upon the broader design elements of the Ford Foundation building. Warren Platner, known for his opulent modernist style, integrated bold metallics into his interiors, such as the gold-plated, floor-to-ceiling doors leading to the subterranean auditorium. The landscape designer Dan Kiley, celebrated for his work on projects like the Miller House and the St. Louis Arch, created the lush indoor urban garden within the Ford Foundation. Architects Kevin Roche and John Dinkeloo designed the headquarters with the employee in mind, reversing the traditional skyscraper layout to ensure every office had exterior views or overlooked the indoor park within the ten-story glass atrium. Skylights at the top of the atrium, framed in Cor-Ten steel, allow natural daylight to flood the space. Even the executive chairs, modified by Charles and Ray Eames, featured brown leather upholstery and brass accents to complement Platner's design, and notably, still included pull-out ashtrays. #SheilaHicks #FordFoundation #TextileArt #ModernistDesign #InteriorDesign #ArchitecturalRenovation #ArtInstallation #WarrenPlatner #KevinRocheJohnDinkeloo

This article highlights the design philosophy and personal home of Katie Kath, an interior designer and partner at Jkath Design Build + Reinvent. Kath embarked on building her dream home with her husband, Jesse, on a double-wide lot along Minnehaha Creek, aiming to create a space that prioritizes timeless interiors, exceptional quality, and impeccable craftsmanship, moving away from a standard builder-grade aesthetic. The vision for their 4,000-square-foot home was to incorporate customized features tailored to their family of five, ensuring every detail was intentional and thoughtfully chosen. The construction of the home, which commenced during the pandemic, was completed in a swift eight months. Despite the rapid timeline, design decisions were meticulously made, with Katie acting as both the manager and client. This dual role necessitated careful attention to both major and minor details to ensure the home's enduring appeal. Key design elements on the main floor include reclaimed wood beams from Manomin Resawn Timbers and alder accents in the cabinetry, island, and built-in banquette, which together create a warm and inviting atmosphere. The cast stone fireplace surround, matching the kitchen cabinetry, serves as a contemporary focal point in the living room, with white oak flooring extending up to its base for a seamless look. The home's modern design is enhanced by black-frame windows, which are balanced with gold tones to maintain a comfortable and clean feel. The baseboards and millwork are intentionally taller than standard, adding a traditional touch. Unlacquered brass cabinet hardware from Armac Martin in London provides a desired contrast in the kitchen. Beyond the physical design, the article emphasizes that the true essence of Kath's home lies in the traditions she shares with her family, especially during the holiday season. These traditions transform the house into a cozy, safe, warm, and inviting home, fulfilling her original vision of a timeless, traditional abode with festive flair. Kath also shares practical tips for incorporating seasonal spirit into home decor without overwhelming the space or compromising on timelessness. She advises decorating for the season rather than specific holidays to allow decor to remain relevant for longer periods. Sticking to neutral earth tones for the main color scheme, with bright accents, is another recommendation. Kath suggests focusing decorating efforts on main entertaining areas, like the ground floor, and involving family in the decorating process to make it an enjoyable event. Finally, she advocates for investing in high-quality, reusable decor pieces, such as garland, and taking advantage of end-of-season sales to build a collection of timeless decorations that can be cherished year after year. #HomeDesign #InteriorDesign #TimelessInteriors #HolidayDecor #CustomHome #JkathDesignBuild #Renovation #FamilyHome #SeasonalDecor