Zaha Hadid Design creates table based on Princess Leia's trademark buns

Sweet Cooie's, a confectionery in Congress Park, Denver, has opened its doors as a sister store to the popular Little Man Ice Cream, owned by Paul Tamburello. The shop, which underwent a renovation before its February opening, is designed as a tribute to Tamburello's late mother, nicknamed "Cooie." The interior design aims to encapsulate her elegant and refined personal style, transforming the space into a whimsical and enchanting jewel-box. This aesthetic choice is a deliberate departure from typical confectionery designs, emphasizing a high-style approach to creating a unique customer experience. The interior design was meticulously crafted by Melissa Friday of Denver-based Xan Creative, with a focus on achieving authenticity while incorporating a feminine touch to honor Cooie. The design invites patrons to linger and appreciate the intricate details throughout the space. The walls are painted in Sherwin-Williams' Meander Blue, accented with brass trimmings, providing a sophisticated backdrop. These elements highlight a range of beautiful and playful features, including a substantial marble countertop, sparkling light fixtures that contribute to the shop's ethereal glow, and a custom-built back bar. This back bar is thoughtfully lined with jars filled with gumballs, adding a nostalgic and charming element to the overall design. Complementing these features are wavy vinyl booths, which offer comfortable seating and introduce a contemporary yet inviting texture to the environment. A particular design highlight is the use of Amelia Lincrusta paintable wallpaper from Brewster Wallcovering Company, applied beneath the wooden chair rail. This wallpaper mimics the texture and pattern of pressed-tin tiles, adding a layer of historical charm and intricate detail without the weight or cost of actual tin. This choice further enhances the shop's unique blend of classic elegance and playful whimsy. The combination of these design elements with the alluring scents of handcrafted truffles and cotton-candy-wrapped waffle cones creates a multi-sensory experience that extends beyond mere confectionery consumption. The article suggests that the success of Sweet Cooie's lies in its ability to demonstrate that exceptional design, much like delicious ice cream, is more than the sum of its individual components; it is about the harmonious integration of style, atmosphere, and sensory delight. The article was originally published in the June/July 2017 issue of 5280 Home, indicating its focus on local design and home decor trends within the Denver area. This feature underscores the establishment's contribution to the local design landscape, presenting it as a source of style inspiration. The detailed description of the interior design choices provides insights into how a commercial space can be personalized and elevated through thoughtful design, creating an immersive and memorable environment for its visitors. The integration of personal history and a distinct aesthetic vision has resulted in a confectionery that is not only a place for sweet treats but also a destination for design enthusiasts. #InteriorDesign #ConfectioneryDesign #DenverDesign #RetailDesign #WhimsicalDecor #PaulTamburello #MelissaFriday #HomeDecor

The article highlights the recent collaboration between Mark & Graham, a personalized lifestyle brand, and Sanderson, a British design group, which introduces a new collection of gifts and decor featuring Sanderson's iconic floral prints. This partnership is particularly exciting for those looking to infuse their homes with vibrant colors and soft floral patterns, especially during the colder months. The collaboration draws upon Sanderson's rich heritage, a brand that was granted a Royal Warrant in 1924 for supplying fabrics and wallcoverings to the British royal family, signifying over a century of trusted elegance. Mark & Graham's in-house design team meticulously selected six signature floral prints from Sanderson's extensive archives, some dating back over a hundred years, such as the Rose & Peony print from 1914 and the recolored Hollyhocks print. These historic designs are now featured across a diverse range of products, including everything from practical items like beach totes and pet bowls to decorative pieces like ceramic tissue box covers, luxury chess sets, and elegant packing cubes. The collection incorporates various textures and patterns, including woven raffia, subtle stripes, blooming flowers, and distinct inky botanical motifs. The article showcases several key items from the collection that stand out for their design and functionality. Among the recommended pieces are a Sanderson Ceramic Ring Holder, a versatile 3-in-1 Chess, Checkers, and Dominoes Game Set, and a 5-Piece Packing Cube Set, all adorned with the unique floral patterns. Other notable items include the Sanderson Ceramic Frame, featuring a scalloped trim and patterned border, and the Sanderson Ceramic Vase, available in different sizes and patterns to suit various floral arrangements. Additionally, the collection offers a Sanderson Dresser Top Jewelry Box, a Sanderson Dual Travel Organizer to keep accessories neat on the go, a Sanderson Scalloped Ceramic Catchall for everyday essentials, a Sanderson Scalloped Raffia Box for stylish storage, and a Sanderson Ceramic Tissue Box, designed to elevate mundane household items. The collaboration provides an opportunity for individuals to incorporate a touch of 'grandmillennial flair' into their living spaces, blending classic elegance with modern functionality. These pieces are presented as ideal options for housewarming gifts or as personal additions to one's home decor, offering a blend of historical charm and contemporary appeal. The collection celebrates timeless floral designs, making them accessible for everyday use and home enhancement. #MarkAndGraham #Sanderson #FloralDecor #HomeAccessories #BritishDesign #RoyalWarrant #SpringDecor #GrandmillennialStyle #InteriorDesign

Drag And Drop, a Romanian design and manufacturing studio co-founded by Madalin Gheorghe and Dragos Sabareanu in 2019, is known for its innovative approach to design, merging advanced technology with artisanal techniques. The studio's ceramic collection showcases this philosophy by reimagining the function and aesthetics of everyday objects, specifically vases. The creation process leverages a large 3D-ceramic printer to produce intricate patterns, which are developed using sophisticated algorithmic modeling software. Throughout the design and manufacturing process, a strong emphasis is placed on sustainability, aesthetic appeal, and overall quality. The collection features five distinct vase designs, each drawing inspiration from natural patterns and traditional craftsmanship. The 'Intertwined' vase, for instance, is characterized by its organic, interwoven geometric pattern, reminiscent of growth structures found in tree bark and root systems. This unique design is achieved through 3D printing using 100% natural clay. While the interior of the Intertwined vase is hand-glazed, its exterior maintains a matte finish, a consistent characteristic across the entire ceramic collection. This contrast highlights the intricate textures created by the 3D printing process. Another design, 'Bulky,' is offered in three different sizes. This vase features a textile-like pattern that interacts with light throughout the day, creating varying visual effects. The design encourages tactile engagement, inviting individuals to explore its geometric forms and textures through touch. This interactive element adds another dimension to the appreciation of the piece, allowing for a more intimate connection with its design and material. The 'Ripple' vase demonstrates the studio's ability to translate complex mathematical formulae into aesthetically pleasing natural patterns. Its design mimics the visual effect of rippling liquid, such as the concentric circles formed when a stone is dropped into water. This piece exemplifies how technology can be used to replicate and enhance natural phenomena, creating objects that are both visually striking and conceptually rich. The wave-like pattern provides a sense of movement and fluidity, despite the static nature of the ceramic material. The 'Kilim' vase pays homage to the traditional tapestry-weaving methods employed in regions historically part of the Persian Empire. This design represents a contemporary reinterpretation of an ancient craft, demonstrating a harmonious blend of traditional artistry and modern industrial design. By translating the intricate patterns of kilim carpets into a 3D-printed ceramic form, the studio bridges the gap between historical techniques and cutting-edge manufacturing, creating a piece that is culturally resonant and technologically advanced. Finally, the 'Melting' vase directly incorporates its manufacturing process into its aesthetic. The design plays on the suppleness of wet clay during the layering process of 3D printing, creating the illusion of a soft object that appears to be melting. This visual effect is achieved despite the hard, finished ceramic product, creating an intriguing juxtaposition. The Melting vase challenges perceptions of material properties, making a rigid object appear fluid and malleable, highlighting the transformative potential of 3D printing in ceramic art. #3DPrinting #CeramicVases #NatureInspiredDesign #AlgorithmicModeling #SustainableDesign #HomeDecor #ModernCraftsmanship #DragAndDropDesign #InteriorDesign

Domino has announced a collaboration with Lenox Corporation to launch a curated collection of dinnerware. This partnership aims to introduce vibrant and distinctly patterned tabletop items, catering to various design aesthetics. The inaugural Domino by Lenox line is designed to offer essential dinnerware, providing options for those seeking a complete new set or merely a few complementary pieces for their existing collection. The collection features three distinct patterns, each embodying a unique character while aligning with the core ethos of Domino. The first pattern, named Optique, is set to debut at New York’s Tabletop Market. Optique draws inspiration from the grid-like appearance of digital pixelation, featuring an ombre effect with gradient blues, purples, and pinks. This design is described as simultaneously contemporary and classic, appealing to a wide range of consumers. Kate Berry, Domino Style Director, revealed that the inspiration for Optique considered the typical Domino reader and market viability, including individuals registering for weddings or furnishing their first apartments. The concept for the ombre pixelation originated from observing cross-stitching gradients and the pixelated appearance of zoomed-in screenshots of colors. Despite its bold nature, the modern print is versatile and can be integrated into minimalist settings by pairing it with crisp white linens and simple table decor. To further accommodate a pared-back aesthetic, the Optique line also includes pieces in solid colors such as deep cobalt blue and soft peach, which are designed to create striking contrasts when layered. Berry emphasized the collaborative nature of the design process between Domino and Lenox, highlighting that the collection was conceived with various complementary ideas, including regular ombre, pixelated versions, and solid colors with contrasting borders. Following its initial showcase at the Tabletop Market, Optique will be available for purchase nationwide in the fall on Lenox.com, in the Domino shop, and at select specialty retailers. Two additional patterns, Technic and Gradiance, are also scheduled for release in the autumn. Technic is a vintage-inspired design that incorporates pale pinks, deep blue, and electric citron, reminiscent of retro arcade games. Gradiance offers a softer aesthetic with floral-inspired reds and pinks, presented in smudged brushstrokes that evoke the appearance of watercolors. Technic will be available at Bloomingdales, while Gradiance will be sold at Anthropologie. Michele Barbone, CMO of Lenox Corporation, expressed enthusiasm for the partnership, stating that it reinforces Lenox’s position as a leading tableware and entertaining company in North America. She also highlighted the potential for growth opportunities that this new dinnerware brand presents. Domino echoed this excitement, affirming that the collaboration successfully translates their passion for entertaining into a collection that is simultaneously timeless, modern, and enjoyable. #TabletopDesign #DinnerwareCollection #HomeDecor #ProductLaunch #DesignCollaboration #Lenox #DominoMagazine #InteriorStyle #TableSetting

This design dispatch highlights several key happenings and product releases in the world of interior design and art, focusing on the transition into a new season. It begins by exploring RH's Fall 2023 Collection, which aims to redefine true luxury in a market often saturated with superficial claims. Gary Friedman, CEO and chairman of RH, emphasizes that true luxury stems from exceptional craftsmanship and the quality of materials, citing their use of premium European and American White Oak, Walnut, Indonesian Teak, and the detailed construction of their American-made sofas with eight-way hand-tied springs or Italian-made pieces with engineered foam and exquisite tailoring designed for longevity. The collection features global designers like Australian duo Harrison and Nicholas Condos, who contribute natural pieces in European White Oak, including sideboards, bed canopies, and day beds. British designer Oliver Oulton incorporates Belgian Flax Linens into elongated sofas, while American designer Julie Lawrence introduces organically shaped sideboards and tables made from American White Oak. The aesthetic of the collection promotes serenity through light woods and organic lines, devoid of harsh angles and vibrant colors, encapsulating the idea that luxury is defined by thought, creativity, and rarity rather than just price. Next, the dispatch turns to the art world, detailing an opportunity for enthusiasts to acquire a piece from the renowned artist Cecily Brown. For over 25 years, Brown has been celebrated for her abstract expressionist style, with her paintings, often featuring motifs of women, skulls, skeletons, and still-lives, fetching high prices at auctions. Currently, The Metropolitan Museum of Art in New York City is hosting "Cecily Brown: Death and The Maid" until December 3, 2023. This exhibition showcases fifty works from her career. For those wishing to own a piece of Brown's art, a new etching inspired by Jan Brueghel the Elder's 17th-century allegorical series, "The Five Senses," will be available at The Met Store. Edition one of twenty-five will join The Met's collection, with others priced at $8,000, with proceeds supporting the museum's initiatives. The article also introduces a new book from Bulgari, "Beyond Time," celebrating over a century of Bulgari horology. This collaboration with Assouline provides a comprehensive retrospective across 300 pages, featuring contributions from notable friends, ambassadors, and experts of the Maison. A dedicated chapter explores the brand's iconic serpent watch design, which watch collector John Goldberger notes was revolutionary for its combination of wraparound Tubas bracelet with a watch dial. Finally, as the fall season approaches, the dispatch offers a suggestion for entertaining: Sophie Lou Jacobsen's new stemware collection. Inspired by Art Nouveau motifs and the Ecole de Nancy, the collection features glasses morphed into floral designs. While playful, the set maintains an air of sophistication, making it suitable for formal gatherings. The collection is set to launch in October, and readers are encouraged to consider complementary table accessories in preparation for upcoming events. #DesignDispatch #HomeDecor #LuxuryDesign #RHCollection #ArtExhibition #CecilyBrown #MetropolitanMuseumOfArt #BulgariHorology #SophieLouJacobsen #TablewareDesign

This article highlights 15 emerging talents in product design who are making significant contributions to the industry. These designers and studios showcase innovation across various materials, techniques, and product categories, ranging from home furnishings to decorative objects. Lucie Roy, a member of the Kaléidosco collective in France, specializes in float-glass wall tiles. Her Blue Lands tiles manipulate translucency and opacity with aqueous hues, achieved through multiple enamels and three firing processes, and finished with subtle gold details. Bond Hardware, founded by Dana Hurwitz and Mariah Pershadsingh, originally known for jewelry made from scrap metal, has expanded its offerings to include home furniture. Ben Erickson's Erickson Aesthetics presents the "Halo Drippp," a product that integrates a rainbow spectrum into a fundamental form. Soft Geometry, led by Palaash Chaudhary and Utharaa Zacharias, focuses on shapes and references dessert in their new collection. Asa Pingree, drawing inspiration from his boat-building apprenticeship, explores fiberglass in his Brooklyn workshop, evident in his experimental stool designs. Jude Heslin Di Leo, inspired by feng shui principles, created "Amplifier," a 15-inch-high table crafted from pure quartz crystal, intended to enhance natural energy. Sasha Burchuk, founder of New Age Design Studio, reinterprets the ancient terrazzo technique for cement tiles and candleholders, utilizing ethically sourced precious and semiprecious stones in her "Gemstone Terrazzo" and "Ziv" lines. Marie Schumann, a Swiss designer, creates vibrant tapestries called "Softspace #5" and "Softspace #6." These textiles feature haptic fringing and draped threads, woven from materials like Lurex, Trevira CS, or cotton on an industrial jacquard loom and distributed through OKRO. Henri Judin’s "Liquorice" shelves, available vertically or horizontally, are crafted from black rods of bent and powder-coated steel by Lankapaja metalsmith, evoking the candy they are named after and sold through Young Finnish Design. Felicia Arvid, a former fashion designer, introduces "Addéra," a reconfigurable daybed. Its wool-covered cushions, armrests, backrests, and painted-birch tablet can be rearranged to slot into a tubular-steel base. Emiliana Gonzalez and Jessie Young, founders of Estudio Persona, launched "Flecha," an angled side table made of mahogany-veneered plywood, coinciding with the opening of their Los Angeles showroom. Virginia Valentini and Francesco Breganze of LatoxLato designed "Aracne," a coffee table with a 40-inch-diameter glass top supported by eight legs in light oak or dark walnut, noted for its innovative structure. Brecht Wright Gander of Birnam Wood Studio collaborated with jeweler Suna Bonometti on "Brutiful U&I," a cocktail table inspired by Carlo Scarpa’s Brion Cemetery, made from Valchromat wood-fiber visible through an acrylic top. Kyle Comeaux, founder of Komolab, offers "Walden," a dog bed featuring a walnut or white oak base topped with a removable wool-upholstered cushion and a waterproof liner. Finally, Daria Belyakova designed "Paspartu," an armchair described as an "inhabitable sculpture." It is made from chromed, molded fiberglass with wool upholstery and is supported by a nearly invisible glass stand, available through Palisander Gallery. These designers represent a diverse range of styles, materials, and functional applications within contemporary product design. #ProductDesign #RisingStars #InteriorDesign #FurnitureDesign #HomeDecor #TextileDesign #GlassArt #ContemporaryDesign

British architect Zaha Hadid has collaborated with the French crystal manufacturer Lalique to produce a new line of vases known as the Crystal Architecture collection. This collection features two distinct vase designs: Manifesto and Viso. Manifesto is characterized by its curved and ridged form, emphasizing texture, while Viso presents a slender, fluid, and aqueous tower-like structure. These contemporary designs are offered as signed and numbered limited edition pieces and are available in both clear and black crystal. Both vases showcase fluid lines and a polished finish, reflecting Hadid's signature architectural style. Zaha Hadid expressed her long-standing passion for glass and crystal, a fascination that began in her early life as she collected pieces of various shapes, sizes, and colors. She noted that the architectural language developed for this collection serves as a manifesto of her firm's continuous experimentation and research into the concepts of fluidity and transparency. Hadid is widely recognized for her deconstructivist approach to architecture, often incorporating organic and natural forms into her designs, which is evident in the dynamic and unconventional shapes of the Lalique vases. Silvio Denz, Chairman and CEO of Lalique, highlighted the significance of collaborating with new artists like Hadid. He explained that such partnerships allow Lalique's exceptional craftsmanship and know-how to be reinterpreted through fresh perspectives and innovative creative inspirations. This collaboration underscores Lalique's commitment to blending its traditional expertise in crystal manufacturing with modern design sensibilities, pushing the boundaries of what is possible in luxury crystalware. The Zaha Hadid Manifesto and Viso vases are scheduled to be released for purchase in April, exclusively available at Lalique stores. The collection positions itself in the high-end luxury market, with prices for these unique crystal pieces starting at €12,000, equivalent to approximately $16,400. This collaboration brings together a renowned architectural visionary and a prestigious crystal house, offering collectors and design enthusiasts a fusion of art, architecture, and luxury craftsmanship. #ZahaHadid #Lalique #CrystalVases #LuxuryDesign #ArchitecturalDesign #HomeDecor #LimitedEdition #ContemporaryDesign #FluidArchitecture

For the 2014 Melbourne Cup Carnival at Flemington Racecourse, Mim Design collaborated with The Big Group and Design Depot to create the Lexus Design Pavilion, a luxurious space within The Birdcage. The design concept drew inspiration from the event's iconic roses, the fashion, champagne, and particularly the new Lexus NX car, integrating its sleek lines and angular forms into patterns and fabrics throughout the marquee. The pavilion aimed to provide a sought-after setting for guests to enjoy the carnival atmosphere. The entrance to the marquee featured the Lexus NX car prominently, flanked by a media wall and mounted stacks of branches and roses, signaling the involvement of sustainable designer Joost Bakker. The ground floor housed a versatile brass bar, which served as a DJ booth and champagne station, alongside a hatch offering gourmet burgers by chef Neil Perry. Artist Chris Watterson applied an ombre effect to the marquee walls, adding depth and softness, while custom-designed banquette seating provided comfort and vibrant color with its fragmented patterns. The multi-story pavilion encouraged guests to move upwards, with stairs leading to the first floor. Miriam Fanning, principal of Mim Design, highlighted the intended 'wow' factor upon reaching the upper level. This floor served as the glamorous centerpiece, featuring a forty-eight-seat Attica pop-up restaurant. The restaurant was dramatically adorned with an organic canopy installation by Joost Bakker, consisting of a steel grid from which hundreds of freshly coppiced smoke bush branches were suspended with galvanized wire. Hundreds of repurposed light globes, saved from Bakker's previous retrofits, were also suspended and transformed into miniature vases for rose bulbs, filled daily with fresh water and between five thousand to six thousand roses. The pavilion's rooftop deck, designed by celebrity landscape designer Jamie Durie, offered views of the racecourse and a vertical herb garden, providing a sunny spot for attendees. The project faced specific challenges inherent to temporary structures, such as the absence of built structural walls, requiring self-supporting designs. Lead times were also a constraint, with builders only gaining access four to six weeks before race day, which complicated furniture scheduling. Despite these hurdles, the design team embraced the opportunity to contribute to the internationally recognized Melbourne Cup Carnival, emphasizing the celebratory aspect of the event. #LexusDesignPavillion #MimDesign #MelbourneCupCarnival #EventDesign #LuxuryHospitality #JoostBakker #SustainableDesign #JamieDurie #TemporaryArchitecture

The Poilu Vases represent an innovative venture into material research and 3D printing technology by Paris-based Studio Bold. This project explores the integration of natural fibers into 3D printed structures to create unique textural qualities in decorative objects. The studio's research centered on developing a method to implant what they describe as “hair” into the vases during the additive manufacturing process, aiming to enhance the visual and tactile bulk of the objects. The design philosophy behind the Poilu Vases bridges mathematical logic with natural generative principles. Studio Bold formulated a specialized code that dictates the precise coordinates for the integration of fibrous materials within the 3D printing sequence. This algorithmic approach allowed for a controlled yet organic outcome, resulting in surfaces that mimic the appearance of looped fibers, reminiscent of certain textile textures such as those found in rugs. Crafted from vegetable-based fibers, the vases incorporate materials like bamboo, coconut, and wood. These natural components contribute to the distinctive “hairy” texture and give each vase a unique character. The choice of natural fibers also aligns with contemporary design trends that emphasize sustainability and the incorporation of organic elements into manufactured goods. The collection consists of three distinct vases, each named after a hair color: "Blond," "Brun," and "Roux." This nomenclature further reinforces the concept of implanted "hair" and differentiates the individual pieces within the series. Each vase is produced as part of a limited edition, with specific numbering and artist signatures. This exclusivity positions the Poilu Vases as collectible design pieces rather than mass-produced items. The Poilu Vases are distributed through Aybar Gallery, highlighting their status as art and design objects. The collaboration with a gallery suggests a deliberate effort to present these pieces within a fine art context, appealing to collectors and design enthusiasts interested in the intersection of technology, art, and natural materials. This project showcases the potential of 3D printing to move beyond purely functional applications and into the realm of sculptural and decorative art, pushing the boundaries of what is achievable in contemporary object design through material innovation and advanced manufacturing techniques. #3DPrinting #VaseDesign #StudioBold #MaterialInnovation #HomeDecor #VegetableFibers #LimitedEdition #AybarGallery #ContemporaryDesign

The article explores the resurgence of animal-themed furniture, specifically side tables with animal feet, noting a historical precedent in the Victorian Era. During that period, "Animal Furniture" was a popular concept, featuring items made from or designed to resemble real animal parts, such as liquor stands from elephant feet or chairs upholstered with tiger skin and paws. The current trend, however, moves away from the literal and often macabre use of animal parts towards more whimsical and stylized representations. This contemporary revival is attributed, in part, to designers like the Haas Brothers, who have introduced modern interpretations of animal-inspired furnishings. The piece highlights several examples of these modern animal-footed tables, offering a range of styles and price points. One entry is the Birdy Side Table, a copper piece with sweetly ribbed legs and cartoonish, unrealistic bird feet, priced at $79. It is described as an accessible and charming starter piece for those interested in the trend. Another option is the Flamingo End Table by Organic Modernism, which retails for $620 and features a single claw-like leg, offering a more elegant interpretation. For a more distinctive and artisanal touch, the Stray Dog Designs Chicken Leg Inspired End Table is presented. Handcrafted in Mexico from paper-mache, this table is available in 12 vibrant colors and boasts satisfyingly realistic, leathery, and jointed chicken feet with sharp-looking nails, priced at $850. The Matthew Williamson Pink Tray Table offers a luxurious take on the flamingo theme for $4,223, featuring a lacquered, Palm Beach-pink tray supported by three sturdy brass legs and perfectly splayed, webbed feet. Other notable items include the Gallop White Stool from CB2 for $399, which combines aluminum legs, an ivory-fabric-wrapped seat, and elegant equine-shaped legs to deliver "sophisticated whimsy." A more understated option is the Hoof Legged Accent Table from Z Gallerie, priced at $150, featuring a modern white lacquered design with three shiny hooves. For a bold statement, the Pig Table By Front for Moooi, priced at $2,773, is a large, five-foot-wide, three-foot-tall jet-black table complete with a curled tail, upturned snout, and realistic fur and beauty spots. Finally, the article suggests a DIY approach with Small Size Brass Claw Foot Toe Caps, available for $12, allowing individuals to add a touch of animal whimsy to existing furniture. The article concludes by emphasizing that while animal furniture has a historical presence, the modern iteration is characterized by faux and less anatomically literal designs, making it a charming and occasionally off-putting trend for home decor. #TheStrategist #TryTheTrend #HomeDecor #Furniture #SideTables #AnimalFurniture #InteriorDesign #WhimsicalDecor

The French-based design firm AD-3D, led by Bulgarian designer and artist Aleksandar Dimitrov, has introduced an innovative 3D-printed accessory called 'clip on glass.' This creation transforms an ordinary drinking glass, specifically the IKEA Pokal glass, into a functional vase for flowers. The design aims to add a secondary purpose to everyday items through a simple yet effective modification. The 'clip on glass' is engineered to be minimalistic while maintaining full functionality. Measuring 9 x 9 x 6 centimeters, the object is optimized for material efficiency, utilizing a minimal amount of polyamide. Polyamide was selected for its strength and flexibility, critical properties for the 'clip' mechanism. The material's fine surface texture allows for the necessary expansion and contraction during the clipping process, ensuring a secure fit without compromising the integrity of either the accessory or the glass. The design ethos behind 'clip on glass' centers on enhancing existing household items rather than replacing them, promoting a sustainable approach to home decor. By leveraging 3D printing technology, AD-3D offers a customizable and accessible solution for users to repurpose their drinking glasses. The ease of attaching the accessory means that users can effortlessly switch between the glass's original function and its new role as a vase, providing versatility in home styling. This project highlights the potential of additive manufacturing in creating practical and aesthetically pleasing objects for daily use. The ability to produce complex geometries with minimal material waste makes 3D printing an ideal method for such small-scale, high-utility designs. The product serves as an example of how thoughtful design can integrate new functions into common objects, extending their lifespan and utility. Aleksandar Dimitrov's work with AD-3D demonstrates a forward-thinking approach to product design, focusing on user-centric solutions and the innovative application of modern manufacturing techniques. The 'clip on glass' accessory is not only a decorative item but also a statement on adaptable design, encouraging creative uses of everyday objects and showcasing the transformative power of 3D printing in the realm of home accessories and functional art. #3DPrinting #HomeDecor #ProductDesign #IKEAHack #SustainableDesign #FunctionalArt #AleksandarDimitrov #AD3D #Polyamide

Italian furniture brand Meridiani has unveiled its latest collection of dining tables, named Plinto, as part of its Editions series. This collection is distinguished by its sculptural design, offering a versatile range of shapes, sizes, and finishes to cater to diverse aesthetic preferences and interior styles. The core design element of the Plinto collection is its plinth-like metal base, which is available in two sophisticated finishes: matt black and bronzed brass. This robust base provides the fundamental framework for the tables, ensuring stability and a strong visual presence. Supporting the metal base are solid marble tops, which are a hallmark of luxury and durability. The collection provides a wide array of options for the tabletop's shape, including classic circular, rectangular, and square forms, as well as a distinctive octagonal design, allowing for various spatial configurations and design statements. Beyond shape, the Plinto tables offer an extensive selection of finishes for the tabletop. Customers can choose from opulent marble varieties such as Calacatta gold, known for its rich veining; Emperador brown, celebrated for its warm, deep tones; and Marquina black, which offers a striking contrast and modern appeal. In addition to marble, the collection features different shades of wood, providing natural warmth and texture, and various colors in lacquered finishes, which add a contemporary touch and a smooth, polished look. According to Meridiani, the design philosophy behind Plinto centers on an interplay of solids and voids. This concept is brought to life through the combination of the light structured metal bases with the substantial volumes of the tabletops, whether they are crafted from marble, wood, or lacquered materials. This approach allows for a dynamic and visually interesting furniture piece that can seamlessly integrate into various dining environments, from minimalist to more elaborate settings. The versatility extends to the base itself; the plinth-like metal structure can be either fully or partially covered by a solid block of material, further enhancing the sculptural quality and customization options of the tables. The entire Plinto collection is designed by Andrea Parisio, who has served as Meridiani's head designer and art director since the brand's inception. His consistent vision ensures that the collection embodies Meridiani's commitment to elegance, quality, and timeless design. Furthermore, all products within the Plinto collection are proudly 100 percent made in Italy, reflecting the brand's dedication to traditional craftsmanship and high-quality manufacturing standards. This commitment to Italian production guarantees authenticity and superior attention to detail in every piece. Meridiani, based in northern Italy, continues its tradition of creating sophisticated and functional furniture for contemporary living spaces. The Plinto collection stands as a testament to the brand's ability to combine classic materials with modern design principles, offering pieces that are both artful and practical. The range of choices in materials, shapes, and finishes allows clients to customize their dining tables to perfectly suit their individual tastes and interior design schemes, making the Plinto collection a significant addition to the brand's esteemed portfolio of furniture. This launch reinforces Meridiani’s position as a leader in high-end Italian furniture design, providing discerning customers with beautiful, durable, and versatile dining solutions. #Meridiani #PlintoCollection #DiningTables #FurnitureDesign #ItalianDesign #MarbleFurniture #AndreaParisio #LuxuryFurniture #InteriorDesign #HomeDecor

Pita and Bloom, founded in 2010 by Florencia Pita and Jackilin Hah Bloom, emerged from their collaborative experience at SCI-Arc and Greg Lynn's Form. The firm, a finalist in MoMA PS1's YAP competition in 2014, is recognized for its distinctive approach to architecture, which emphasizes color theory, abstraction, and pop art influences. Their designs integrate bright color palettes, collage, pattern, and geometry, intentionally embracing ornament in an architectural context. The practice is typically small, consisting of the two founders, and occasionally expands to include one or two designers and interns for specific projects. The motivation behind establishing their practice stemmed from a strong working relationship and friendship developed during their time at Greg Lynn's office. This led to a natural collaboration, initially exploring shared ideas on color and form through competition projects and speculative work. This early body of work provided the foundation for their nomination in the MoMA PS1 competition. Over time, their collaboration evolved from self-initiated projects to commissioned architectural work, with their academic roles at the Southern California Institute of Architecture (SCI-Arc) continuously informing and being informed by their practice. An example of this synergy is Florencia's Los Angeles River studio, which reimagined the infrastructural space as a public landscape through painting the concrete riverbed, leading to the project 'Flat Pools,' featured in 'Art Papers.' One significant challenge faced by Pita and Bloom is grounding their interests and ideas within the rapidly evolving discourse of architecture, which shifts with advancements in arts, technology, and society. Having transitioned from traditional drafting methods to embracing digital technology, and now navigating a landscape where representational techniques define architecture, they employ a range of analog and digital tools tailored to each project. Despite these evolving mediums, their core template remains consistent: defining the parameters of color and form in architecture. Their projects consistently explore color as a material with texture and patterns, and forms that transition from flat to 2.5D through concurrent lines and volumes. The firm does not set specific goals for its size, viewing growth as an organic process. They value the contributions of talented collaborators and project teams, which allows their practice to remain open and experimental while maintaining a serious and earnest approach. The benefits of a small practice, though not always by choice, include the ability to dedicate extensive time and focus to idiosyncratic and self-initiated projects. This affords them the luxury of sustained creative thought and exploration of ideas, contributing to their unique architectural output. The article showcases several projects by Pita and Bloom, illustrating their design philosophy. 'FLAT POOLS' for the Los Angeles River proposes painting the riverbed to transform it into a public landscape. 'LA MEDIANERA' in Tetla de la Solidaridad, Mexico, presents a rural house prototype for Infonavit's 'From the Territory to the Dweller' initiative. 'THE NEW ZOCALO' for Mexicantown, Detroit, was a project for the 15th Venice Architecture Biennale's U.S. Pavilion, 'The Architectural Imagination.' Finally, 'SIGNATURES' is an entry façade installation for the Princeton School of Architecture in Princeton, New Jersey. These projects exemplify their consistent exploration of color, form, and ornament in diverse architectural contexts. #ArchitecturalDesign #ColorTheory #OrnamentInArchitecture #PitaAndBloom #SmallPractice #ArchitecturalInnovation #LosAngelesArchitecture #AcademicPractice #ArchitecturalCollaboration

French artist duo Zim & Zou have unveiled their latest paper installation, "Flying Faubourg," for the Hermès window display in Tokyo’s Ginza Mitsukoshi. This intricate paper sculpture pays tribute to Hermès’ equestrian heritage by featuring a floating, hybrid creature, part horse and part machine, rendered in warm, sunset-inspired hues. The artwork integrates elements of Hermès' iconic Parisian storefront at 24 Faubourg Saint-Honoré, reimagining it as a structure soaring above the cityscape of Tokyo. Zim & Zou, who refer to themselves as "paper pirates," constructed this complex installation specifically for the opening of the Hermès Ginza Mitsukoshi store. The central sculpture represents their most elaborate creation to date, meticulously assembled in their studio in France before being transported and installed in Japan. The piece is innovatively held together by magnets, supporting both smaller vessels suspended above and miniature buildings below. The artists describe "Flying Faubourg" as a potent symbol of intellectual freedom and artistic expression. The installation features the horse-like figure gazing forward, its mane seemingly flowing in the wind, which evokes Hermès' foundational origins in saddlery and equestrianism. Below this fantastical flying structure, viewers can identify iconic landmarks of Tokyo, such as the Tokyo Skytree, the Rainbow Bridge, and the Tokyo Tower, inviting an imaginative exploration of the city. The artists conveyed that the "Flying Faubourg" is momentarily static within the window display, yet it perpetually invites bold exploration of both the real world and the boundless realm of imagination. The artwork showcases Zim & Zou's signature use of paper as a primary medium, demonstrating their expertise in transforming two-dimensional sheets into detailed, three-dimensional forms. Their previous collaborations with Hermès and other notable brands highlight their unique approach to art and design, which often involves crafting entire fantastical worlds from paper. The choice of paper for such an elaborate installation also emphasizes the artists' commitment to a material that is both versatile and environmentally conscious, aligning with contemporary interests in sustainable art practices. The installation serves not only as a promotional display for Hermès but also as a significant artistic statement, merging luxury branding with imaginative craftsmanship and cultural storytelling. #PaperArt #Hermes #ZimAndZou #WindowDisplay #PaperSculpture #TokyoArt #EquestrianSpirit #InstallationArt #GinzaMitsukoshi

Holly Hunt, a significant figure in the interior design industry, has been inducted into the 2024 Interior Design Hall of Fame. Born in 1942 in San Angelo, Texas, Hunt initially pursued a career in fashion after majoring in English at Texas Tech. Her early professional experience included an executive training program at Foley’s, a Houston department store, and a role as an assistant buyer in millinery, followed by designing for a costume jewelry company in New York City in 1969. Hunt’s pivotal entry into the design world occurred in 1983 when she acquired R.J. Randolph, a struggling showroom at Chicago’s Merchandise Mart. She rebranded it under her own name, HOLLY HUNT, and embarked on a mission to redefine the showroom experience. Her approach was revolutionary for its time, focusing on elevating customer service, improving product display, and introducing transparency in pricing—a practice that faced initial industry resistance. Hunt curated showrooms that resembled actual living spaces, integrating architectural details, artwork, and a diverse mix of products and styles. She championed established designers like Vladimir Kagan and Rose Tarlow, while also discovering and promoting emerging talents such as glass artist Alison Berger and furniture maker Christian Astuguevieille. The company’s sophisticated branding and marketing materials were developed with the avant-garde graphics studio Thirst, all united by a commitment to superior quality. A key collaboration in the early 1990s was with French furniture designer Christian Liaigre, whose sleek, monochromatic aesthetic resonated with Hunt’s own. Hunt’s company became instrumental in manufacturing and distributing Liaigre’s designs in the U.S., influencing American interior design with rich dark woods and creamy textiles. This partnership gained significant recognition when André Balazs's Mercer Hotel in Manhattan opened with Liaigre-designed interiors in 1997. Hunt’s strategic vision extended to expanding her showrooms, notably opening one in the nascent Miami Design District in 1998. Designed by architect Alison Spear, this showroom deviated from conventional layouts, offering a luxury boutique experience accessible to all. Another Manhattan showroom, intended to open in October 2001, was successfully launched just two months after the 9/11 events, demonstrating Hunt’s resilience and foresight. She navigated the 2008 recession by restructuring her company, which led to the creation of Holly Hunt Modern, a collection that surpassed the profitability of her previous collaborations. In 2014, Knoll acquired HOLLY HUNT for $110 million. Hunt remained CEO for two years, overseeing expansions in Dallas and Los Angeles, and continued as a consultant until 2019. During this period, she undertook design projects such as a penthouse at the Surf Club in Miami Beach. Currently, Hunt leads House of Hunt, a Chicago-based interior architecture and furniture studio, engaging in projects ranging from product design, like the Dune sofa for HOLLY HUNT, to comprehensive home renovations. Her career trajectory is marked by continuous evolution and an adaptability to challenges, consistently eschewing rigid business plans in favor of dynamic engagement. #HollyHunt #InteriorDesign #HallOfFame #FurnitureDesign #ShowroomInnovation #DesignEntrepreneur #LuxuryDesign #ChristianLiaigre #DesignIndustry

This article explores the preferred tableware shopping destinations of 12 interior designers, offering insights into curating elegant and functional tablescapes for various occasions. The article highlights a range of sources, from high-end luxury brands to artisanal boutiques, vintage shops, and more affordable retailers, demonstrating how design professionals approach selecting plates, bowls, platters, glassware, flatware, and linens. Vicky Charles of Charles & Co emphasizes attention to detail and frequently turns to Abask for its exquisite selection of plates, bowls, and serving pieces that combine timeless elegance with an organic, natural finish. Abask's unique textures and muted tones provide a versatile canvas for relaxed yet elevated dining experiences. For a more opulent and eclectic touch, Charles also recommends RW Guild, known for its globally sourced artisanal pieces with rich, earthy tones, and Il Buco Vita for vintage-inspired glassware and luxurious table linens that blend beauty and functionality. Emily Ward and Louisa Pierce of Pierce and Ward adopt a personalized approach, mixing antique, vintage, and new items across different price points to reflect clients' personalities and lifestyles. They prioritize durability and longevity, recommending Heath Ceramics for plates and bowls, Studio Ford for cotton napkins and tablecloths, and Jean Dubost Laguiole Steak knives, particularly those with brass accents. Pembrooke & Ives, a New York design studio, suggests Mary Mahoney for high-end brands like Hermes and Bernardaud, ideal for refined and elegant tables. For a contemporary aesthetic, MAX ID offers unique geometric table pieces. They also favor Abask and David Mellor, the latter for its diverse range of porcelain from various countries. Paige Wassel, director of Paige Wassel, expresses a strong preference for thrifting tableware, actively searching Etsy for vintage cutlery, etched coupes, everyday drinking glasses, and hand-fired bowls and plates with artisan stamps. She also appreciates Japanese handmade ceramics and opts for more affordable finds due to her tendency to break glasses. Laura Lubin of Ellerslie Interiors recommends Sasha Nicholas for stunning handcrafted tableware, including chargers and dinner plates with intricate, timeless designs, and Hudson Grace for rich, saturated linens and napkins that add depth and character. Gideon Mendelson, founder of Mendelson Group, categorizes his recommendations by formality. For formal settings, he suggests Bergdorf Goodman, Bernardaud, and Christofle. For casual or everyday use, Heath Ceramics, Mondays, Wilcoxson, and Camille at the Wheel are preferred. For more affordable options, Williams-Sonoma and Crate & Barrel are highlighted. Dan Mazzarini of BHDM Design and ARCHIVE is a fan of splatterware from March SF. He looks to Ralph Lauren for timeless stemware and CB2 for budget-friendly tumblers and glasses. Mazzarini enjoys mixing modern cutlery from Wayfair with vintage and antique finds, and stresses the importance of linen napkins, properly starched and ironed. He also advises incorporating lighting, such as smoked hurricanes from March SF and portable table lamps. Kathy Kuo of Kathy Kuo Home recommends her own brand for its extensive collection of dishes, glassware, linens, and flatware, featuring a variety of styles, materials, and vendors like Simon Pearce, Juliska, Vietri, Villeroy & Boch, and L'Objet. Kishani Perara, founder of Kishani Perara, likes TABLE ART, Bergdorf Goodman, Artemest, Il Buco, and Sharland England for tableware and candlesticks. She emphasizes the value of incorporating special family pieces or vintage finds from platforms like Etsy, eBay, Chairish, and 1stDibs. Darren Henault of Darren Henault Interiors champions Julia B. Casa in Florence for its spectacular embroidery and appliqué, and E. Braun on Park Avenue for timeless and luxurious selections. He collects a variety of dish patterns, including Herend's Rothschild, Fischcale, and Chinese Bouquet, and Royal Crown Derby's Midori Meadow, which he mixes and matches. For glassware, he particularly values Lobmeyr water glasses from Vienna for their delicate elegance. Finally, Gray Walker of Gray Walker Interiors prefers simple linen hem stitch tablecloths and napkins, often with festive embroidery. She builds tablescapes around specific decorations, combining sterling silver, Tiffany china and crystal, and clippings from her garden. She collects table linens from sources like Schweitzer Linens. Josh Greene of Josh Greene Design recommends Collecto for quality dining ware, including traditional Italian and whimsical floral china, and Abask for its diverse independent designs. For luxurious occasions, Tiffany is a staple, while West Elm is suggested for more affordable, classic dining sets. #InteriorDesign #Tableware #HomeDecor #Tablescapes #DesignersChoice #LuxuryHome #VintageDecor #KitchenDecor #DiningRoom