Home & Design | Conversation Piece

This article highlights seven contemporary examples of conversation pits, showcasing how this classic architectural feature, popularized in the mid-20th century, is being reinterpreted in modern design. Conversation pits are sunken areas furnished with seating, often incorporating small tables or creative steps for access, designed to foster intimate gatherings. The featured projects demonstrate diverse applications and styles. The Clay House in the UK, designed by Bureau de Change, incorporates an angular conversation pit into a house extension in London. Its tile floors and upholstered cushions create a cozy yet contemporary space, with its design drawing inspiration from Victorian boxing rings, and it includes a small set of stairs for access. In California, the Magnum Opus residence by Kelly Wearstler and Masastudio features a rectangular conversation pit within its pool house. This pit is situated beneath a skylight, boasting plush grey cushioning set against a concrete ledge, and adorned with lamps and a brass coffee table in its center. Ludwig Godefroy's Casa Alférez in Mexico introduces a vibrant splash of color to an otherwise stark brutalist interior located in a pine forest near Mexico City. This shallow conversation pit is entirely lined with cushions and cylindrical bolsters, providing a soft contrast to its concrete surroundings. The Madhappy retail space in Los Angeles, designed by PlayLab Inc, presents a circular conversation pit integrated into the store's carpeted flooring. Sky-blue couches and aluminum side tables define this space, which is positioned in front of a speaker display, encouraging interaction. In Las Vegas, The Pinky Ring cocktail lounge, a collaboration between Bruno Mars and Yabu Pushelberg, showcases a grand, centrally located sunken area. This expansive conversation pit, with its plush green upholstery, offers a distinct, lower-level gathering space separate from the main bar and circulation areas, and includes smaller table and chair arrangements within. Sonn's Plaster House in the UK incorporates a seating area reminiscent of a conversation pit within a London residential extension. This L-shaped arrangement, featuring plush cushions and a recessed design, is strategically positioned to align with the garden level, maximizing natural light and offering a seamless connection to the outdoors. Lastly, the Blow Models office in Spain, designed by Isern Serra, features two stark-white conversation pits flanking a plant-filled central pit. These recessed seating areas, with soft white cushions, are intended to serve as versatile backdrops for photoshoots, blending functionality with aesthetic appeal in a modeling agency setting. These examples illustrate how contemporary designers are adapting the conversation pit, using varied material palettes and forms, to suit modern spaces ranging from private residences to commercial establishments, enhancing social interaction and offering unique aesthetic statements. #ConversationPits #InteriorDesign #HomeInteriors #ArchitecturalFeatures #ModernDesign #ResidentialArchitecture #CommercialDesign

The conversation pit, a distinctive feature of midcentury residential design, has experienced a resurgence in popularity, particularly on social media platforms like Instagram. These sunken lounging areas, once a hallmark of design from the 1950s through the 1970s, are now viewed as symbols of intimacy and connection in an era where living spaces often blend various functions. The appeal lies in their deliberate impracticality and their ability to transport one to a bygone era of leisure and intentional social interaction. In a world increasingly dominated by open-plan layouts, the conversation pit offers a thrillingly specific and dedicated space for human connection, contrasting with the blurred lines between work, play, and living that characterize modern life. One of the most iconic examples of a conversation pit is found in the Miller House, designed by architect Eero Saarinen in 1958 for industrialist J. Irwin Miller and his wife. The design aimed to create a clear division within an open floor plan while eliminating the visual clutter of furniture legs. Saarinen collaborated with architect and interior designer Alexander Girard to bring this vision to life, incorporating bold colors and graphic prints. The Miller House's conversation pit, featured in a 1959 issue of *House & Garden*, was celebrated as a sophisticated space for social gatherings, strategically designed for comfortable lounging and an unobstructed view of the owners' art collection. Its influence extended to more public spaces, such as Saarinen's TWA Flight Center at JKF Airport, which included a bright red, public version of the conversation pit in its 1962 design, further highlighting the feature's potential to create distinct social arenas within larger open spaces. Despite its initial popularity, the residential conversation pit saw a decline in mass appeal by the 1970s, with a 1978 Housing Magazine poll indicating a lack of confidence in the feature. However, it experienced a revival in the 1980s, appearing in New York Midtown lofts and celebrity homes, such as Halston's Manhattan penthouse designed by Paul Rudolph. Halston himself articulated the desire for a relaxed, reclining space after a long day, reflecting a shift towards comfort and informality in home design. By 1981, *Architectural Record* optimistically declared a revival of the conversation pit as a simple way to encourage intimate gatherings, signaling its enduring appeal as a design element that fosters closeness. Today, modern interpretations of the conversation pit are found not only in residential interiors but also in commercial and experiential spaces, such as Spring Studios, PUBLIC Hotel, and Madhappy's flagship store. These contemporary designs maintain the original spirit of inviting people to gather, relax, and engage in designated, informal activity. Designers and cultural commentators note the conversation pit's "effortless and chic" quality, attributing its lasting allure to its ability to make people feel at ease and its confident, elegant form. The feature's ability to create a specific "vibe" and its presence on mood boards indicate that the conversation pit will continue to be a relevant and aspirational design element in the future, prized for its unique blend of comfort, style, and social facilitation. #ConversationPit #MidcenturyModern #InteriorDesign #ResidentialArchitecture #HomeDecor #DesignTrends #SocialSpaces #EeroSaarinen #AlexanderGirard

The 'conversation room' is emerging as a significant trend in interior design, representing a shift away from technology-dominated living spaces towards fostering human connection and intimate gatherings. This concept encourages individuals to set aside their phones and televisions, focusing instead on face-to-face interactions. Interior designers note a growing demand for spaces that cultivate intimacy and comfort, contrasting with the long-standing prevalence of open-plan living. The historical roots of the conversation room can be traced back to 18th-century Parisian 'salons' where intellectual discourse thrived, and Victorian English 'parlors' designed for polite social exchanges. More recently, the 'conversation pit' of the mid-century modern era, exemplified by Eero Saarinen’s Miller House, gained popularity in the 1970s and is now experiencing a resurgence. Designers like Charles De Lisle suggest drawing inspiration from these historical concepts to adapt the idea to contemporary homes, even if a literal conversation pit isn't feasible. The current trend toward conversation rooms is influenced by the increasing dominance of screens and technology in daily life, leading to a desire for more meaningful, in-person social engagement. Designers are observing a movement away from single, large open-plan living areas towards homes with multiple, distinct spaces, each designated for specific functions. This preference for defined zones, particularly those promoting a sense of togetherness and coziness, highlights a broader cultural craving for connection and intimate environments. Róisín Lafferty, an interior designer, emphasizes the appeal of a 'cocooned' environment dedicated to social interaction. Designing an effective conversation room hinges on a well-thought-out layout that prioritizes comfortable seating arrangements conducive to dialogue. Essential elements include ample seating options such as sofas and armchairs, complemented by versatile pieces like footstools and benches that can double as extra seating or occasional tables. A crucial design principle is the deliberate absence of distractions like televisions or cluttered surfaces, ensuring the focus remains squarely on conversation. The arrangement of furniture should facilitate eye contact among individuals, moving away from configurations centered around a media screen. Designers also stress the importance of scale and proportion in these spaces to create an inviting atmosphere. While comfort is key, seating choices should also offer adequate support, with curved sofas being a recommended option as they naturally encourage participants to face each other. Ultimately, beyond the physical furnishings, the most vital component is the creation of a calm, curated, and chaos-free atmosphere that promotes social interaction and connection. #InteriorDesign #ConversationRoom #HomeDecor #DesignTrends #LivingRoomIdeas #MidCenturyModern #SocialSpaces #FurnitureArrangement

Momina Watton, the visionary founder of Atelier278, shares insights into her creative journey and the philosophy behind her furniture designs, which emphasize modern aesthetics, natural materials, and meticulous craftsmanship. Watton's design philosophy is characterized by a "classic with a twist" approach, evident in her personal style and the interiors of her apartment, which combine luxurious materials like marble, linens, and velvets with contemporary chrome and stainless-steel accents, creating unexpected yet harmonious pairings. This consistent aesthetic has been a part of her life since childhood, with her interiors brand, Atelier278, solidifying these long-held inspirations. Her creativity, though not formally studied in art or design, manifested in everyday activities from a young age, such as elaborately setting tables for Saturday morning breakfasts. This innate creative drive eventually led to her career in furniture design. A significant source of inspiration for Watton is Roman architecture, particularly its enduring use of natural stone. The timeless appeal of marble columns and travertine buildings serves as a constant reminder that classic design and natural materials possess lasting relevance. This appreciation for the historical use of stone informs her contemporary pieces, ensuring they feel both ancient and modern. Watton's transition into furniture design was unexpected. Formerly working in beauty PR, the pandemic provided her with an opportunity to explore her passion for interiors. She began by sharing her interior finds on Instagram, which led to sourcing vintage marble furniture for notable figures like Bettina Looney and Suki Waterhouse. This experience eventually spurred her to design and create her own pieces. A memorable acquisition was a vintage marble coffee table, discovered in a reclamation yard, which now resides in the home of Vogue Commerce Director, Naomi Smart. This find underscores Watton's ability to see potential in overlooked objects and her talent for transforming them. Her mother's strong, independent sense of style significantly influenced Watton, teaching her the importance of authenticity in personal expression. When it comes to color, Watton expresses a deep affection for green, from vibrant matcha to earthy olive tones, valuing its versatility and pleasing aesthetic in interiors. Green onyx, in particular, is a favored material for her accessories due to its natural texture and rich color. Travel, especially to Copenhagen, also provides rich inspiration. She admires brands like FRAMA and Yonobi Studio for their immersive experiences that extend beyond mere shopping, fostering a sense of community. Collecting glassware is another passion, as Watton believes the vessel can enhance the drinking experience. Her collection spans diverse origins, from Marrakech mint tea glasses to Parisian wine glasses and cut crystal tumblers for negronis, necessitating a dedicated cabinet in her kitchen. In terms of media, she is drawn to films with exceptional art direction and escapist qualities, citing "Call Me By Your Name," "The Talented Mr Ripley," and "A Single Man" for their incredible interiors and settings. Music also plays a crucial role in her creative process, with playlists featuring artists like Arooj Aftab, Sufjan Stevens, The Cure, Mazzy Star, and The Cranberries. Cooking is another creative outlet, with her signature dish being a sea bass recipe inspired by a restaurant in the south of France. Watton holds admiration for fellow designers, particularly the team at Banda, whose interior designs she finds consistently beautiful. The work of the Bille Brahe family, including Frederik's restaurants and Sophie's jewelry, also serves as inspiration. Among her own creations at Atelier278, the Ellipse Dining Table in Unfilled Romano Travertine, designed for Rosie Huntington-Whiteley, stands out for its organic finish and statement presence. The Octavia Console is also highly popular, largely due to the demand for custom-sized console tables that are often difficult to find. Her accessories, such as coasters, are celebrated for their blend of functionality and style. #FurnitureDesign #InteriorStyle #NaturalStone #Atelier278 #DesignInspiration #MominaWatton #ClassicWithATwist #RomanArchitecture #HomeDecor

Interior designer Kate Marker introduces her philosophy for creating a home that genuinely reflects its inhabitants, emphasizing beauty, balance, and a sense of belonging. The core of her approach, detailed in her new book 'The Love of Home: Interiors for Beauty, Balance, and Belonging,' revolves around empowering individuals to make design choices that cultivate joy, strengthen connections, and enhance overall well-being within their living spaces. Marker aims for homes to not only be aesthetically pleasing but also to feel inherently good to live in. The article provides an in-depth look at a specific design project: her close friend's Nordic-inspired modern farmhouse. This collaboration allowed Marker to infuse the home with personalized elements that resonate deeply with the family's stories and heritage. The design process was seamless, facilitated by the strong personal connection between Marker and her friend. The home's layout is characterized by an effortless flow between rooms, contributing to a harmonious atmosphere. Drawing inspiration from her friend's Swedish roots, the design integrates Nordic touches, maintaining a clean and airy aesthetic while incorporating warm materials and creating cozy nooks for both individual retreat and family connection. Key to Marker's design philosophy is the strategic placement of personal keepsakes, transforming them into 'conversation pieces.' These items, ranging from family heirlooms to cherished thrift-store finds, serve as visual prompts for storytelling, fostering deeper connections among family members and with guests. For instance, a brass Greek goddess figurine, discovered by her friend, holds a prominent spot in the family room, embodying a narrative of discovery and personal attachment. Marker highlights that such pieces are instrumental in making a home feel authentic, lived-in, and deeply personal, moving beyond mere decoration to evoke emotion and shared history. The article further elaborates on the concept of 'conversation pieces' through furniture selection. Marker advocates for incorporating swivel chairs in common areas like family rooms, sitting rooms, or sunrooms. Beyond their stylish appearance, these chairs offer practical functionality, allowing occupants to effortlessly shift between enjoying a view and engaging in conversation. The ability to pivot easily from one focus to another enhances social interaction and comfort. Similarly, Marker proposes a 'golden rule' for sofa selection: opting for a single bench cushion that spans the entire length of the sofa. This design choice not only creates a visually seamless and elegant look but also promotes a sense of togetherness among those seated. In contrast, sofas with multiple, divided cushions can inadvertently make someone feel marginalized if they end up in a seam, thereby hindering the feeling of belonging that Marker strives to create. Ultimately, Marker's vision encourages homeowners to craft spaces that are rich with personal meaning and facilitate genuine human connection. By thoughtfully integrating sentimental objects and selecting furniture that promotes interaction and comfort, a home can become a true sanctuary that tells its own unique story and reflects the identities of those who live within its walls. This approach ensures that the home is not just a dwelling but a living narrative, continuously unfolding and evolving with its inhabitants. #InteriorDesign #HomeDecor #PersonalizedHome #ConversationPieces #NordicDesign #FurnitureSelection #KateMarkerInteriors #HomeStyling #MeaningfulSpaces

The concept of 'conversational seating,' also known as 'gossip seating,' is experiencing a resurgence in interior design. Originating in the 19th century with the French S-shaped 'conversation chair,' this seating arrangement prioritizes social interaction over television viewing. Initially, these chairs, designed for two people to sit face-to-face and exchange news, were a mark of sophistication in living spaces. However, their popularity, along with the broader conversational seating layout where chairs and sofas face each other, declined with the introduction of television, which shifted the living room's focus to entertainment. Today, interior designers are observing a renewed interest in conversational seating among their clients. Nina Campbell, a prominent interior expert, emphasizes the importance of this layout for fostering sociability. She highlights that effective seating arrangements are crucial for festive gatherings, much like seating plans at a dinner table. Campbell provides practical advice for implementing conversational seating, starting with the layout. She suggests creating a central focal point, such as a fireplace, and arranging seating to facilitate small group conversations. A classic setup involves placing a chair on either side of a fireplace, potentially supplemented by a 'chauffeur' chair pulled close to the wall. Incorporating a sofa or a corner banquette can further enhance group gatherings, making it conducive for activities like playing cards. Another key aspect is managing the number of chairs. Campbell advises using an odd number of chairs to encourage guest rotation and interaction. She references Elsie de Wolfe's 1913 observation about avoiding solitary chairs, as they can isolate shy guests. Instead, Campbell suggests that while two chairs side-by-side might not always spark conversation, positioning an occasional chair diagonally can create 'conversational triangles,' encouraging more dynamic interaction. Beyond arrangement, Campbell stresses the importance of aesthetics and comfort. She recommends a mix of fabric patterns—some with large designs, others plain, and some introducing color. She advises against cheap imitations of beloved fabrics, suggesting instead to invest in what is affordable, even if it's just for one chair or a pillow. For larger furniture pieces like sofas, durable, strong, and relatively plain fabrics are preferable to ensure longevity and avoid quick re-covering costs, with cushions and throws used for jazzing up the look. Incorporating antiques, re-covering them if necessary, helps retain a sense of history and character. Finally, comfort is paramount. Campbell suggests physically testing each chair before a social event to ensure it is comfortable and to assess the need for additional cushions. She also highlights the necessity of convenient surfaces for drinks, recommending side tables or a large central coffee table, preferably one with a shelf for tidying away daytime items, to ensure guests have easy access to their beverages and feel at ease. Conversational seating, in essence, is an arrangement of comfortable seating that faces inwards to promote social interaction. This arrangement ensures that chairs are close enough for easy hearing but spaced adequately for comfortable movement, often centered around a circular coffee table. #InteriorDesign #ConversationalSeating #LivingRoomLayout #HomeDecor #FurnitureArrangement #SocialGatherings #NinaCampbell #HostingTips #DesignTrends

Shannyn Weiler, a Utah-based interior designer, initiated a debate on TikTok regarding the display of family photos in homes. She contends that an excessive display of personal photos, which she terms a "shrine," can appear tacky and narcissistic. Weiler illustrates her point with a personal anecdote about her first apartment being filled with only wedding photos, leading to a "shrine"-like feeling. She extends this concept to rooms dominated by baby photos or pictures of a single grandchild, suggesting that such displays lack variety and design sophistication. Weiler advocates for a more balanced approach to home decor, recommending the integration of diverse artwork, mirrors, or other art prints alongside family photos. She emphasizes the importance of mixing different visual elements to avoid the monotonous and self-absorbed impression created by an abundance of personal images. Her perspective suggests that a home's aesthetic should extend beyond personal memorabilia to include broader artistic expression, creating a more refined and less insular environment. The designer's views sparked considerable discussion among the public, with many social media users expressing disagreement. A significant portion of commenters argued that a home should primarily reflect the tastes and preferences of its occupants rather than being designed to impress visitors. Many asserted their preference for displaying family photos, viewing them as integral to personalizing their living spaces and celebrating their lives and loved ones. Some commenters specifically stated they would rather have pictures of their children and family moments than generic art prints, highlighting a prioritization of emotional connection over conventional design principles. Conversely, some individuals concurred with Weiler's professional opinion, admitting that an overwhelming number of personal photos, especially in public areas of the home, could indeed appear narcissistic or lacking in taste. Examples included houses solely decorated with wedding photos, which some found to suggest a narrow range of interests. This group often advocated for a more curated approach, where family photos are either limited in number, confined to private spaces like bedrooms, or thoughtfully integrated with other decorative elements. The article also references broader design discourse, noting that Weiler's opinion aligns with views expressed by other design experts, such as Sarah Han of Apartment Therapy. Han compares an excessive display of self-portraits to having a tattoo of oneself, reinforcing the idea that it can be perceived as vain. Joanna Goddard, a lifestyle blogger, found similar divided opinions among her readers when she posed the question of whether family photos in the living room were tacky. The responses consistently showed a clear split between those who embrace such displays as personal expressions and those who adhere to a more formal, less personal decorating philosophy for public areas of their homes. Following the viral reaction to her initial video, Weiler posted a follow-up, reflecting on how design ideas can be initially resisted but eventually adopted. She suggested that while some design advice might not resonate immediately, experimenting with new approaches can sometimes lead to unexpected aesthetic appreciation. This response acknowledged the varied reactions and encouraged an open-minded approach to interior design principles, regardless of personal initial biases regarding family photo displays. #InteriorDesign #FamilyPhotos #HomeDecor #DesignTrends #SocialMediaDebate #Aesthetics #PersonalStyle #WallArt #TastefulDecor

Laura Kirar, an internationally acclaimed American-born, Mexico-based interior and product designer, shares insights into her unique style, diverse inspirations, and creative process. Her design philosophy emphasizes the combination of raw materials with her deep understanding of art, architecture, fashion, and music. Kirar’s early influences stem from her upbringing in Chicago, where she was exposed to significant art and architectural collections, including works by Daniel Burnham, Louis Sullivan, Mies van der Rohe, Frank Lloyd Wright, Brancusi, Georgia O’Keeffe, René Magritte, and Salvador Dalí. These foundational experiences shaped her perspective, leading her to view furniture as sculptural objects and spaces as canvases for human experience. Kirar's passion for both art and architecture guided her career choice. She describes her approach as abstract, knowing when to adhere to design principles and when to innovate. The ability to create environments where lives unfold is a powerful motivator for her. Her current inspirations include contemporary artists, fashion designers, and musicians such as Peter Zumthor, David Wiseman, Milena Muzquiz, Monica Rezman, and Marcela Diaz. She expresses a particular fondness for coral pink in all its hues, describing it as luminous and soothing, suitable for various applications from walls to textiles. Travel plays a significant role in Kirar's inspiration, leading her to discover unique shops worldwide. In Mexico City, she frequents Trouve for vintage items. New York offers Les Atelier Courbet, The Future Perfect, and Artemest. In London, she highlights The Carpenters Workshop Gallery at Ladbroke Hall, and in Paris, Pierre Frey for textiles, along with various antique and vintage markets like Marche Biron. Mexico itself is a profound source of inspiration, influencing her sense of color, scale, and textures, and fostering her appreciation for traditional crafts found in its mountains, valleys, and cities like Oaxaca and the Yucatan. Kirar is also a passionate collector, believing that artists benefit from surrounding themselves with inspiring objects. Her collections include vintage chairs, ceramics, pottery, art books, hand-woven textiles, vintage cowboy boots, and silver Navajo accessories, all chosen for their stories. She recently acquired her fourth art piece by Cisco Jimenez, suggesting a new collection in the making. Her personal art collection includes a Cindy Sherman photograph, which has inspired the palette for an entire room. Beyond visual arts, Kirar finds inspiration in film, particularly through MUBI, enjoying classic films, film noir, thrillers, and sci-fi. She also has eclectic musical tastes, ranging from The Cure to opera, classical, rock, punk, and jazz, appreciating the intimacy of live performances. Among her extensive product designs, which number over a thousand, she favors the Mar floor lamp and Vargueno chair from her collection with Arteriors. Her Vir Stil and Paletta bath collections for Kallista have been bestsellers for two decades, and her Caviar chandelier for Arteriors has consistently topped its bestseller list since 2010. Kirar also enjoys cooking, drawing on her Italian heritage to create dishes like pici al limone with sautéed radicchio. She also puts a contemporary spin on traditional Mexican chiles rellenos. Her philosophy is that cooking can be spontaneous and creative, often improvising with available ingredients. This reflects her broader approach to design and life – a blend of diverse influences, personal passion, and creative adaptation. #InteriorDesign #ProductDesign #LauraKirar #CreativeProcess #ArchitecturalInfluence #ArtInspiration #MexicanCrafts #DesignPhilosophy #GlobalTravel

This article features an interview with Mary Graham and Nicole Salvesen, co-founders of the interior design firm Salvesen Graham, renowned for their classic-meets-contemporary aesthetic. The discussion centers around the launch of their debut book, ‘A New English Style: Timeless Interiors by Salvesen Graham,’ offering insights into their design philosophy, sources of inspiration, and fundamental style principles. The designers reflect on the book's creation process, noting that it prompted a deeper consideration of their client work, their evolution as a practice, and their aspirations for growth. They emphasize that English style is inherently dynamic, characterized by ongoing change and the layering of new elements onto existing structures. The process also allowed them to revisit earlier projects, confirming the enduring quality of their initial designs even after a decade. Addressing the balance between English style's rich legacy and contemporary relevance, Salvesen and Graham explain that they always begin by examining the building itself. This approach helps identify traditional elements to be preserved, restored, and celebrated, guiding the overall design direction. They stress that homes should be vibrant and lived-in, not static museums. To inject modernity, particularly in traditional settings, they prioritize personal belongings such as artwork, books, and object collections. They highlight the impact of combining a formal drawing room with a striking piece of contemporary art as a central feature. Regarding the influence of location and setting, the designers assert that the essence of English style is not geographically confined. It can be successfully applied globally, adapting its unique character to each new environment. They liken this adaptability to how each project differs based on individual client preferences. The core of their approach lies in the 'spirit of decorating,' which encompasses layering, incorporating antiques, and prioritizing comfort, rather than being dictated by a specific setting. Layering is a fundamental aspect of their style, and they advise confidence in its execution, suggesting that more layering often leads to better results. They advocate for a mix of patterns and plains, alongside a variety of textures, to achieve depth in a room. For instance, the light-absorbing quality of thick cotton velvet can effectively contrast with a light-reflecting chintz. They clarify that layering extends beyond fabrics to include all elements of a room: flooring, lighting, art, books, and the tones and finishes of paintwork. The aim is a considered, not necessarily fussy, aesthetic. The designers emphasize the critical role of antiques in grounding a room and imparting authenticity, advocating for pieces with clean lines and excellent proportions, whether a 1970s glass lamp or a Georgian center table paired with a modern pendant light. They advise a gradual approach to incorporating antiques, adding pieces over time until a personal balance is achieved. Their approach to color involves strategic splashes in unexpected places within traditional spaces, such as inside a larder cupboard or at the end of a corridor. They acknowledge a contemporary conservatism regarding color in homes, contrasting it with historical periods that embraced more vibrant palettes. Often, they derive color inspiration from a favorite patterned fabric, extracting various hues and applying them with differing intensities to establish a room's identity. The designers confess to occasionally bending conventional design rules in their own homes, particularly regarding pragmatic considerations like heating requirements, prioritizing aesthetics over strict guidelines. They also take a relaxed stance on rules concerning wall light height or furniture spacing, believing that comfort and intuition are paramount. Living with their own interiors has reinforced the importance of quality design and craftsmanship. They note that well-made, classic pieces provide a stable foundation around which styles can evolve, allowing accessories, artwork, and furniture coverings to change while the room's essential structure remains. This concept of 'getting the bones right' applies to architectural details, room layouts, and investment pieces. They draw a parallel to fashion, where a timeless core allows for subsequent embellishment. The concept of 'Future Heritage' means creating interiors that honor and draw inspiration from the past while integrating modern aesthetics, technologies, and lifestyles. Their designs aim to bridge historical elements with contemporary innovations, yielding interiors that are both timeless and forward-looking. Ultimately, they hope their book offers readers a versatile, approachable, and accessible guide, encouraging them to celebrate heritage without being constrained by tradition, and to confidently infuse their homes with personal expression. #InteriorDesign #SalvesenGraham #EnglishStyle #FutureHeritage #TimelessInteriors #DesignInspiration #HomeDecor #Layering #Antiques

The "Ideas for Business" initiative, launched by DesignWanted in May, aimed to reimagine the side table, a typically overlooked domestic object. The call challenged designers to explore new functionalities, materials, and meanings for this common furniture piece, in response to evolving domestic life and contemporary living. This platform connects designers with industry stakeholders to foster the development of innovative, relevant, and thoughtful projects through open calls and competitions. Over 150 proposals were submitted, each demonstrating creativity and effort. A jury comprising Juan Torres, DesignWanted’s Creative Director; Mario Alessiani, product designer; and Denis Aktay, designer and founder of DEZIN, selected three winning projects. The criteria for selection emphasized not only design quality but also the projects' ability to reflect and adapt to a changing understanding of domestic spaces. The modern home's side table is no longer merely a surface for books and lamps; it must accommodate diverse activities, serving as an office, lounge, or personal retreat. The winning designs stood out for their unique interpretations of care, intimacy, and daily life, illustrating how a simple object can become emotionally resonant, sculptural, or intelligently designed. The call revealed that the side table can act as a micro-stage, capable of shifting the narrative of domestic life and reflecting broader themes such as sustainability, technological integration, emotional well-being, and the increasing fluidity of home spaces. The selected projects underscore that effective contemporary design can be subtle, attentive, and purposeful without being overtly radical. Each of the three winning entries embodies distinct aspects of DesignWanted's research focus. "Bable" by industrial designer Abin Rajendran, a side table that subtly integrates ambient lighting, gentle notifications, and a ring light, reimagines the home robot without resorting to typical tech aesthetics. Its strength lies in its poetic restraint and emotional tuning, aiming to blend seamlessly into the domestic environment and provide quiet care. "Ardea" by product designer Giuseppe Campanale, is a sculptural and architectural piece that serves as both a shelf and a light. Its elongated vertical form impressed the jury with its formal coherence and its delicate balance between functionality and artistic expression, offering a calm presence in an interior space. "Bale" from Copenhagen-based Bundle Studio, is a highly functional side table crafted from a bio-composite of flax fiber and PLA. Designed for the living room, it functions as both storage and seating, featuring four thermo-pressed panels joined by visible snap rivets. This design was recognized for its material honesty, emotional clarity, and inherent adaptability, making it approachable, repairable, and ready for practical application. The diversity of the winning projects, which included speculative technologies, handcrafted aesthetics, modular systems, and social rituals, highlights the richness of the submissions received. All entries utilized the side table as a means to observe and re-envision contemporary living. This first edition of the call demonstrated that such initiatives can foster a dynamic dialogue between designers and their innovative approaches, reaffirming that even minor domestic details warrant reconsideration in a design landscape that often prioritizes revolutionary concepts. The three winning designers will receive dedicated editorial features, social media promotion, and newsletter inclusion to amplify their work within the DesignWanted community. DesignWanted encourages designers to participate in future "Ideas for Business" calls to share their visions. #Design #FurnitureDesign #SideTable #ProductDesign #InnovativeMaterials #SustainableDesign #HomeDecor #DesignCompetition #DomesticLife

The "conversation pit," also known as a sunken living room, is experiencing a significant revival in modern architect-designed homes, harking back to its mid-century modern origins. This architectural feature, characterized by seating areas built a few steps below floor level, was popular during a time when home entertaining was prevalent. Today, designers and architects are re-embracing conversation pits for their ability to create cozy, intimate social spaces with unique spatial dynamics, even influencing contemporary sofa trends. One crucial aspect to consider when incorporating a conversation pit is its size. Architects like Craig Steely emphasize that these features are best suited for voluminous rooms, recommending a minimum size of 12'x12' to ensure ample legroom and space for central elements like coffee tables without obstructing movement or views. Another innovative approach is to double up on seating, where the border of the pit itself serves as an additional layer of seating, often with thin cushions on concrete slabs. This design can make a room feel taller, even with standard ceiling heights, by creating a sense of expanded vertical space. Conversation pits can also enhance the flow between open-plan areas. Instead of using walls, a sunken space can seamlessly transition from one functional zone to another, such as an open-concept kitchen to a living room. Interior designers suggest keeping the design light and fluid, utilizing elements like warm woods and woven rugs to uplift the space and create a dynamic connection between different areas. Experimenting with curves and non-traditional shapes in the sunken area offers design flexibility, allowing for unique proportions and creating a more enveloping, comfortable seating experience, as seen in pits with rounded corners and extra-deep cushioned seats. For enhanced comfort, many conversation pits feature built-in, deep-seated cushions. Designers recommend having the sofa seating slightly higher than the floor level to eliminate sharp edges and create a more inviting aesthetic. Building the pit around a central feature like a fireplace or wood-burning stove can significantly amplify the cozy ambiance, transforming the space into a central gathering point, especially in cooler climates. When designing a sunken space, it is vital to arrange for low sightlines, meticulously considering every detail visible from the seated position. This includes concealing utilitarian elements like outlets and vents while highlighting decorative objects and architectural details at eye level. While a traditional sunken conversation pit often requires significant remodeling or excavation, the essence of this seating arrangement can be recreated without structural changes. This can be achieved using modular floor cushions and low-profile furniture, as demonstrated by designers Josh and Matt, who replicated the Roche Bobois Mahjong sets' aesthetic. This DIY approach allows homeowners to achieve the laid-back, intimate feel of a conversation pit with readily available elements. The benefits of a conversation pit are numerous, including its ability to define space through elevation changes, create a sense of increased spatial volume, and offer a more intimate lounging experience. They also reduce clutter by integrating seating directly into the architecture, freeing up floor space, particularly in rooms with expansive outdoor views. Ultimately, the conversation pit embodies a "cocooning" trend, providing a cozy, comfortable, and aesthetically pleasing environment for family and social interaction. #ConversationPit #MidCenturyModern #SunkenLivingRoom #InteriorDesign #HomeArchitecture #SeatingTrends #ArchitecturalFeatures #CozyInteriors #SpatialDesign

The article provides an intimate look into the Sunfish Lake home of antiques dealer Robert Riesberg and his wife, Christine Hartman, which doubles as both their residence and a by-appointment-only gallery for Riesberg's business. Their Federal-style house, built in 1925, is characterized by a blend of traditional design and warm hospitality, furnished with museum-quality 17th, 18th, and early 19th-century antiques, art, objects, and rugs. Riesberg, with over 50 years of experience, emphasizes buying pieces he would personally want to keep, noting that this passion drives his successful career. The home features a series of formal rooms, including a front parlor with a mahogany drum table, sideboard, and a 1760 cherry New England flip-top secretary desk, with walls painted in Benjamin Moore’s Rosy Apple. A light-filled formal dining room and gallery, added by Riesberg, is used for parties and family gatherings, showcasing French Louis XV rococo console tables with rare brèche d’alep marble from approximately 1760. The exterior of the home maintains its Federal-style architecture, while the kitchen, though the least formal space, is adorned with 18th-century Windsor chairs and Delft tiles depicting manganese figures from the same period. Creative design solutions are evident throughout, such as a small closet ingeniously converted into a walk-in bar with a Dutch door. The sunporch, featuring terrazzo floors and shelves filled with Delftware, opens to a grape arbor, offering a serene space. The fireplace mantel and paneling were custom-designed based on Connecticut fireplace patterns, symmetrically decorated with blue-and-white 18th-century Delftware. The central hallway boasts ash and walnut flooring modeled after traditional French parquetry, complemented by 19th-century oil landscapes, a late 18th-century portrait, and a Regency commode from around 1710. Riesberg’s study, designed with Connecticut inspiration, features millwork painted in a custom green and houses a substantial collection of books and catalogs on antiques, art, landscaping, and architecture. The article also includes five tips from Robert Riesberg and Christine Hartman for incorporating antiques into one's home. These tips encourage individuals to discover their personal taste by visiting various sources like museums and antique shops, and building a file of preferred items. They suggest taking inventory of existing belongings to identify pieces that don't align with one's aesthetic or function, thereby creating space for new acquisitions. The couple advocates for broadening one's scope beyond furnishing a room strictly by a singular period, encouraging the mixing of contemporary furnishings with antique gems to create a space that reflects individual taste and personality. Riesberg advises understanding the craftsmanship of antiques, particularly those made before the machine age (pre-1840), to appreciate their design details and value. Finally, they recommend taking a slow approach to building a collection, emphasizing that a few beautiful, well-chosen pieces are more valuable than a multitude of mediocre ones, and that truly beautiful homes evolve in stages. #HomeDesign #InteriorDesign #Antiques #FederalStyleHome #VintageDecor #HomeTours #LuxuryInteriors #CollectingAntiques

This article explores the concept of conversational seating layouts, emphasizing their role in fostering social interaction within a living space. It highlights The Sullivan Street Townhouse, a former residence of George and Amal Clooney, as a prime example of successful conversational design. The design firm White Arrow, led by Keren and Thomas Richter, was responsible for the interior, which features a curved sofa positioned opposite a comfortable armchair, designed to encourage dialogue and connection. A key element of this layout is a glass coffee table, which effectively divides the space without impeding its flow. The design successfully balances aesthetic appeal, comfort, and the strategic use of empty space. The chosen living room furniture, including the sofa and chair, incorporates velvet and boucle textures, creating a soft contrast against the more industrial elements of the room, such as the steel beams of a garage door wall and minimalist white walls. The curvilinear forms of the furniture pieces intentionally juxtapose the straight lines of the ceiling beams and other angular features within the space. A round coffee table further complements this design strategy. This deliberate combination of textures and shapes elevates the conversational layout, lending it an elegant and refined appearance rather than a purely casual one. The article posits that this style of design is gaining popularity as an interior design trend for 2025, reflecting a broader shift in interior design towards prioritizing experiential qualities over mere aesthetics. The focus is increasingly on how a space makes its inhabitants feel, with conversational seating playing a crucial role in achieving this goal. By orienting seating arrangements to facilitate interaction, rather than solely considering the balance of filled and open areas, designers can create spaces that are inherently warm, welcoming, and conducive to connection, mirroring the success of The Sullivan Street Townhouse design. #ConversationalSeating #InteriorDesignTrends #LivingRoomDesign #HomeDecor #LuxuryInteriors #WhiteArrowDesign #AmalGeorgeClooneyHome #FurnitureArrangement

The TEDNYC Design Lab hosted a night of talks at TED HQ in New York City, featuring six speakers who delved into the intricacies of design. The event, curated by Chee Pearlman with content producer Cloe Shasha, explored the hard work and creative process behind exceptional design across various disciplines. Topics ranged from urban architecture and the impact of cityscapes to the power of images, accessible design, and the use of data in a humanistic approach. Pulitzer-winning music and architecture critic Justin Davidson initiated the discussions by addressing the monotony of modern cities. He highlighted the prevalence of steel and glass buildings, which, despite their aesthetic appeal and practicality, have led to a simplification of urban architecture. Davidson argued that the rejection of traditional materials like wood, sandstone, and marble diminishes the sensory experience of a city. He emphasized that buildings define public spaces, citing examples like Plaza Mayor in Salamanca and Place des Vosges in Paris, which draw people in, contrasting them with glass towers that tend to alienate. Davidson advocated for an urban architecture that embraces the full spectrum of human experience, rather than defaulting to glass, which can create a cold and disquieting environment. Françoise Mouly, art editor for The New Yorker, then discussed the power of an image to capture historical moments. She traced the magazine's iconic "Eustace Tilley" cover, originally a playful jab at Jazz Age aristocrats, and how it has evolved to reflect contemporary events. Mouly underscored the importance of a free press and the role of artists in contributing to cultural dialogue through their work, demonstrating how simple ink and watercolor can encapsulate significant social and political narratives. Educator and fashion blogger Sinéad Burke brought attention to the often-overlooked aspects of accessible design. As someone with achondroplasia, Burke shared her firsthand experiences with designs that hinder independence, such as the height of bathroom stall locks or limited shoe sizes. She challenged the conventional understanding of accessible spaces, arguing that many are inadequately designed and can even inflict vulnerability. Burke's talk urged a reevaluation of design principles to be more inclusive and considerate of diverse user needs. The event also featured a musical performance by Sofi Tukker, who captivated the audience with their hits “Hey Lion” and “Awoo.” The duo showcased their unique “Book Tree,” an instrument crafted from actual books that produces percussive beats, highlighting the intersection of design and musical innovation. Giorgia Lupi, co-founder of the data firm Accurat, explored the challenges of data representation. Reflecting on past political events where data failed to predict outcomes accurately, Lupi stressed that limited or skewed information can distort reality. She introduced the concept of "data humanism," advocating for the inclusion of empathy, imperfection, and human qualities in how data is collected, processed, and displayed. Lupi argued that data alone cannot represent reality and that human stories are essential to transform abstract numbers into something relatable and meaningful. Architect Siamak Hariri discussed the design of sacred spaces, focusing on his work on the Bahá’í Temple of South America in Santiago, Chile. Hariri elaborated on his endeavor to create a structure that evokes a sense of the ineffable through its interaction with light throughout the day. He described the meticulous process of sourcing materials, such as stone from Portuguese quarries, to achieve a profound architectural experience, culminating in the temple's splendid opening. Finally, designer Michael Bierut shared a story about the unintended consequences of design. He recounted his work on rebranding libraries in New York City public schools for the Robin Hood Foundation, where his initial task of creating a logo evolved into a broader initiative. By collaborating with architects, photographers, and artists, Bierut helped transform library spaces with murals and art installations. He discovered that his involvement went beyond a mere logo, contributing significantly to bringing energy, art, and a renewed sense of learning to school libraries, inspiring both librarians and students. #TEDNYCDesignLab #ArchitectureCritique #UrbanPlanning #AccessibleDesign #DataHumanism #SacredArchitecture #DesignThinking #NewYorkerCovers #SofiTukker

This article delves into a detailed debate among two home design professionals regarding the placement of a television above a fireplace mantel. Tamara Leicester, an interior designer with two decades of experience, argues against this practice, citing aesthetic, ergonomic, and practical concerns. She emphasizes the traditional role of the fireplace as the focal point of a room, intended for conversation and relaxation, rather than a TV-centric space. Leicester highlights that most fireplace mantels are too high for comfortable TV viewing, leading to neck strain. Furthermore, she finds large black TV screens visually unappealing above traditional or stone mantels, viewing them as detracting from the room's design. She also points out potential issues with visible wiring and the risk of heat damage to the television, which could void warranties. Leicester suggests alternative placements, such as placing the TV on an adjacent wall or within a media cabinet, to maintain aesthetic appeal and ergonomic comfort. She recounts designing a room divider for a client's Craftsman home to house the TV, offering a functional and beautiful solution without compromising the fireplace's integrity. Conversely, Matt Clawson, a custom home builder and realtor, advocates for placing the TV above the fireplace, arguing that modern lifestyles have shifted the central focus of the family room from the fireplace to the television. He states that the advent of flat-screen TVs has made this placement feasible, offering a unified and centered focal point for entertainment. Clawson believes that many concerns regarding mounting are overblown due to advancements in technology, including articulating mounts like MantelMount and Dynamic Mounting, which can adjust the TV to optimal viewing angles and heights. He acknowledges the historical ideal of eye-level viewing but suggests that newer horizontal fireplace designs and adjustable mounts can mitigate this issue. Clawson also dismisses concerns about heat damage, explaining that mantels typically deflect enough heat, and manufacturer guidelines should always be followed for safe installation. He emphasizes that this placement simplifies room orientation and improves traffic flow, ultimately creating a better-looking and more functional living space. In her rebuttal, Leicester reiterates the importance of the hearth as a symbol of family connection and argues that a TV over the fireplace promotes mindless entertainment over meaningful interaction. She criticizes adjustable mounts for exacerbating aesthetic problems and suggests that a media cabinet is a more suitable and practical solution for housing a television and its components. Clawson counters by asserting that the choice of TV placement is a matter of personal freedom and convenience. He argues that a higher TV placement can actually be more comfortable for reclining viewers and that the flat-screen revolution has made this a desirable and aesthetically pleasing option, unifying the room's focus. He concludes by stating that modern solutions allow for both a fire and a TV package, suggesting a compromise that aligns with contemporary living. #HomeDecor #InteriorDesign #Fireplace #TVPlacement #Ergonomics #Aesthetics #HomeImprovement #SpacePlanning #DesignDebate

The article explores the concept of transforming a mere house into a personal home, drawing insights from 12 creative individuals across various fields, including fashion, art, architecture, and culinary arts. Each expert shares a unique perspective on what constitutes the essence of a home, highlighting both tangible objects and intangible relationships. Doris de Pont, director of the New Zealand Fashion Museum, emphasizes the role of a large, enduring kauri library table as the central gathering point for her family, symbolizing connection and shared experiences. Her custom-designed red lacquer wardrobe, which reflects the garden, showcases how personal storage solutions can become artistic and functional elements within a living space. Artist Jade Townsend, from Ngāti Kahungunu, frames home through the lens of Te Ao Māori, emphasizing relationships with all living and non-living things. Her art, created within her domestic space, reflects this belief, making her home a dynamic and evolving expression of her cultural and personal identity. She views home as a place for growth, distinct from the self-discovery experienced while away. Dan Ahwa, fashion director for Canvas, recounts his journey of making his home feel less "juvenile" post-marriage. A vintage, scallop-shaped pink velvet zebra-striped couch became the pivotal piece, defying conventional taste to anchor their eclectic style. Surrounded by plants, books, and a 1930s leadlight drinks cabinet, his home reflects a surprising yet cohesive personal aesthetic. Interior designer Nicola Manning highlights the importance of a luxurious and comfortable bed for creating a sense of security and refuge. She stresses that personal touches, such as inherited antiques, travel souvenirs, art, and photographs, are crucial for imbuing a house with individual character and transforming it into a true home. Ceramic artist Phil Brooks, influenced by his mother's love for bargains, describes his home as an evolving collection of unique finds from charity shops and antique markets. A large beaded panel from Kuala Lumpur, treasured by his mother and now displayed in his daughter's room, exemplifies how objects with rich histories contribute to the narrative and essence of his family home. Architect Christina van Bohemen views home as both a refuge and a gathering place. Her dining table, a simple, narrow Sam Haughton design, acts as an anchor for various activities and fosters intimacy. She also values the strategic placement of furniture to maximize views, enhancing the sense of openness and connection to the outside world. Chef Dariush Lolaiy, co-owner of Cazador, finds his home's heart in a custom-made, bright mustard-colored couch, a symbol of leisure after long workdays. Paintings inherited from his wife's great-uncle further cement their connection to family history, making their apartment feel more like a home. Divya Purushotham, an associate at Warren and Mahoney, describes her 130-year-old railway worker's cottage as a space of ongoing renovation and reflection. A name plaque, "Temuka," above her front door, and antique brass pots from her grandparents in India, serve as irreplaceable links to her heritage, contributing to a deep sense of belonging. Chef Jason Kim's definition of home centers on personal routine and family. His early morning ritual of Korean canned coffee and Iron Maiden, quickly followed by making cheese toasties for his children, illustrates how small, consistent moments of connection and comfort define his domestic life. Interior designer Amanda Neill, a Sagittarius, is drawn to fire and its ambient qualities. Her custom-made Alchemy Firepits, adorned with an evocative quote, represent a deep need for connection and provide a gathering point for loved ones, symbolizing warmth for both body and soul. Glass artist Devon Ormsby curates her home with artworks and art objects, such as Ruth Castle woven baskets and a Walk in the Park wooden bowl. Her personal collection, constantly evolving with her own glass creations and pieces from peers, transforms her living space into a "curated museum" reflecting her interests and life story. Emma Ogilvie, general manager of Bar Celeste, values a functional kitchen with an island bench that allows for social cooking and hosting. Having a well-stocked fridge, despite their busy schedules, is essential for creating a homely atmosphere, counteracting the feeling of always being away. #HomeDesign #InteriorDesign #PersonalStyle #CreativeExperts #DomesticSpaces #FamilyLife #ArtInHome #CulturalHeritage #ComfortAndConnection