Benjamin Hubert dresses up dining chairs with Talma collection for Moroso

Benjamin Hubert, a London-based designer, collaborated with Italian brand Moroso to create the Talma lounge chair, a piece of furniture designed to be both compact and innovative. The chair's name, 'Talma,' references a type of cloak, which reflects its design aesthetic: it appears to be wrapped in a padded textile, much like a body would be enveloped by a cloak. This aesthetic choice is integral to the chair's construction and its environmental considerations. Beneath the distinctive padded exterior lies a lightweight metal frame. This construction method aligns with the design studio's objective of reducing the material usage, weight, and overall cost typically associated with the traditional manufacturing of upholstered chairs. The frame is crafted using CNC-shaped steel, and integrated upholstery straps provide essential support. This approach allows for a significant reduction in the amount of polyurethane foam required for cushioning, thereby contributing to a lower carbon footprint for the product. The custom-made textile used for the chair's padded cover was developed through a collaboration with Innofa. This textile is specifically designed to incorporate padding directly, eliminating the need for extensive additional foam. The cover is meticulously secured to the chair's frame using strategically placed zippers and two fastenings located at the front of the chair. This fastening system not only ensures the cover remains in place but also contributes to the chair's neat and tailored appearance. The Talma lounge chair represents a design that prioritizes both aesthetic appeal and environmental responsibility. By utilizing a minimal metal frame and an integrated padded textile cover, Benjamin Hubert and Moroso have developed a lounge chair that is not only visually striking but also mindful of its material impact. The design showcases an innovative approach to furniture construction, where the outer layer is not merely decorative but functionally essential in providing comfort and structural integrity while reducing the overall environmental footprint. #LoungeChair #BenjaminHubert #Moroso #FurnitureDesign #SustainableDesign #ProductDesign #InteriorDesign #ModernFurniture

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

The article highlights a growing trend away from mass-produced items towards unique, handcrafted furniture and home decor pieces that emphasize creativity, craft, and time-honored techniques. It showcases 15 such items from various global makers, positioning them as collectible interiors pieces that are worth investing in now for their potential to become future design classics. The featured items begin with a modern take on a classic: the Canopy Armchair from Marchmont Workshop, a handcrafted stickback chair inspired by woodlands and priced at £3,600. This piece reflects a return to traditional craftsmanship with a contemporary aesthetic. Following this, the article introduces hand-painted lampshades by Spanish artist-designer Alvaro Picardo, which can be custom-matched to interior paintwork and wallpaper using Farrow & Ball paints, starting from £110. These lampshades are presented as artistic finishing touches for living spaces. Another innovative item is the Vine Vase by Wobbly Digital, a Glasgow-based artist who creates eccentric 3D-printed objects from recycled and bioplastics, priced at £350. This vase is noted for its viral potential, akin to the popular Gluggle Jug, and is recommended for dried flowers only. Scarlett Farrer, a rising star in hand weaving, is featured for her rustic textiles, specifically wall hangings made from undyed British wool. Her work, ranging from £250 to £1,800, gained recognition after she won the 2024 Young Weaver of the Year award. The article then presents a statement chair designed by Esto Estudio in Madrid, which combines a tubular steel frame with vibrant orange fabric, blurring the lines between furniture and sculpture, starting from approximately £800. Rich Miller, a ceramic artist and judge on 'The Great Pottery Throw Down,' offers unique cone-shaped pendant lights inspired by antique sugar cones, each priced at £2,425. These lights explore the history of the sugar trade and Miller's cultural ancestry. Sustainability is a key theme, exemplified by Jacob Marks' resin lamps, made from pine resin, with the Red RF Lamp I priced at £730. These lamps were a highlight at the London Design Festival for their use of unusual sustainable materials. Xanthe Somers, a Zimbabwean ceramic artist, contributes surrealist stoneware from her 'Sisters Toil' series, which explores women's work and crafts, with pieces ranging from £6,500 to £9,000. Loney Abrams and Johnny Stanish of Wretched Flowers create mesh murals and chain mail lamps, drawing inspiration from diverse sources such as museum archives and medieval armor. These shimmering wall hangings are available on application. James Shaw's sustainable seat, priced at £2,000, is crafted from recycled plastic waste like milk cartons and shampoo bottles, transforming discarded materials into unique, organic forms. The master plasterers Ffion and Steven Blench, known as Chalk Plaster, produce marbled, fluted sidetables using scagliola, a 16th-century technique imitating marble, priced at £7,800. Freya Bramble-Carter, a ceramicist, offers wheel-thrown pots in earthy shades, blending traditional techniques with an expressive approach, starting from £900. Maria Sigma, a textile designer and weaver, focuses on zero-waste wares using natural, often undyed, fibers for her throws and cushions, with her 'Apricity' throw priced at £890, though it has an eight to ten-week waiting period. Joe Sweeney's terracotta stoneware butter dish, priced at £300, is described as a charming and functional addition to the breakfast table. Emsie Sharp, a glassblower, presents candy-colored drinking glasses made in her Dorset studio, priced at £38 each, as a modern alternative for smart dinner tables. Finally, the article highlights Matthew Raw's tiled bedside table from his 'Welcome' collection, inspired by tiled facades of train stations and buildings. These pieces, featuring handcrafted and glazed tiles, are priced at £5,180 for a sidetable with a drawer, indicating a growing presence in contemporary home design. #FurnitureDesign #HomeDecor #HandcraftedItems #SustainableDesign #CollectibleArt #InteriorDesignTrends #Craftsmanship #ArtisanalProducts #LuxuryInteriors

This article highlights various home decor and furniture pieces, emphasizing unique designs, craftsmanship, and the stories behind their creation. It features a reintroduction of the Lawrence Peabody chair from 1962, now custom-crafted in America from solid teak or wicker with high-density foam cushions and customizable fabric choices. Another piece is Shanan Campanaro's largest rug collection for Eskayel, inspired by Marrakech and the High Atlas Mountains. This collection includes the Kotoubia/Duomo rug, made from Merino wool and silk blend, hand-knotted with varied weave structures and pile heights. The article also presents a whimsical kitchen apron called 'Siberia' by Helen Wilson of Witch and Watchman, depicting a jungle of animals on a crimson Siberica leaf background, offering an eccentric take on chinoiserie. Pillows designed by Sigi Ahl are showcased, crafted from felt made from recycled clothing by Eileen Fisher, as part of Fisher's zero-waste initiative, which has seen over a million clothing items returned. Joana Aranha's Fingerprint Chaise Longue, made from Indian Acacia wood with an extra matte varnish and a linen-cotton blend upholstery, is also featured. Her pillows incorporate hand-sewn gold zippers and a trademark tassel with the 'flower of India' insignia, inspired by a red flower Aranha found in New Delhi. Adriana Hoyos' Rumba upholstered chair is described with its distinctive silhouette, pronounced curves, generous seat, and gold-finish metal studs on a wooden frame, combining comfort, craftsmanship, and design. The Francis desk, named after Hillary Petrie's father, is presented as a simple yet complex piece with intricate joinery, ideal for floating in a room. This custom version is crafted from natural Douglas fir with a clear water-based finish and saddle leather drawers, all made in Egg Collective's woodshop or in collaboration with New York City fabricators. Michael Wainwright's new artisanal dinnerware brand for Lenox, 'Crafted,' introduces the Pompeii collection, which features durable stoneware with charming blue-on-white patterns and gold accents, designed for playful layering and everyday use. The Margot Chest by Bruce Andrews is highlighted for its dazzling emerald green, piano-ribbed front, and silver leaf-covered solid maple base with contoured legs. Handcrafted in America, this piece measures 40 3/4 inches wide, 18 3/4 inches deep, and 44 inches tall from its 12-inch leg. Aoife Mullane's textiles feature foiling on fabric, drawing inspiration from sea glass and pebbles, incorporating glamorous metallic touches in bronze, copper, and silver. Michele Varian's lighting designs are noted for their use of solid, unplated metals like brass, copper, or steel, with sculptural Mala 'bead' pendants inspired by Constantin Brancusi and modern primitive design, which will naturally patina over time. Alexandra Petrache's HALFDROP textile collection, specifically the Layers Yellow pattern, is shown, inspired by antique Romanian rag rugs. This reinterpretation features bold, organically layered patterns in mustard yellow and complementary grays, with hand-drawn lines enhancing fluidity. These 20-inch pillows are made of 100 percent cotton. The Lake Shore Watercolor Console from John Strauss Furniture is presented as a piece of art, featuring a watercolor by Tracy Hiner digitally printed and applied as a veneer to the doors, protected by an acrylic coating. The console has a satin sheen navy lacquer finish, stainless steel legs, and touch-latch doors with adjustable shelves. Lastly, Stacy Kunstel's Chunky Captain Compass Table, designed with Michael Partenio, features a massive turned maple base painted in a glossy custom Benjamin Moore color, Blueberry Hill, and topped with a 48-inch white-honed Carrara marble. Maggie Cruz’s Alexandra Cane Bench, influenced by her Cuban heritage and Miami, showcases Art Deco styling in a coral dust finish with white-washed cane and optic white linen upholstery. #HomeDecor #FurnitureDesign #InteriorStyling #TextileDesign #ArtisanCraftsmanship #SustainableDesign #ModernPrimitiveDesign #ArtDeco

This article from T Magazine highlights a range of cultural and lifestyle recommendations, featuring a former N.F.L. player turned furniture designer, a new art gallery in TriBeCa, a botanical-inspired wallpaper collection, an Athens restaurant showcasing contemporary Greek art, a homey Seattle hotel, and a hand-painted apparel line. Each section provides details about the featured subject, including their background, inspiration, notable works, and practical information for visitors or consumers. Michael Bennett, a former N.F.L. player, founded Studio Kër after retiring from football in 2020. His furniture designs are deeply inspired by his activism work for racial justice, his upbringing in Louisiana and Texas, and his ancestral roots in Senegal. Bennett’s inaugural exhibition, “We Gotta Get Back to the Crib,” features an 11-piece collection of sculptural furniture that reinterprets objects found in communal Black spaces. Key pieces include the Gumbo lounge chair, a sophisticated take on the monobloc chair, and the Pew couch, inspired by church benches, crafted from leather and ekki wood. The exhibition debuted at Theaster Gates’s Rebuild Foundation in Chicago and is scheduled to travel to Houston. In TriBeCa, New York, gallerist Jack Shainman opened a new 20,000-square-foot gallery called The Hall in the historic Clock Tower Building. This Beaux-Arts space, built around 1898 and formerly home to the New York Life Insurance Company, has been renovated and restored. The gallery serves as a new cultural center offering free exhibits, allowing visitors to appreciate both contemporary art and the historic Manhattan architecture, including its preserved bank vault and 29-foot-high coffered wood ceilings. The Hall plans to officially open in September with a 16-foot-tall bronze sculpture by artist Nick Cave. Currently, it features Richard Mosse’s immersive 74-minute multi-spectral video installation, “Broken Spectre,” which addresses the destruction of the Amazon rainforest. Mosse emphasizes the historical connection between the building’s past, built on wealth from enslaved people, and ongoing global issues like environmental destruction. Marian McEvoy, a former fashion and design editor, launched a new wallpaper and fabric collection with Schumacher, inspired by her botanical collages and illustrations. After nearly 30 years in Paris and Manhattan, McEvoy moved to a cottage on the Hudson River, where she creates her art. Her collaboration with Schumacher features six wallcoverings and four fabrics, including prints like Thistle Vine, Polka-Dot Jungle, and Bow-Wow-Wow, all reflecting her signature use of strong colors and lines. McEvoy has incorporated these designs into her own home, showcasing her personal approval of the collection. In Athens, entrepreneur and art collector Philippos Tsangrides opened Gallina, a restaurant designed by Objects of Common Interest. The interiors blend diverse materials such as red marble, pink leather, terrazzo, and wood, creating an unexpected aesthetic. Gallina also displays pieces from Tsangrides’s private art collection, including a silk tapestry by Jannis Varelas and a neon sign by Olga Migliaressi-Phoca. A notable design element is a sinuous white light tube by the architects. The menu, curated by chef Pavlos Kiriakis, features dishes with no specific provenance, such as chicken with miso beurre blanc and truffle, and wild mushrooms with white chocolate béarnaise. Tsangrides intends to open a wine bar nearby. Julian Hagood and Jake Santelli opened Harry’s Guest House, a two-room hotel in Seattle’s Capitol Hill, inspired by their neighbor Winnie. The Dutch Colonial home was purchased from Winnie, whose drawings and wooden writing desk are now integrated into the hotel’s design. One suite is named after Winnie, and the other after the couple’s dog, Lucy. The interiors combine vintage and contemporary furniture and textiles, featuring a 1940s hand-carved wardrobe and Zak+Fox fabrics. Guests can also enjoy in-room dining from Harry’s Fine Foods, Hagood’s adjacent restaurant. Artists Julia Dault and Hannah Whitaker launched Signs Point to Yes, a line of hand-painted apparel. Their sweatshirts and pants feature designs like metallic tulips, sherbet-hued confetti, and smiley (and sad) faces, often painted using ketchup bottles to achieve a gestural, imperfect style. The brand name, inspired by a Magic 8 Ball, conveys a sense of optimistic humor. The artists selected comfortable cotton garments as their canvases, recognizing their popularity during the pandemic and their continued appeal beyond loungewear. #SculpturalFurniture #ArtExhibition #Design #ArtGallery #InteriorDesign #HomeDecor #Restaurants #Hotels #Fashion

The Lesire Collection, designed by Botswana-based furniture designer Peter Mabeo, founder of Mabeo Studio, translates the intricate lace crochet techniques of 1900s South African women into a line of hardwood furniture. The collection's name, "Lesire," meaning "wedding veil" in Tswana, refers to a textile characterized by its distinctive scalloped-edge detail, which serves as the primary inspiration for the furniture's aesthetic. This design philosophy not only honors traditional craftsmanship but also provides a global platform for local artisans, as the collection is now available through Design Within Reach. The core material for the Lesire Collection is panga panga wood, a durable hardwood native to Southeast Africa known for its resistance to insects and fungi. This choice of material firmly anchors the collection in its geographical context, a fundamental principle for Mabeo. The designer emphasizes the importance of drawing inspiration from one's immediate environment, believing that globally applicable design directions are more authentically achieved by engaging with familiar surroundings. This approach allows for a blend of innate understanding and acquired knowledge, fostering a sense of freedom in artistic expression. The panga panga wood used in the collection is ethically sourced from LevasFlor, a Mozambican company committed to sustainable harvesting practices and community involvement. LevasFlor's FSC certification ensures a balance between international sustainability standards and local inclusivity, aligning perfectly with Mabeo's vision for responsible and community-centric design. Each piece within the Lesire Collection is meticulously hand-carved by Mabeo's skilled artisans, who meticulously transfer the scalloped-edge motif onto various furniture items, including mirrors, tabletops, credenzas, and storage benches. The angular legs of the tables, credenzas, and benches complement the scalloped pattern, creating a dynamic visual interplay between structural elements and decorative details. The inherent richness and textured grain of the panga panga wood contribute to the natural elegance of each item, while the hand-carved elements highlight the exceptional craftsmanship of the local artisans. This fusion of heritage, artistry, and raw material beauty results in a collection that is both culturally resonant and aesthetically sophisticated. #FurnitureDesign #HardwoodFurniture #MabeoStudio #PeterMabeo #AfricanDesign #SustainableMaterials #HandCarved #CulturalInspiration #InteriorDesign

French designer Clément Brazille has reinterpreted Harry Bertoia's classic Wire Chair, transforming its metallic mesh structure into a canvas for a new, comfortable knitted upholstery. This redesign, named the “Bertoia Loom Chair,” moves beyond mere aesthetics by enhancing the chair's comfort through the integration of various textile materials. Brazille's approach involves weaving strips of corduroy, linen, cashmere wool, and cotton through the chair's original wire framework, adding significant texture and a unique visual appeal. The intention behind this reinvention is to make the iconic 1952 design more inviting and comfortable for sitting, a quality that Brazille emphasizes. He describes the process as dressing each chair with "noble fabric," making each piece unique and customizable. The weaving technique not only introduces new textures and colors but also directly addresses the ergonomic aspects, aiming to provide a softer and more pleasant seating experience compared to the original wire design. The concept has also been expanded to include Bertoia's Diamond Chair, suggesting the versatility of this knitted upholstery method across different Bertoia designs. This project represents a contemporary reinterpretation of a mid-century modern classic, blending industrial design with textile artistry to create a piece that is both visually striking and functionally improved. The designer's website offers further details on his work. This endeavor follows a trend of redesigning iconic furniture, much like a previous high-tech carbon fiber redesign of the Eames sofa, indicating a continuing interest in modernizing and enhancing classic pieces. #BertoiaChair #ClémentBrazille #FurnitureDesign #KnittedUpholstery #ClassicRedesign #TextileArt #InteriorDesign #ModernFurniture #DesignInnovation

Andreu World, an international furniture brand, has introduced the Giro Soft, a modular sofa system developed in collaboration with Swiss-Argentinian designer Alfredo Häberli. This launch is highlighted in an exclusive video interview where Häberli discusses the product's conceptualization and design process. The Giro Soft system features slender upholstered seats that are modular, allowing them to be connected to form larger sofas, catering to various spatial and personal needs. The design incorporates interchangeable legs, contributing to its adaptability and architectural aesthetic. The collaboration between Häberli and Andreu World began prior to the global pandemic, characterized by a shared vision and a hands-on approach to prototyping. Häberli emphasized their collaborative process, noting that initial sketches quickly progressed to 1:1 scale prototypes, which he considered crucial for a designer. The sofa's name, "Giro Soft," is derived from the Italian word "giro," meaning "curved," reflecting the system's design elements. These include various seating modules with straight edges, rounded ends, and curves at 90-degree or 45-degree angles, offering versatility in configuration. A key design philosophy behind Giro Soft was to create a reconfigurable system that could adapt to user requirements, both in terms of space and ergonomics. Häberli stated that the sofa is designed to be extremely comfortable for sitting, working, or relaxing. The collection also includes practical additions such as an optional swivelling table that can be integrated between seating modules. For public spaces, a power outlet can be incorporated into the end of a seating unit, enhancing its functionality. The leg designs for Giro Soft were carefully considered for both their structural integrity and aesthetic contribution. Options include sledge-like supports made from solid ash wood and injected aluminium frames available in matt, polished, white, or black finishes. Häberli described the base of the product as "very architectonic," with legs designed to minimize material use and create a lighter, "flying" appearance. He initially envisioned using materials that would blend with the floor to achieve a transparent, architectural effect, eventually settling on wood for its aesthetic qualities. Häberli conceptualized Giro Soft for use in larger spaces, where it could function as an architectural element to divide areas, much like a screen or partition. He envisioned its application in diverse environments such as hotels, airports, offices, and semi-public spaces. Despite being designed before the COVID-19 pandemic, Häberli suggested that Giro Soft is well-suited for a post-pandemic world. Its design allows for easy cleaning and provides ample distance between users, meeting critical requirements for future office and public environments. Furthermore, Häberli noted the pandemic's influence on domestic furniture demand, with a growing need for comfortable yet functional items for home offices, underscoring Giro Soft's relevance in evolving living and working conditions. #ModularSofa #FurnitureDesign #AndreuWorld #AlfredoHaberli #OfficeFurniture #PublicSpaceDesign #ContemporaryDesign #ErgonomicDesign #InteriorDesign

British architect John Pawson has partnered with Danish timber brand Dinesen to introduce a new furniture collection. This collaboration marks Pawson's latest venture into product design, following a long-standing relationship between the architect and the 125-year-old wood company. The collection, characterized by its pared-back aesthetic and minimal design, features a range of tables and seating options crafted primarily from Dinesen's signature ash wood. The launch encompasses a Lounge Series, which includes a stool, a daybed, and an armchair. These upholstered pieces are available with textiles from the renowned brand Kvadrat, adding a touch of softness to the otherwise austere wooden frames. Additionally, the collection introduces a Dining Series, comprising various tables and complementary seating. The design philosophy behind these pieces reflects Pawson's well-known minimalist approach, emphasizing clean lines, functional forms, and the inherent beauty of the natural material. The partnership between Pawson and Dinesen dates back approximately three decades, originating from the architect's need for simple, custom-made furniture for his London residence. Pawson initially crafted these pieces from Dinesen's ash wood planks, effectively laying the groundwork for this official collaboration. Both Pawson and Hans Peter Dinesen, the fifth-generation brand director, share a profound appreciation for wood as a foundational element in design. They view furniture not merely as objects but as stages upon which life unfolds, highlighting its role in shaping personal narratives within the home. Hans Peter Dinesen articulates this sentiment by stating that furniture serves as a medium for shared stories, particularly within domestic settings. Pawson further emphasizes the significance of furniture placement, noting that even minor adjustments can profoundly impact a space's ambiance and functionality. This attention to detail and thoughtful arrangement underscores the collection's alignment with principles of intentional living and design. To formally unveil the collection, Pawson and Dinesen are preparing a special presentation for the upcoming 3 Days of Design festival in Copenhagen. During this event, Dinesen's Copenhagen showroom will be transformed into a model apartment, meticulously furnished with pieces from the new line. This immersive experience will allow visitors to witness the collection in a realistic setting, demonstrating its versatility and integration within a residential environment. The exhibition will also serve as a practical demonstration of Pawson's philosophy on furniture arrangement and its impact on living spaces. #JohnPawson #Dinesen #FurnitureCollection #MinimalistDesign #WoodFurniture #InteriorDesign #DanishDesign #DesignCollaboration #ContemporaryFurniture

The article highlights the work of London designer Benjamin Hubert, focusing on his innovative approach to seating design, particularly as showcased during Milan Design Week 2013. Hubert's design philosophy is characterized by a "materials-driven, process-led, industrial design approach," which prioritizes research into materials and construction methods to create functional, aesthetically pleasing, and sustainable products. Three specific lounge chairs are featured: Cradle, Talma, and Membrane. Each chair demonstrates Hubert's unique methodology and commitment to reducing material usage and environmental impact. Cradle is a lounge chair that merges the characteristics of a net-structured hammock with a conventional upholstered lounge chair. Its design leverages a custom-made cut pattern in a non-elastic textile to achieve a three-dimensional form, providing comfortable support while visually and physically minimizing the product's weight and cost. The structure consists of a metal frame supporting this textile, which cradles an upholstered seat block. This innovation allows for efficient material use and a distinctive aesthetic. Talma, another compact lounge chair, takes its name from a type of cloak, reflecting its construction where a softly padded textile is wrapped around a lightweight metal framework. This design mirrors how a cloak envelops the body, and the studio's research aimed to reduce the material, weight, and cost associated with traditional upholstered chairs. Talma utilizes a CNC-shaped steel framework that defines the chair's form and incorporates integrated upholstery straps for support. A custom-made textile, developed in collaboration with Innofa, with integrated padding, is wrapped around this framework and secured with zips and fastenings. This construction significantly reduces the amount of polyurethane foam typically found in armchairs, thereby lowering the product's carbon footprint. Membrane is a lounge chair notable for its extremely light weight, at just 3kg. It features a lightweight steel and aluminum framework combined with a stretched 3D woven textile mesh. The design draws inspiration from the construction of tents and sports products, specifically focusing on space frames and stretched textiles. A CNC-shaped stainless steel and aluminum framework forms the chair's structure, which is then enveloped in a 3D woven textile with integrated padding. This type of construction and material choice is more commonly seen in the sporting goods industry. Similar to Talma, the cover is attached to the framework using zips and fastenings, allowing Membrane to minimize the use of polyurethane foam and consequently reduce its environmental impact. Benjamin Hubert, born in 1984, leads a team of industrial designers working across various sectors, including furniture, lighting, consumer goods, architectural installations, and art direction. His studio has received numerous accolades, including the Design of the Year (British Design Awards 2010), Best Product (100% Design/Blueprint Awards 2009), Homes and Gardens Young Designer of the Year (Design Classic Awards 2010), EDIDA International Young Designer of the Year 2010, the A+W Audi Mentorpreis 2012, and the winning commission for the Poltrona Frau Centenary armchair. These awards underscore his significant contributions and innovative approach to contemporary design. #BenjaminHubert #IndustrialDesign #FurnitureDesign #LoungeChair #MilanDesignWeek2013 #SustainableDesign #ProductInnovation #MaterialResearch #ContemporaryDesign

The thrill of discovering unique furnishings and the regret of missing out on a coveted piece are common experiences for interior designers, as recounted by nine professionals in the field. These designers share their personal anecdotes of both significant acquisitions and elusive 'holy grail' items, offering insight into the passion and pursuit involved in curating exceptional interiors. Will Meyer, a devotee of Danish design, recently acquired a Hans Wegner daybed but continues his quest for the perfect Papa Bear chair, an iconic piece he believes will eternally remain stylish. Amy Lau's 'big find' was a set of sculptural Dommus chairs by Joseph Walsh, which she commissioned for her New York apartment after a studio visit in Ireland, impressed by their handcrafted and expressive design. Pierre Yovanovitch expresses a long-standing desire for a rare and expensive Uno Ahren masterpiece, specifically his 1927 inlaid Mahogany Secretaire, admired for its flawless execution and unique Garden of Eden imagery. Nate Berkus laments multiple missed opportunities to purchase a Picasso ceramic owl. He first encountered one while working at an auction house in Chicago, unable to afford it then, and later saw others in Paris and on 1stdibs, observing its increasing value with each sighting. Miles Redd's most significant discovery is a mirrored bathroom by David Adler, found in a Chicago salvage warehouse. This unique piece, which he uses as both a bathroom and a dining room, holds special value due to its singular nature and the emotional connection it provides, making him feel as though he is 'inside of a diamond' every morning. Alexandra Champalimaud recalls admiring the Mattia Bonetti Rock dining table at a design fair, describing it as extraordinary and full of personality, but ultimately passed on it due to not having a suitable space. Martyn Lawrence Bullard shares an auction disappointment involving a Jacques Adnet Hermès Saddle leather daybed. Despite thorough research and a set budget, he missed the piece by two bids, regretting his hesitation and emphasizing the importance of passionate pursuit in auctions, as he has been unable to find a similar item since. Robert Couturier maintains a detached perspective on objects, viewing himself as a temporary owner and valuing history over intrinsic monetary worth. However, he holds a particular affection for a painting by Jean Baptiste Greuze depicting an angel. This piece, inherited from his great-grandfather and a constant presence in his grandmother's home, evokes profound memories of his upbringing and the love of his grandmother, offering a sense of 'bonheur' and timelessness. Michael Smith expresses his admiration for the Lovö chair, designed by Axel Einar Hjorth in 1932. He had bid on this dynamic and remarkably modern piece at auction but was unsuccessful, wishing he could have incorporated it into one of his classic yet modern projects. #InteriorDesign #FurnitureDesign #HomeDecor #Designers #LuxuryInteriors #ArtAndCollectibles #DesignStories #Acquisitions #LostOpportunities

The article describes the interior design of a Spanish-style house in Houston's River Oaks neighborhood, a collaboration between Curtis & Windham architects and New York-based design studio Ashe Leandro. River Oaks is known for its opulent and historic homes, with strict 100-year-old deed restrictions regarding architectural styles, though some properties extend their boundaries. This particular house, though built only a few years ago, evokes the charm of an Old Hollywood Mediterranean-style home. Architect Bill Curtis highlights the robust stucco walls, while inside, the light and airy interiors are the work of Ashe Leandro, composed of architect Reinaldo Leandro and designer Ariel Ashe. Ashe Leandro had previously worked with the homeowner's sister in Austin. The homeowner, who works in real estate, drew inspiration from midcentury Italian design pillars like Villa Borsani and Villa Necchi Campiglio. Ariel Ashe notes the uniqueness of this project compared to her previous works, stating it closely aligns with her personal style, characterized by unrestrained color and character, curving woodwork, and playful lighting. The design blurs traditional timelines, creating an ambiance that could be interpreted as 1950s Italy, 1940s Santa Barbara, or contemporary 2024 Texas. The project energized the entire design team. Project manager Ian Carr enthusiastically shared details about acquiring vintage 1960s Afra and Tobia Scarpa chairs. Design director Brian Jones pointed out the subtle nod to Carlo Scarpa’s tilework in the living room’s cocktail table, emphasizing a contemporary design approach that prevents the room from feeling historically confined. The overall ethos aimed for a delicate, feminine Italian design without appearing overly precious. Key design elements include a kitchen featuring stainless steel countertops and blue cabinets, drawing inspiration from Stella Tennant's West Village apartment. The homeowner, a restaurant owner, admitted to overcompensating in the kitchen's design. The dining room boasts an emerald marble table, custom-designed by Ashe Leandro, and a vintage 1960s Max Ingrand lamp. Ashe expressed her desire to keep almost every piece from the house for her own home, including a 1950s Angelo Lelli chandelier in the primary bathroom and the Scarpa dining chairs. Despite her expertise in interior design, Ashe declines requests for holiday light displays, though the homeowner humorously stated plans to embrace River Oaks' famous Christmas lights for the first time in their new home. The article was originally featured in the November 2024 issue of ELLE Decor. #InteriorDesign #HomeDecor #Architecture #LuxuryHomes #TexasRealEstate #AsheLeandro #MediterraneanStyle #VintageFurniture #MidcenturyModern #HoustonHomes #ElleDecor

Jomo Tariku, a Virginia-based designer and furniture maker, shares insights into his creative process, which draws heavily from his Ethiopian upbringing and African heritage. Born in Kenya and having traveled extensively across Africa during his youth due to his mother's work at Ethiopian Airlines, Tariku was exposed to a diverse collection of objects and furniture from an early age, collected by his diplomat father. His early experiences included working in a car shop in Addis Ababa between the ages of 14 and 16, where he constantly sketched and drew his surroundings while performing various tasks. This period, along with his later academic pursuit of an industrial design degree at the University of Kansas, laid the foundation for his distinctive approach to furniture design. Tariku's work is characterized by its exploration of objects and culture, often reinterpreting everyday African items and totemic figures into sleek, minimalist furniture. His designs incorporate bold colors like black ash and orange, paying homage to African craft and furniture-making traditions. Notable pieces, such as the Nyala chair, the Qwanta totem chair, the Meedo chair, and the Mukecha stool, have gained significant attention. His comb-shaped Mido chair (2021) was acquired by The Metropolitan Museum of Art, and other works are part of the collections at the Los Angeles County Museum of Art, Mint Museum, Denver Art Museum, and Baltimore Museum of Art. His work has also transcended the art and design world, with production designer Hannah Beachler featuring some of his pieces in "Black Panther: Wakanda Forever." Tariku recounts his journey into design, initially considering computer science before discovering his aptitude for art and design during his college years. His mentor at the University of Kansas encouraged his passion, which eventually led him to pursue furniture design for his industrial design thesis. He emphasizes that inspiration should not be limited to existing seating designs but can come from a wide array of African contexts, including hairstyles, the afro pick, landscapes, and headrests, allowing for truly unique and innovative designs. He discusses the transhistorical quality of his designs, which blend ancient influences with modern interpretations, creating pieces that defy chronology and symbolize collective and personal histories. He acknowledges the scarcity of historical data for many African objects, which were often made for utility without formal manufacturing structures. As a Western-educated industrial designer, Tariku interprets this past through his skills, ensuring that his pieces are titled to reference their inspirations, such as the Nyala chair's connection to antelopes or the Boraatii stool's link to Oromia headrests. The designer also considers the interactive relationship with users, exemplified by the Qwanta chair, which features an interchangeable backrest. This design was inspired by traditional African birch chairs and aims to involve users in creating their own totems, transforming the chair into a collaborative art piece. He explains his philosophy that his furniture serves both an artistic and functional purpose, akin to how common objects in Ethiopia were used for utility and then displayed as decorative elements. He views his pieces as sculptural, conceptual, and functional statements. Tariku elaborates on the sculptural aspect of his work, highlighting the balance between artistic form and ergonomic functionality. He strives for elegance, clean lines, and organic shapes that provide visual satisfaction and comfort. His creative process involves rigorous prototyping to ensure both aesthetic appeal and practicality. Regarding abstraction, he focuses on extracting the simplest geometric shapes from his inspirations, testing their endurance and researching thoroughly. He aims to make his designs recognizable to those familiar with the cultural references while also appealing to a broader audience. He discusses his material palette, which is currently limited to ash, American ash, and birch plywood, primarily due to cost and environmental considerations. He consciously avoids exotic African woods, prioritizing sustainable forestry practices in the U.S. He expresses interest in expanding into materials like plastics, metals, and carbon fiber when appropriate. Finally, Tariku speaks about his involvement with the Black Artists and Designers Guild (BADG), co-founded by Malene Barnett, which aims to promote and increase the visibility of Black designers from the diaspora and Africa. He believes that his work, and that of other Black designers, is crucial for challenging Western-centric design canons and pushing against misconceptions about African design, ultimately contributing to a more inclusive representation of global creative traditions. #JomoTariku #FurnitureDesign #AfricanDesign #Afrofuturism #IndustrialDesign #InteriorDesign #CulturalHeritage #BlackArtistsAndDesignersGuild #SculpturalFurniture

Zachary Nestel-Patt, founder of Ah Um Design Studio, transitioned from a career in music to furniture design, finding parallels between the creative processes. For 35 years, his primary focus was music, studying jazz and classical bass. His entry into woodworking began with a part-time job sanding cremation urns in Los Angeles, which initially served as a means to fund his musical pursuits. However, over time, he discovered a new rhythm and passion in the craft of making, gradually shifting his career trajectory. Nestel-Patt's initial woodworking endeavors involved creating pieces for his own home. The positive reception he received after showcasing these items at a market prompted him to take his design work more seriously. This led to a full order book and sufficient interest to establish Ah Um Design Studio. The studio officially launched its inaugural collection, 'Jura,' during NYC x Design 2024. The 'Jura' Collection comprises 11 pieces, characterized by an expressive blend of materials and textures. Key design elements include zig-zagging wooden frames, mohair and boucle upholstery, and a distinctive application of tiles. These tiles are notably used to clad various pieces, including a chair, lamp, stool, and coffee table. The inspiration for incorporating tiles originated from Nestel-Patt's desire to use intricate tiles by Willem De Morgan, although he ultimately opted for tiles from Mexico that he felt possessed significant life and character. He appreciates how tiles bridge multiple categories, embodying both handmade and mass-produced qualities, vintage and modern aesthetics, and organic and industrial characteristics. Operating from Los Angeles, Nestel-Patt credits the city's vibrant creative community as a continuous source of inspiration for his design practice. He emphasizes that music remains a significant influence, noting the rewarding experience of drawing parallels between the processes of music making and furniture design. Ultimately, his motivation is rooted in a desire to create furniture he would personally enjoy living with, aiming to contribute to the global stock of aesthetically pleasing objects. #FurnitureDesign #AhUmDesignStudio #ZacharyNestelPatt #LAdesign #JuraCollection #TileDesign #Woodworking #CreativeProcess #InteriorDesign

RH, a prominent home furnishings retailer, has launched RH Contemporary, a new business branch that significantly expands its product offerings through collaborations with a diverse array of global designers. This initiative marks RH's most substantial concept launch since RH Modern in 2015, reinforcing the company's ambitious growth trajectory. The new collection encompasses a wide range of items, from large furniture pieces such as sofas, beds, wardrobes, and outdoor furniture, to lighting, textiles, and decorative objects. The launch of RH Contemporary follows other significant developments for the company, including the unveiling of RH San Francisco, the acquisition of private planes and a yacht for charter, and plans for future locations in Manhattan, Oxfordshire, Paris, London, Milan, and an 'RH Ecosystem' in Aspen featuring the company's first spa. The development of RH Contemporary began prior to the pandemic, with RH leadership strategically using that period to focus on long-term growth initiatives rather than short-term revenue pursuit. A key aspect of RH Contemporary is its multi-tiered approach to elevating production standards and materials. This includes a partnership with Holland & Sherry, an established Savile Row tailor, to supply a comprehensive range of fine textiles for upholstery and curtains. Additionally, the collection features high-caliber Indian hand-loomed throws and pillow covers by textile artist Neeru Kumar, whose work has been acquired by the Victoria & Albert Museum. A significant portion of RH Contemporary's upholstered furniture, including modular leather seating and low linear sofas, is crafted in Italy. To achieve this, RH collaborated with expert Italian upholsterers, ALT in Romagna and Crivellari in Padova, whose founders are prominently credited on the RH website alongside the designers. Italian-sourced materials, such as travertine stone from outside Rome and Arabescato marble, are also widely used, although some fabrication occurs elsewhere. The emphasis on top-tier materials and production, including lacquered burl wood, hand-carved Spanish alabaster, and hand-applied plaster on lighting, is reflected in the collection's higher price points, with items like Jonathan Browning’s ‘Vouvray’ chandelier starting at over $35,000 and Joris Poggioli’s ‘Vitolo’ dining table starting at over $12,000. Gary Friedman, RH chairman & chief executive officer, notes that RH Contemporary items are priced approximately 30 to 35 percent higher than the current RH offerings. While large-scale furniture forms the core of the collection, smaller shoppable items are also included, such as vases and decorative dishes by Brooklyn-based ceramicist Dina Nur Satti, which incorporate her Sudanese and Somali heritage. Friedman expresses strong belief in RH Contemporary's potential impact, stating that it will likely have a greater influence on the company than RH Modern, not only from a design perspective but also in terms of quality. He anticipates that this new venture will redefine consumer perceptions of RH and expand its market aperture significantly. #RHContemporary #DesignerCollaborations #LuxuryFurniture #InteriorDesign #HighEndMaterials #ItalianCraftsmanship #GlobalDesigners #HomeFurnishings