This new gallery in Kyoto is crafted like a ceramic vase

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

Seoul, designated as World Design Capital 2010, is showcasing its commitment to design through various ambitious architectural projects and exhibitions. Among these, Tokujin Yoshioka's "Spectrum" show at the Museum Beyond Museum stands out. Yoshioka, a Japanese designer, views design as an experiential rather than a purely creative process, and his works often possess an ethereal quality. His installation for Kartell at Salone del Mobile and his "Tornado" creation for Design Miami in 2007 exemplify this unique approach. The current exhibition features a nine-meter-tall window composed of 500 crystal prisms, titled 'Rainbow Church,' which is a central and awe-inspiring piece. This project was inspired by Yoshioka's visit to Henri Matisse's Chepelle du Rosaire in his early twenties, where he was deeply affected by the vibrant light filtering through Matisse's stained glass. This experience sparked his long-held dream of designing architecture that allows individuals to perceive light with all their senses. The exhibition also highlights some of Yoshioka's significant works from the past decade. These include the innovative "Venus" chair, which was cultivated from crystals within an aquarium, and the "Honey-pop" chair, a honeycomb-like structure crafted from sheets of glassine paper. A previously unseen piece, "Waterfall," is also on display. This counter table is fashioned from a massive glass block, similar to those used in giant observatory telescopes, and was originally created for a private gallery in Tokyo in 2006. Its appearance evokes that of a colossal ice block. Yoshioka's work consistently aims to engage all senses, offering an immersive experience for viewers rather than a passive observation. The "Spectrum" show in Seoul continues this tradition, inviting visitors to deeply interact with his designs and the unique way he interprets and utilizes light and materials. The exhibition is hosted at the Museum Beyond Museum in Gangnam-gu Chungdam-dong, Seoul, South Korea. #TokujinYoshioka #SeoulDesign #MuseumBeyondMuseum #DesignExhibition #CrystalPrisms #RainbowChurch #VenusChair #WaterfallDesign #JapaneseDesign

Hitomi Hosono's latest solo exhibition, 'Brook Street: An Artist's Eye,' showcases 30 new ceramic pieces within the historic London showroom of Sibyl Colefax & John Fowler. This unexpected pairing brings contemporary botanical ceramics into a space known for its classic English grandeur, a Mayfair townhouse dating back to 1723. The exhibition, held in association with Adrian Sassoon, strategically places Hosono's works among antique furnishings, often near windows overlooking a lush garden, creating a dialogue between crafted and natural beauty. Hosono's work, while deeply rooted in her Japanese upbringing with its delicate leaf and cherry blossom motifs, also draws inspiration from British influences. A significant example is her 'roses and pansies bowls,' which were inspired by a Colefax and Fowler fabric pattern from 1845. This particular series marked a technical and aesthetic departure for Hosono, as these bowls close inward, offering a sturdier, more tactile surface meant to be touched, contrasting with her earlier, more outward-emanating designs. She expresses a desire for people to experience the softness of the porcelain, akin to touching flower petals. The exhibition also features a tropical-themed series, initially created for last year's Jerwood Makers Open, with energetic patterns of hibiscus, coral, mangrove, and banana leaves. The vibrant colors in these pieces are achieved by mixing pigment directly with porcelain powder, a technique Hosono employs to preserve the intricate lines of her designs, as glaze would obscure them. Her use of the term 'delicate' for her work is an understatement, given the extraordinary level of detail and precision involved. Hosono's artistic process is meticulously labor-intensive. It requires months to perfect plaster molds of tiny leaves and flowers. She then uses modified, sharpened dental tools to add intricate detail to each component before individually applying them to a clay surface. Some pieces are so fragile that they cannot be shipped internationally due to the risk of damage. Notably, in her 'dew drop bowls,' each water droplet is individually carved, a detail she acknowledges might not be immediately noticed but is essential for the beauty of the final work. For the first time, Hosono's drawings are also on display, a decision influenced by Philip Hooper, design director of Sibyl Colefax & John Fowler. Hosono initially resisted this, considering drawings part of her creative process rather than finished products. She uses drawing to understand the structure and beauty of plants, viewing it as a form of anatomical study. She emphasizes that her ceramic representations are not exact replicas but are based on her memories and interpretations of botanical forms, leading to fantastical yet authentic results. She embraces the individuality of her artistic vision, as seen in her distinctive banana leaf pieces. The influence of the Perrier-Jouët Arts Salon Prize, which Hosono won in 2013, is evident in grape-patterned vessels that pay homage to the champagne house's Art Nouveau heritage, and in the overall adventurous and free-spirited nature of the collection. As a member of the Arts Salon, Hosono now contributes to selecting new winners, acknowledging the Salon's role in broadening her artistic horizons and providing a source of inspiration through its gatherings of creative influencers. #CeramicArt #HitomiHosono #LondonExhibition #InteriorDesign #BotanicalArt #ContemporaryCeramics #ArtAndInteriors #SibylColefaxAndJohnFowler #AdrianSassoon

Tokujin Yoshioka has collaborated with Italian ceramics manufacturer Mutina to create a new tile system called 'Phenomenon.' This collection is inspired by irregular textures found in nature, specifically encompassing designs named "snow," "honey-comb," and "rain." Yoshioka's objective was to develop a design that evokes emotion and imagination by integrating small elements to produce both depth and expanse within the tiles. To highlight this depth and allow the interplay of light and shadow to define each texture, the tiles were deliberately left white. The partnership with Mutina was initiated due to the company's perceived "experimental vision" and its ability to balance traditional handcrafting with industrial technology. Yoshioka believed Mutina possessed the capability to achieve a "beautiful sense of depth" in their ceramic products. To optimize Mutina's manufacturing potential and extract the inherent beauty of the material, Yoshioka and his design studio conducted extensive material experiments. These investigations aimed to refine the production process to best express the naturalistic textures intended for the 'Phenomenon' collection. The 'Phenomenon' collection represents an innovative approach to tile design, moving beyond purely decorative patterns to incorporate a tactile and visual depth inspired by natural forms. By focusing on the intrinsic qualities of the ceramic material and the subtle effects of light, Yoshioka sought to create a product that engages the viewer's perception and adds a unique aesthetic dimension to interior spaces. The deliberate choice of white for the tiles serves to amplify the intricate textures, ensuring that the irregular surfaces are the primary focal point, changing appearance with varying light conditions. This collaboration highlights a blend of artistic vision and material science, pushing the boundaries of ceramic tile design. #TokujinYoshioka #Mutina #TileDesign #CeramicTiles #InteriorDesign #ArchitecturalMaterials #ProductDesign #MaterialExperimentation

The annual 1000 Vases exhibition in Paris, founded in 2018 by Francesco Pirrello, celebrates the vase not merely as a container for flowers, but as a standalone object of art. Pirrello's vision for the exhibition prioritizes unique pieces from independent and emerging artists, asserting that a truly good vase does not require flowers to demonstrate its aesthetic merit. This perspective was inspired by his friend Roberto Baciocchi, an Italian architect and avid vase collector. Initially conceived to feature a large quantity of works, symbolizing abundance and diversity much like the '1000-sheet' delicacy of mille-feuille or the fables of 1001 Arabian Nights, the exhibition ultimately adopted a 'less is more' approach, showcasing around 100 items. This adjustment aimed to allow visitors to appreciate each piece individually and engage with the artists. Pirrello observes that contemporary vase-making trends show a predominance of women artists and a preference for ceramic materials, noting that vases are accessible, affordable, and easily incorporated into any space, referring to them as "democratic objects." This year's 1000 Vases exhibition, running during Paris Design Week until September 8, highlights the works of eight participating artists, each bringing a distinct perspective and technique to the art of vase creation. Chous Ceramics, a duo from Sparta, Greece, presents hand-built sculptures that explore balance and tension, drawing inspiration from nature and Greek ceramic history. Their predominantly beige vases are characterized by voluminous bases and open, elegant rims. Belgium-based artist Dietmar Michiels, born in 1988, works with ceramic sculpture, employing coiling, plating, and throwing techniques with porcelain and glaze to create imaginative, creature-like pieces often accompanied by conversational titles. His work draws from everyday inner experiences, the mystical, historical art, the occult, and various cultural identities. Hellen Song, an artist from Shanghai now based in Toronto, uses ceramic vessels to delve into themes of the human condition, philosophy, and nature, often influenced by the supernatural and Impressionistic mark-making. Her exhibited stoneware vessel, with its blue and white tones, evokes a seascape, representing a range of emotions through the metaphor of water bodies. The collaboration between French artist Coco Brun and Mexico City-based Sten Studio yields the 'Mistico' vase, a geometric, multi-colored piece made from red travertine, Venetian marble, and pink onyx. This work pays homage to Meso-American culture, with each color carrying symbolic meaning related to rituals, fertility, and the balance of masculine and feminine energies, inspired by Meso-American architecture. Norwegian artist Karin Amdal presents 'Pluss', a pair of smooth, round terracotta pots designed to form a 'plus' sign when combined, showcasing her style of creating simple yet characterful pieces that often incorporate extensions or words. Amdal's inspiration stems from nature and everyday life, with her pieces designed to be open to interpretation and evoke a smile. Magdalena Zarychta, a multidisciplinary Polish artist specializing in decorative and stained glass, showcases her (COM)PRESSION vase. This hot-formed, blown glass object is hand-shaped, embossed, and features botanical markings, symbolizing traces of the past akin to fossils. Istanbul-based artist Sara Montazeri's coral reef-like artwork, crafted from stoneware clay, pays tribute to the 13th-century Sufi poet Rumi, incorporating his words "You are my soul and my world" in gold Farsi script, blending tradition with modern organic design. Finally, New York City-based writer and artist Emily Tate Moreu, inspired by ancient Greek pottery, creates minimalist, thoughtful pieces that explore the philosophies of form and human interaction, including greige vessels, abstract sculptures, and a stoneware candelabra. #VaseExhibition #ArtisticVases #CeramicArt #IndependentArtists #ParisDesignWeek #ContemporaryDesign #HomeDecor #SculpturalVases #DesignTrends

Acne Studios, the Swedish fashion label, has opened a new flagship store in Tokyo's Aoyama district, a move that encapsulates the brand's playful yet minimalist aesthetic. The store, located on a prominent corner of Omotesando, an area known for its architectural significance, was designed by Acne Studios' founder and creative director, Jonny Johansson, in collaboration with Stockholm-based studio Halleroed. This new location replaces a previous store on a nearby backstreet and represents the culmination of Johansson's long-standing connection and inspiration drawn from Japan. The conceptual foundation for the store was inspired by the idea of a 'garage' – an open, technical space. Johansson envisioned an interior that maintained the skeleton of the original building, incorporating extensive use of glass to create a seamless flow between the inside and outside, allowing visitors to feel connected to Aoyama. This structural openness is complemented by a unique design element: softly-textured pink granite stone. This material is used to connect various spaces, extending across floors and walls, and forms two prominent, airy staircases with clean, minimalist lines and subtly indented handrails. The choice of pink for the granite was deliberate, aimed at avoiding a 'banal' or 'naïve' impression. According to Ruxandra Halleröd, co-founder of Halleroed, the team explored various textures and materials before settling on a granite that intensifies in pink hue when flamed. This approach was intended to create a mature and nuanced pink, moving beyond typical feminine connotations to become a 'pop color' that aligns with Acne Studios' slightly vague yet distinct brand identity. Contrasting the soft pink granite, the store integrates reflective metal accents, angled mirrors, and dynamic stainless steel clothing hangers that are sharply suspended from the ceiling. This blend of materials and forms adds to the store's contemporary and edgy atmosphere. Further enhancing the creative interior are bespoke elements from long-term Acne Studios collaborators. British designer Max Lamb contributed a series of pieces, including shiny soft leather seats that appear to merge with the walls, tufted carpets, and 'Blob' chairs made from hand-dyed yarns. Illumination is provided by dozens of custom strip-lighting fixtures, conceived by designer Benoit Lalloz, which are strategically placed across ceilings and integrated into metal displays. Surrealist mannequins by artist Daniel Silver introduce an additional layer of artistry. Ruxandra Halleröd emphasizes that the design thrives on contrasts, mirroring Tokyo's own blend of high-tech and historical elements. The stark, hard-material-clad building contrasts with the irregular, shiny furniture, creating unexpected visual and tactile experiences. Christian Halleröd, also a co-founder of Halleroed, highlights Japan as a significant source of inspiration, particularly for its commitment to quality and craftsmanship. The store's opening is also marked by a collaboration with artist Takuro Kuwata, who created a series of candy-bright ceramic vessels and reinvented the brand's 'Camero' bag and denim jeans with rainbow designs and trompe l'œil effects. This reflects Johansson's perspective that "fashion is supposed to be fun" and a desire for luxury to be inclusive rather than exclusive, a philosophy that deeply informs the new Tokyo flagship. #AcneStudios #Tokyo #FlagshipStore #FashionDesign #RetailArchitecture #InteriorDesign #JapaneseCraftsmanship #ContemporaryArt

Beginner Ceramics, a Brooklyn-based studio, showcases a playful yet technically proficient approach to clay, transforming everyday objects into sculptural art. The studio's latest collection features new interpretations of their signature Endless Lamp, a series of Looping Mirrors, and an ambitious Dune Signal Vase, all characterized by a confident sense of exploration and a deep understanding of form. The brand challenges its name, demonstrating mastery in crafting pieces that blend functionality with artistic expression. The Endless Lamp series expands with new double- and triple-stacked configurations, emphasizing height, repetition, and scale. These lamps are constructed from hand-thrown ceramic sections, forming a rhythmic silhouette. Each lamp is topped with an unglazed shade, designed to emit a soft, linen-like glow, and includes a brass dimmer for enhanced tactility and warmth. The design draws inspiration from early ceramic traditions and Brancusi’s 'The Infinite Column,' merging a playful aesthetic with precise execution through vibrant color choices. Complementing the lamps, Beginner Ceramics introduces the Looping Mirrors, which reimagine reflection through rhythmic, sculptural frames. These mirrors are available in various shapes—round, square, oval, and rectangular—each framed by hand-sculpted ceramic coils. These coils are joined to create continuous, flowing patterns, reminiscent of cursive script and Art Deco lighting. The repetitive nature of the coils introduces a sense of movement and softness to the mirror's edges. Functioning as both reflective surfaces and sculptural art pieces, these mirrors enhance interior spaces with dramatic flair and personality. Custom sizing options ensure seamless integration into any design scheme. The collection is further highlighted by the Dune Signal Vase, which represents one of the studio’s largest and most intricate creations to date. This piece skillfully combines two of the studio’s signature vase silhouettes: the embracing handles of the Dune Vase and the distinctive negative-space framing of the Signal Vase. The resulting design features geometric, layered details that invite contemplation, guiding the observer's eye across its complex form. This vase exemplifies the studio's commitment to creating objects that are both visually striking and thought-provoking. Across its range of lighting, mirrors, and vases, Beginner Ceramics consistently blurs the boundaries between functional objects and artistic sculptures. The new collections are a testament to the studio's philosophy of treating everyday items as opportunities for creative experimentation, personal expression, and aesthetic enjoyment. Each piece—whether stacked, looped, or scaled—is designed to be both useful and captivating, inviting engagement and appreciative observation without being overly serious. #CeramicDesign #HomeFurnishings #SculpturalObjects #ModernLighting #DecorativeMirrors #VaseDesign #ArtisanCraftsmanship #InteriorDecor #DesignInnovation

Artist Takashi Kuribayashi's newest installation, 'Oya Genkiro No. 6', is located in the Tochigi countryside, just north of Tokyo. This 59-foot-tall structure, crafted from raw hinoki (cypress) trees, appears as a massive, hollowed-out tree stump. Upon entering, visitors discover hundreds of meticulously lined mirrors within its core, leading to a multi-floored sauna encased in bright, dappled wood and glass. The installation emphasizes tranquility, with the delicate layered bark contrasting with the shimmering mirrored surfaces. The sauna space is designed for relaxation, where guests can unwind to the sounds of dripping condensation and a crackling fireplace, located beneath an outdoor cauldron. The water used in the sauna is boiled in a large kiln with medicinal herbs, and the resulting steam is piped into the space, creating a dense atmosphere where visibility is limited and the scents of herbs and medicinal plants awaken the senses. The name 'Oya Genkiro' is significant, combining 'genshiro' (nuclear reactor) and 'genki' (healthy), serving as a direct reference to the Fukushima Daiichi Nuclear Power Station disaster of March 2011. This incident, caused by a devastating tsunami, led to the leakage of radioactive materials into the environment. Within this context, the installation functions as a profound reflection on the dual nature of steam. It can be a force of destruction, as seen in the Fukushima event, or a medium for restoration, healing, and calming, as experienced in the sauna. Kuribayashi's artistic practice frequently explores making the invisible tangible. In 'Oya Genkiro', he metaphorically manifests steam, allowing visitors to physically engage with a phenomenon that, in the case of Fukushima, represented "completely invisible radioactive contamination." The artist believes that understanding the existence of an unseen world can fundamentally alter one's perspective on life. 'Oya Genkiro No. 6' is a site-specific installation that cleverly disguises a functional sauna within a mirror-lined tree stump, providing a unique blend of art, nature, and introspection. The installation is open to the public in Japan’s Tochigi Prefecture, with reservations available through its dedicated website. Kuribayashi's work consistently challenges viewers to consider what lies beyond immediate perception, using physical experiences to convey deeper meanings. The contrast between the natural, rustic exterior of the tree stump and the sleek, mirrored interior, coupled with the functional and symbolic use of steam, creates a rich, multi-sensory experience that encourages reflection on both environmental events and personal well-being. This project exemplifies contemporary art's capacity to engage with complex social and environmental themes through immersive and interactive forms. #ArtInstallation #ContemporaryArt #JapaneseArt #TakashiKuribayashi #OyaGenkiroNo6 #Fukushima #EnvironmentalThemes #SaunaArt

This article explores how Japanese-style vases, characterized by their understated form, earthy colors, and natural textures, can elevate the appearance of everyday flowers and enhance home decor. The piece emphasizes the "less is more" philosophy inherent in these designs, drawing inspiration from traditional Japanese aesthetics. Interior designer Minako Bryson of Studio Kaimi highlights that traditional Japanese vases transcend mere decoration, embodying centuries of cultural values, a profound connection with nature, and the philosophy of wabi-sabi. This philosophy celebrates beauty in simplicity, imperfection, and the transient nature of time. Originally crafted for ikebana (flower arranging) and tea ceremonies, these vases seamlessly blend utility with artistry. Bryson explains that their shapes and finishes are meticulously designed to complement seasonal flowers and natural materials, serving to enhance the surrounding space rather than dominate it. The article delves into the variety of iconic shapes found in Japanese vases, ranging from simple cylindrical forms to rounded jar-like vessels. Other common forms include bottle shapes with narrow necks, gourd-shaped vases, and intentionally asymmetrical or deformed designs that echo the imperfect beauty central to wabi-sabi. The color palettes of these vases are equally diverse, encompassing the deep cobalt blue of Sometsuke, crisp white porcelain, muted black or brown iron glazes, vibrant green Oribe glazes, the festive red and gold of Imari, and the soft, accidental gradients of natural ash glazes seen in Bizen or Shigaraki ware. The article then curates a selection of modern vases that subtly reference these Japanese design principles through their color, shape, or overall simplicity. These examples include the Nkuku Endo Recycled Iron Vase, a rounded piece crafted from recycled iron with a rustic finish, ideal for modern living rooms. The Dunelm Ceramic Pebble Vase is presented as a minimal option with an organic shape that aligns with wabi-sabi. The SZ Ceramics Frill Neck Vase, in a stylish warm brown hue with a wavy edge, exemplifies an earthy and sophisticated aesthetic. A set of three mini Komo Vases by Ferm Living offers a selection of earthy shades suitable for smaller spaces. The Nkuku Vanita Glass Vase provides a minimalist glass alternative with a rounded shape, nodding to the traditional style. For larger arrangements, the Cox & Cox Fluted Brindle Glazed Urn Vase is a classic choice in a neutral color. The OKA Hervey Vase features a calming blue gradient and a wide neck, while the OKA Changshou Vase offers a more traditional look with a bird motif and a glazed interior. The OKA Fyli Vase, with its matte glaze on a clay urn, provides a modern and minimalist texture, and the OKA Inko Vase incorporates black and white stripes for a contemporary pattern. The Tell Me More Montana Vase offers a muted blue hue and an irregular form for textural interest. A Grand Tour by Vito Nesta porcelain vase showcases intricate floral and architectural motifs while maintaining a simple shape. The H&M Home Terracotta vase is a minimalist option to highlight colorful flowers. The Laab Dome Spherical Vase, crafted with the Raku firing technique, provides a rustic aesthetic with crack and speckle detailing. Finally, the Ferm Living Koa vase, a square vase in a rich red-brown, offers an abstract and unexpected design. The article also includes a section answering a frequently asked question about Japanese Imari vases. Yoko Kloeden, founder of Yoko Kloeden Design, explains that an Imari vase refers to a style of decorative porcelain originating from Arita, Kyushu, which became a significant export from the 17th century. These vases are traditionally characterized by underglaze cobalt blue details overlaid with vibrant reds, golds, and other enamel colors, a visually rich and ornate aesthetic known as Kinrande. The name “Imari” originates from the port through which these wares were shipped to Europe, where the style garnered considerable influence, leading to imitations by European and Chinese producers. #JapaneseVases #HomeDecor #MinimalistDesign #WabiSabi #InteriorDesign #CeramicVases #EarthyTones #FlowerArranging #Ikebana

Italian brand Marazzi has unveiled five distinct collections of advanced ceramic and porcelain tiles on Dezeen Showroom, catering to various aesthetic and functional preferences. These collections include antibacterial tiles that mimic wood floorboards and high-gloss stone-effect tiles, demonstrating a blend of traditional craftsmanship and modern technology. One of the featured collections is Oltre, a porcelain tile meticulously designed to replicate the appearance of oak floorboards. This collection incorporates an interlocking pattern system that convincingly emulates the natural grain of timber. Available in four colors—white, natural, sand, and caramel—Oltre tiles are versatile for both indoor and outdoor applications. They come with an ultra-matt finish, a slip-resistant coating, and an antibacterial treatment, emphasizing cleanliness and safety. The antibacterial properties make them suitable for spaces where hygiene is a priority, while their durability and aesthetic appeal broaden their applicability in diverse design schemes. Another collection suitable for indoor and outdoor use is Carácter. These porcelain tiles are noteworthy for their composition, which includes 40 percent recycled materials, reflecting a commitment to sustainability. The Carácter tiles present an understated stone effect, achieved through a blend of neutral-colored pebbles of varying shapes and sizes. Despite their luminous finish, these tiles are equipped with Marazzi's StepWise coating, providing an anti-slip surface. The collection is offered in six colors, all within the grey and beige spectrum, allowing for subtle yet sophisticated floor and wall treatments. The Crogiolo Rice collection is a series of handmade modular tiles characterized by a high-gloss finish and natural variations. These tiles draw inspiration from traditional majolica tiles, often adorned with plant patterns and featuring a dense glaze. Despite their intentionally irregular surfaces, the tiles possess straight edges, facilitating precise tessellated installations. Available in three sizes, Crogiolo Rice tiles can be arranged in complementary compositions or mixed to create unique designs. The color palette includes white and off-white hues, alongside three distinct designs that feature nature-inspired motifs in blue, offering a decorative element. Completing the showcase is the Crogiolo Lume range, also part of the broader Crogiolo tile collection. This range is similarly modeled after handmade majolica tiles from the Mediterranean region. These glazed tiles are primarily recommended for wall applications but can be used on floors in areas with low-level foot traffic, such as private residences. The Crogiolo Lume tiles are frostproof and resistant to abrasion, ensuring their longevity and versatility. They are available in a vibrant array of mottled colors, including green, blue, white, black, musk, and greige, providing extensive design possibilities for interior spaces. Additionally, Marazzi has updated its Grande Marble Look collection of porcelain slab tiles, engineered to mimic the luxurious appearance of Venetian terrazzo and marble. These tiles, like the other new collections, are suitable for both indoor and outdoor use and are skid-resistant. They exhibit striking vein and shade variations, offered in a wide range of colors such as deep green and jet black with dark brown veining, providing sophisticated options for large-format applications. Established in 1935, Marazzi is a prominent Italian ceramic tile manufacturer with a global presence in over 140 countries, offering a comprehensive selection of flooring and wall coverings for various settings, designed to emulate natural materials like wood, concrete, marble, and stone. #Marazzi #CeramicTiles #PorcelainTiles #DezeenShowroom #InteriorDesign #FloorCoverings #WallCoverings #HomeDecor #SustainableMaterials

Shōtō, a modern Japanese izakaya located in Midtown Center, Washington D.C., is introduced as a new culinary and design landmark. The establishment, a project of the London-based global hospitality group that also manages Zuma, opened its doors for dinner service at 5 p.m. The design, spearheaded by Tokyo-based Studio Glit's Noriyoshi Muramatsu, marks his first venture in D.C. Muramatsu, known for Zuma's acclaimed interiors, has meticulously curated every detail of Shōtō, creating an atmosphere that balances luxury with a deep sense of Japanese aesthetics. Upon entering Shōtō, guests are greeted by thoughtful design elements, such as a lengthy, bronzed branch from an ancient Japanese forest serving as a door handle. The interior features an immaculate, wood-framed dining room and spa-like restrooms equipped with custom Le Labo black tea oil diffusers, demonstrating an "invisible touch" of luxury. The 155-seat restaurant showcases a symmetrically arranged sushi counter, a bar, and a Japanese robata grill, where various meats, fish, skewers, poultry, and produce are cooked over pressed Japanese white oak. The dining room's centerpiece is a massive, UFO-like sculpture made from lava stone sourced from an active Japanese volcano. This formation, comprising orange-sized stone chunks painstakingly hand-strung and suspended from the 25-foot ceiling, creates a dazzling shadow play on the floor as it is backlit, especially during sunset. This dramatic lava stone sculpture is complemented by other decor elements also sourced, assembled, or salvaged in Japan and transported to D.C. Shōtō aims to boast one of the largest Japanese whiskey selections on the East Coast, currently offering 40 rare types with a goal to expand to 100 as supply chains improve. These whiskeys are showcased like precious artifacts behind gold metal grates, greeting guests upon entry. The name "Shōtō," meaning "short sword" in Japanese, symbolizes the restaurant's commitment to accuracy and precision, evident in both its culinary techniques and design. The open kitchen and sushi counter offer diners a direct view of the meticulous work of Executive Sushi Chef Kwang Kim and Executive Chef Alessio Conti. The kitchen's textured tile backsplash features vertical rows of curved tiles, which are hand-molded and glazed casts of Japanese bamboo. Clay plates, handmade by a Japanese artist using a wood-fired ash technique, are neatly stacked on wooden shelves, further highlighting the artistic craftsmanship. The restaurant's walls and ceiling are designed with square wood boxes, creating a grid-like visual. Functional decorative elements include century-old parts of a rural Japanese aqueduct system repurposed as flower pots for cherry blossoms. Above the bar, rows of hand-blown glass bowls, crafted to resemble traditional Japanese tea kettles, are intended to hold Japanese spirits, sake, and shochu infused with fresh fruits, herbs, and vegetables. These glass orbs are interspersed with gigantic sake barrels from Japanese breweries, now serving as floating ivory artwork. The bar also features a hand-carving ice station and a bonsai tree, serving house cocktails made exclusively with Japanese spirits. A wine and sake cellar, capable of storing up to 1,500 bottles, occupies an entire wall, with sommeliers using a ladder to retrieve selections, adding to the dining experience's theatricality. A private dining room at the back features a 45-seat rectangular table under a ceiling of wavy red fabric, providing an intimate setting while offering glimpses into the glassy cellar, ensuring a unique experience for every diner. Shōtō is located in the same Midtown Center complex as Philotimo, chef Nicholas Stefanelli's Greek restaurant, which opened the previous month. #JapaneseCuisine #RestaurantDesign #LuxuryDining #Izakaya #NoriyoshiMuramatsu #DCRestaurants #SushiBar #RobataGrill #JapaneseWhiskey

The multidisciplinary studio Zaven, based in Venice, Italy, embarked on a project named "Practice Practice Practice," which explores ceramic as a medium to create three-dimensional tiles. This endeavor was inspired by the work of Italian artist Nino Caruso, whose artistic approach resonated with Zaven's creative direction. The studio's objective was to develop tiles that transcend traditional flat surfaces, aiming to inject vitality and dynamic interaction into interior spaces through their graphic and sculptural qualities. Zaven's design process utilized clay, allowing for the creation of tiles with a bold, graphic aesthetic. A key innovation in these ceramic tiles is the interplay of positive and negative space, achieved through the incorporation of both concave and convex surfaces. This design choice results in a visually engaging product that manipulates light and shadow, adding depth and texture to any installed area. The collection features three distinct modules, each designed to be versatile, enabling various installation patterns and arrangements. This modularity empowers designers and homeowners to create customized, curated looks that cater to specific aesthetic preferences and spatial requirements. The ability to mix and match these modules offers a high degree of flexibility, transforming walls and surfaces into unique artistic expressions. The "Practice Practice Practice" tile collection made its public debut at the London Design Fair, where it was presented as part of the Brompton Design District. This exhibition provided Zaven with a platform to showcase their innovative approach to ceramic design, highlighting the potential of three-dimensional tiles to enhance contemporary interiors. The tiles represent a departure from conventional flat tiling, offering a modern alternative that blends artistic expression with functional design. The project demonstrates Zaven's commitment to pushing the boundaries of material use and design principles, translating a deep appreciation for craft into a product with broad appeal. The collaboration with Stylnove for the ceramic production underscores the technical expertise involved in realizing Zaven's vision. Stylnove's craftsmanship ensured that the intricate designs and specific textural requirements of the tiles were met with precision and quality. This partnership highlights the importance of collaboration between designers and manufacturers in bringing innovative concepts to fruition, ensuring that the artistic intent is translated into a durable and aesthetically pleasing product. The focus on ceramic as a medium also points to its enduring appeal and adaptability in modern design, capable of offering both traditional charm and contemporary flair depending on its application. Ultimately, Zaven's "Practice Practice Practice" collection is a testament to how traditional materials can be reinterpreted to create modern, engaging, and dynamic interior elements. By focusing on graphic qualities, three-dimensionality, and modularity, the studio has crafted a product that encourages creative exploration in interior design, providing a new way to "animate interiors" with depth, texture, and artistic character. #CeramicTiles #3DTiles #InteriorDesign #ZavenStudio #NinoCaruso #LondonDesignFair #ArchitecturalSurfaces #ModernDesign #HomeDecor

teamLab, an international art collective, has partnered with TikTok to launch an innovative immersive art and sauna experience in Tokyo called 'TikTok teamLab Reconnect.' This unique exhibition, open until August 31, aims to allow visitors to experience art in an enhanced mental state, referred to as a 'sauna trance.' This state is achieved by cycling through saunas, cold showers, and periods of rest, which are believed to sharpen the senses and clarify the mind, enabling a deeper appreciation of the art. The concept draws inspiration from ancient Japanese traditions, blending this historical pastime with digital and immersive art. The exhibition features various saunas, each equipped with colorful lighting and calming scents, followed by a cold bathing area. After this cycle, visitors enter one of five immersive art installations. The experience encourages repeating this process before viewing each new art piece. The installations showcase several of teamLab’s signature boundary-defying works, including pieces from their new project, 'Supernature Phenomena.' Notable installations include 'Levitation,' 'Ephemeral Solidified Light,' 'Proliferating Immense Life in the Rain,' and 'Step into the Light Circle.' These pieces incorporate elements such as levitating orbs that pulsate with energy and color, and floating crystals of solidified light, creating an otherworldly environment. The exhibition challenges conventional notions of art viewing by integrating a physical and mental conditioning process. In collaboration with TikTok, teamLab also developed an augmented reality (AR) piece called 'Every Life Survives in Fluctuating Space,' which can be experienced remotely through the TikTok app. This extends the accessibility of the art beyond the physical exhibition space. The entire experience of 'TikTok teamLab Reconnect' is designed to be unconventional, pushing the boundaries of how art is perceived and interacted with. Further details about the exhibition are available on teamLab's official website. #TeamLab #ImmersiveArt #SaunaExperience #DigitalArt #ArtInstallation #TokyoExhibition #TikTokCollaboration #SupernaturePhenomena

The article details a new exhibition by Takahiro Iwasaki, the artist-in-residence at the Portland Japanese Garden, focusing on his installations that challenge perception and integrate Japanese cultural concepts. Iwasaki, born and based in Hiroshima, received his Ph.D. from Hiroshima City University and an MFA from Edinburgh College of Art. His work, often categorized into 'Reflection Model' and 'Out of Disorder,' has gained international recognition, including exhibitions at the NGV in Melbourne and representing Japan at the Venice Biennial in 2017. The exhibition at the Portland Japanese Garden, titled 'Takahiro Iwasaki: Nature of Perception,' features a new 'Reflection Model' in the Pavilion and an 'Out of Disorder' installation in the Calvin and Mayho Tanabe Gallery. The 'Reflection Model' at the Pavilion is a detailed, handmade wooden re-creation of the Rashomon Gate, a historical structure at the entrance of Kyoto and central to Akira Kurosawa’s 1950 film of the same name. Iwasaki meticulously crafted the model, with the exception of the laser-cut 'Rashomon' sign, from historical drawings and the film’s set design. This model includes a 3-D mirror inversion, simulating a reflection in water, which creates a perceptual illusion. The physical solidity of the model, combined with its seemingly suspended, inverted twin, challenges viewers’ understanding of reflection and reality. The wood used is untreated cypress, intended to fade to a silver color, a detail that hints at the ephemeral nature of things. The installation connects to the Japanese concept of _mono no aware_, which refers to the understanding of the ephemeral nature of things, but can also be interpreted as a feeling of emptiness or a lack of resolution. This concept is particularly relevant to the Rashomon Gate, which no longer exists historically and was recreated for the film, emphasizing its transient existence. The article discusses how both Kurosawa and Iwasaki use the gate to address historical impacts, including war and nuclear destruction, and the ravages of time and human actions. The film _Rashomon_ itself is known for its exploration of subjective truths and unreliable narratives, with different characters providing contradictory accounts of a crime. The Portland Japanese Garden provided a cautionary note regarding the film's portrayal of women, although the artist intended his work as a cultural metaphor rather than an endorsement of the film's specific content. The author delves into the film's narrative concerning a rape and murder, highlighting the varied, self-serving testimonies, and connects this to contemporary discussions around the 'Me Too' movement and the challenges of discerning truth in biased accounts. A second Japanese concept, _mitate_ (seeing things with fresh eyes or radical re-contextualization), informs Iwasaki’s other installations. These include miniature cranes made from discarded threads, glued into books related to Kurosawa, displayed in acrylic containers. These miniature works, reminiscent of traditional Japanese _netsuke_, use reflections to multiply their images, reinforcing the theme of multiple perspectives. The author notes that understanding these cultural references, such as the film _Rashomon_ and historical poetry, enhances the appreciation of Iwasaki's art. Another installation, 'Out of Disorder (Thread through Time),' features miniature landscapes of Portland bridges and landmarks fashioned from glue-stiffened threads pulled from discarded fabrics, prompting familiarity and recognition for local viewers. The use of everyday materials and miniatures is a recurring theme in Iwasaki’s work, encouraging reflection on perception and the re-contextualization of the ordinary. The article concludes by emphasizing Iwasaki's inspirational invitation to view the world with fresh eyes, drawing parallels between his art and the renewed beauty of the rain-splashed Japanese Garden. #TakahiroIwasaki #PortlandJapaneseGarden #ArtExhibition #JapaneseArt #RashomonGate #ReflectionModel #MonoNoAware #Mitate #PerceptionArt #ContemporaryArt

This article highlights various innovative design pieces from global makers, showcasing a blend of traditional craftsmanship and contemporary materials. The featured designers and studios, hailing from locations such as Brooklyn, Copenhagen, and Ukraine, emphasize unique artistic visions and sustainable practices in their creations. Each piece is a testament to meticulous design and material exploration, ranging from intricate glass sculptures to furniture made from reclaimed materials. The article begins by introducing Reevein Studios, specifically Sara Rosa Oppermann and Alice Soro Cilliara, who create mouth-blown glass sculptures. Their 'Spora' sculpture, available in amber and electric blue, demonstrates the artistic manipulation of glass into fluid forms. Following this, Djivan Schapira's 'Divergent' foyer and low tables are presented, characterized by resin inlaid with bronze wire, offering a modern aesthetic with intricate detailing. Kateryna Sokolova's 'Flock' chair for Noom, featuring an upholstered injection-molded soft-foam body and stained-ash feet, illustrates a combination of comfort and sculptural form. Faina's Victoria Yakusha contributes the 'Sontsehryv' sculpture, which stands out for its sustainable composition. This piece is crafted from Ztista, a proprietary blend of cellulose, clay, flax fiber, wood chips, and biopolymer, reflecting a commitment to eco-conscious design. Streicher Goods, led by Ethan Streicher, showcases a collection of lamps—Archie, Ping Pong, and Drum—fabricated using various stoneware clays, underglazes, mid-range glazes, and sometimes blown glass or 3D-printing processes. These lamps explore diverse material combinations and manufacturing techniques. Mansi Shah of Manu Nanu presents an interlocking vase made of hand-blown borosilicate glass in amber and cobalt-blue, demonstrating a sophisticated approach to color and form in glasswork. Nathan Litera's side table combines natural rope and grand antique marble, offering a textural and material contrast that evokes both rustic and luxurious sensibilities. Astraeus Clarke, by Chelsie and Jacob Starley, features the 'Lenox Small' three-globe light, available in wall sconce and chandelier formats, constructed from powder-coated steel, brass, and glass, indicating a versatile lighting solution. Eduardo Rivas of ERM Studio contributes the 'Materia Digital' cast-aluminum coffee table with a glass top, showcasing a blend of industrial materials with a refined finish. Kiki Goti's 'Belted and Buttoned Up' wall lights, made from aluminum, polished nickel, and steel, exemplify a contemporary and structured lighting design. Feyza Kemahlioglu of Feyz Studio, through Wexler Gallery, introduces the 'Glowing Sentiments' lighting collection, which incorporates hand-blown Murrine glass, brass chain, and Meerschaum, a hand-carved clay mineral, highlighting intricate details and unique material sourcing. Ciara Jade Dockery’s 'Creature Comforts' collection includes a Flokati wool pouf, a Mohair bench crafted from vintage rugs, and a Ply occasional table made of FSC-certified plywood. These pieces emphasize comfort, sustainability, and the repurposing of materials. Matt McKay presents the 'Jib' shearling and lacquer stool, the 'Ahoo' cashmere-upholstered lounge chair, and the 'Cap' resin and lacquer coffee table, all demonstrating a focus on tactile luxury and modern forms. Finally, Michelle McLaughlin of Calyer Ceramics features the 'Sprig' floor lamp, which features a ceramic stoneware base with a handmade glaze and a linen shade, showcasing a handcrafted approach to lighting. #MaterialInnovation #ProductDesign #SustainableDesign #Handcrafted #Ceramics #GlassArt #FurnitureDesign #LightingDesign #InteriorDecor

The exhibition “Je Marchais Pieds Nus Dans L’Étang” by Vincenzo De Cotiis, presented at Carpenters Workshop Gallery in New York City, features a collection of 50 unique works that blur the lines between design and art. This multi-piece spatial composition draws inspiration from Claude Monet’s later water lily landscapes, which became increasingly abstract, translating the ethereal quality of a lily pond into a sculptural experience. The exhibition, whose title translates to “I Walked Barefoot in the Pond,” creates an immersive environment composed of cast white bronze and hand-painted sculpted Murano glass, inviting viewers to experience a marshy dreamscape. The works are characterized by their organic yet slightly sci-fi aesthetic, embracing a duality that De Cotiis describes as both “serene and restless.” Skeletal stems and polished surfaces evoke both natural forms and alien structures, generating a tension between solidity and translucence, stillness and movement. A specially curated ambient soundtrack enhances the meditative atmosphere, encouraging a slow and contemplative viewing experience. Julien Lombrail and Loïc Le Gaillard, founders of Carpenters Workshop Gallery, explain that De Cotiis reimagines Monet's timeless masterpiece through a contemporary sculptural language. The exhibition functions as a cohesive installation, where individual artworks contribute to an overall landscape effect, yet each piece retains its unique significance and identity. The artists discuss how the exhibition primarily explores material transformation, with sculptures appearing as enigmatic creatures with distorted forms and surreal, skeletal stems, reminiscent of water lilies moving beneath the surface. This dynamic spatial composition is designed to make viewers perceive objects differently as they move through the installation, exploring how memory and perception can be distorted or transformed. The use of painted Murano glass and cast white bronze captures the essence of water, with light refracting across the surfaces to create an interplay of opacity and translucency. The exhibition also presents a contemplative counterpoint to the fast-paced urban environment of New York, inviting viewers to slow down and reconnect with the transformative power of nature. By recreating the sensation of a pond with ethereal creatures, the installation encourages a deeper consideration of environmental forces. De Cotiis is noted for his distinctive sculptural language, which merges ancient idioms with futuristic forms. His approach to materials creates otherworldly, reflective surfaces, transforming imperfections and patinas into elements of beauty. In a contemporary design landscape that constantly reinvents age-old materials, De Cotiis suggests that crafted objects can exist simultaneously as timeworn relics and visions of future worlds, pushing the boundaries of collectible design and sculptural practice. #VincenzoDeCotiis #CarpentersWorkshopGallery #SculpturalDesign #ContemporaryArt #MaterialTransformation #Exhibition #MonetInfluence #ImmersiveExperience #CollectibleDesign