Tom Fereday's 2025 NAU Collection: Four Pieces That Speak Through Materia

Petra, a brand founded by Sight Unseen co-founder Monica Khemsurov, unveiled its 2025 sculptural hardware collection during NYCxDESIGN 2025. This collection, which debuted at HOST on Howard, a hospitality-focused gallery by AvroKO, challenges the traditional view of hardware as mere functional elements. Instead, Petra aims to elevate doorknobs, pulls, and levers into small-scale works of art, emphasizing bold silhouettes, unique textures, and tactile forms. The 2025 collection features collaborations with 14 designers, alongside Petra's in-house team. Monica Khemsurov initiated Petra in 2024 to infuse artistic expression into an often-overlooked aspect of interior design. Her curatorial approach, honed through her work with Sight Unseen, focuses on discovering and presenting new and innovative design concepts, particularly those that prioritize materiality and unexpected aesthetics. Among the featured designers, Sally Breer introduced whimsical cast-brass knobs shaped like blueberries and a doorknob resembling a peach. Elyse Graham showcased hardware pieces that utilize her signature resin-layering technique, resulting in designs with a tortoise shell–like finish. Alexis & Ginger contributed visually dynamic black-and-white striped knobs, adding a rhythmic element to the collection. L.A. artist Nick Biddle presented sculptural handles crafted from brass and bronze, drawing inspiration from abstract aquatic forms. Ombia's Mare handles and N Shook's Primavera pulls also feature prominently, offering unique textual and formal characteristics. Forever Studio's Hue knobs bring vibrant colors, while Cultivation Objects' Delos series provides refined designs for knobs and pulls. Pamela Love's Anemone Drop knobs, in collaboration with G. Pajolec, are ornate brass handles shaped like flowers, further illustrating the collection's artistic ambition. Petra's in-house team also contributed a collection of simple wooden handles, complementing the diverse range of artistic pieces. The collection includes various materials such as resin, cast brass, and wood, each chosen to enhance the sculptural quality and sensory experience of the hardware. This new lineup encourages a re-evaluation of hardware, positioning it not as an afterthought but as a significant design component capable of adding character and detail to a space. By focusing on the smallest elements, Petra highlights how even minor touches can serve as canvases for creativity, inviting individuals to appreciate the artistic value in everyday objects within their homes. The collection reinforces the idea that thoughtful design can transform functional items into sources of delight and curiosity. Each piece is designed to engage the senses, encouraging users to interact with the hardware and experience its unique form and texture. This approach aligns with a broader trend in interior design to personalize spaces with distinctive, handcrafted, or artist-designed elements, moving away from mass-produced uniformity. The collaboration with diverse designers ensures a wide range of styles and aesthetic sensibilities are represented, catering to various tastes while maintaining a cohesive vision of elevated design. #SculpturalHardware #PetraHardware #NYCxDESIGN #InteriorDesign #HomeFurnishings #DesignerCollaborations #ArtisticHardware #ModernDesign #ArchitecturalHardware

The Frick Collection, housed in a 1914 limestone mansion in New York City, has undergone its most extensive upgrade in nearly 90 years, allowing visitors for the first time to explore the private second-floor suites of the Frick family. Previously, the museum primarily showcased its collection in the grand first-floor rooms, but now the more intimate, domestic-scale spaces—comprising about 10 rooms and several passageways that once served as bedrooms and sitting rooms for Henry Clay Frick, his wife Adelaide, and daughter Helen—have been converted into galleries. This transformation offers a unique perspective on the collection within a historically preserved domestic setting. Selldorf Architects completed this comprehensive renovation, which opened in April, revealing the grand architectural style and personal living spaces of the early 20th-century industrialist family. A notable artistic feature on the second floor is an enchanting ceiling mural along the corridor, contrasting with the formal interiors. This hand-painted work by John Alden Twachtman depicts cerulean skies and landscapes filled with monkeys dressed in Chinese costumes, engaging in human activities. This playful design is a nod to French Rococo traditions of singeries and chinoiseries, with a particularly charming detail being a monkey lighting candles for a floating lantern near the entrance to Adelaide’s bedroom suite. The mural's commission highlights the pioneering work of Elsie de Wolfe, considered America's first interior decorator. De Wolfe, at the beginning of her career, boldly pitched her services to Mr. Frick in 1914, emphasizing her expertise in detail and understanding of women's spaces, which she argued male decorators often overlooked. Her persistence led to her being hired, and she subsequently created the iconic Boucher Boudoir. This room, a vibrant display of 18th-century French exuberance, features eight cherub-laden panels painted by François Boucher, depicting the arts and sciences. After previously being displayed on the museum’s main floor, the Boucher Room has been meticulously restored to its original location adjacent to Mrs. Frick’s bedroom. This boudoir, serving as Mrs. Frick's private sitting room, is celebrated for its complete ensemble, including its corner location with windows offering views of Central Park and 70th Street. Another significant area now accessible is the beloved breakfast room, where the family shared their first meal of the day. This room, facing east, captures the morning light, creating a warm ambiance, and showcases the domestic routine of the Frick family, where meals were brought up from the lower-level kitchen by a waiter. To commemorate these enhancements, the museum is hosting the exhibition "Vermeer’s Love Letters" throughout the summer. This exhibition reunites the Frick’s masterpiece, Vermeer’s "Mistress and Maid," with two special loans: "The Love Letter" from Amsterdam’s Rijksmuseum and "Woman Writing a Letter" from the National Gallery of Ireland. Displayed together in a single gallery for the first time, these three works offer a fitting tribute to the newly refurbished Gilded-Age museum. #FrickCollection #NewYorkCity #MuseumRenovation #ElsieDeWolfe #InteriorDesign #GildedAge #VermeerExhibition #ArchitecturalHistory #ArtCollection

The "Ferro" collection, a limited-edition series of homeware, is a collaboration between interior designer Tabitha Organ of Tabitha Isobel Studio and multidisciplinary artist and maker Dom Callaghan. This collection, which includes a side table, a mirror, and a wall lamp, embodies a blend of contemporary design and refined craftsmanship, emphasizing the narrative potential of objects within a space. Tabitha Organ's design philosophy centers on the belief that well-considered spaces positively impact daily life and well-being. Her approach to design focuses on how elements within a space define habits and rhythms. The "Ferro" collection marks her first venture into homeware, developed with Dom Callaghan, who brings a tactile and materially expressive sensibility from his background in fine art. Their collaboration was organic, guided by intuition and dialogue rather than a rigid brief. Both designers share a deep respect for materiality, process, and the atmosphere objects create. This shared ethos, combined with their complementary backgrounds—Organ's spatial and atmospheric perspective and Callaghan's material and form focus—resulted in a dynamic creative process. The collection is entirely handmade by Callaghan in his Dartmoor workshop. The side table features a solid London Plane wood top and a brushed stainless-steel leg, while the wall lamp has an origami-like silhouette. The mirror is framed with a checkerboard pattern of London Plane wood, chosen to highlight the natural variations of the timber. Sustainability is a core aspect of the project, with the timber sourced from "Fallen & Felled," a London-based initiative that reclaims and reuses wood from felled urban trees, adding a layer of ethical value to the products. Organ highlights the deliberate paring back of design elements, combining the depth and character of London Plane wood with the precision and reflective qualities of steel. This intentional simplicity aims to foster a calmer, more intentional way of living, imbuing the pieces with a sense of permanence. A distinctive feature of the "Ferro" collection is the hidden joinery, creating a sense of mystery about how the pieces are assembled. This subtle detail underscores the collection's synthesis of contemporary design and fine craftsmanship. The designs are characterized by delicate contrasts, blending softness and rigidity, and presenting a sculptural yet minimalist aesthetic that feels both organic and industrial. The pieces are designed to hold space without dominating it, allowing their materiality to speak within calm and grounded living environments. Callaghan notes the strong silhouettes, repetition of form, and details that reveal themselves upon closer inspection, contributing to the pieces' considered, almost architectural simplicity. The "Ferro" collection serves as an invitation to engage with space more mindfully, reflecting a shared language of restraint and presence. #FerroCollection #TabithaOrgan #DomCallaghan #LimitedEditionFurniture #ContemporaryDesign #RefinedCraftsmanship #SustainableDesign #Homeware #InteriorDesign #FurnitureDesign

Australian interior designer Greg Natale has unveiled his first collection of luxury decorative objects for the home, a 50-piece range crafted from precious materials like marble, shell, and brass. This new line, which includes boxes, vases, ashtrays, bowls, bookends, coasters, and trays, marks Natale's inaugural venture into home accessories since establishing his Sydney-based interior design business seventeen years ago. He has previously focused on larger interior elements such as tiles, rugs, carpets, and wallpaper, but recognized a gap in the market for high-quality accessories that met his specific aesthetic and functional requirements for client projects. The collection was three years in development, a period Natale dedicated to sourcing the finest craftsmen globally to ensure the exceptional quality of each piece. He emphasizes that accessories are the essential finishing touches that complete a room's look, underscoring their importance in interior design. The choice of materials reflects Natale's preference for natural elements and metallics. The lids of the decorative boxes are intricately inlaid with dyed shell, while solid brass forms the basis for bowls, which are often elevated on boule feet or plinths. Candlesticks, vases, and trays are meticulously carved from various types of marble and stone. Natale appreciates the inherent patterns and colors offered by marble and shell, finding them to be rich and dynamic materials. He also highlights brass for its ability to introduce warmth and a burnished glamour into interior spaces. Natale's decision to create his own line of accessories stemmed from a personal need; he often struggled to find decorative items that aligned with his vision while decorating for clients. This challenge motivated him to "roll up his sleeves and create it himself," viewing it as an opportunity to fill a void in the luxury home accessories market. He approached the design of these smaller objects with the same meticulous attention to detail and creative philosophy he applies to designing entire rooms or houses. While the scale differs, the underlying design principles remain consistent: each accessory is considered a design in its own right, yet its role within the broader creative scheme of an interior is always kept in mind. Looking ahead, Natale plans to expand the collection further, with ceramics slated to be added next year. This expansion indicates a sustained commitment to offering comprehensive design solutions, moving beyond foundational elements to encompass the decorative details that personalize and enhance living spaces. The launch of this collection positions Greg Natale not only as a leading interior designer but also as a purveyor of finely crafted home objects, contributing to the discourse around the use of luxury materials and thoughtful design in home decoration. His work echoes that of other designers, such as Tom Dixon, known for marble tableware, and Mathieu Lehanneur, who creates marble furniture inspired by ocean surfaces, showcasing a broader trend of utilizing natural, high-end materials in contemporary design. #GregNatale #HomeAccessories #LuxuryDesign #MarbleDecor #BrassDecor #ShellInlay #InteriorDesign #AustralianDesign #ProductDesign

Faye Toogood, a British designer, has launched her latest furniture collection, "Lucid Dream," showcased at two New York galleries: The Future Perfect in the West Village and TIWA Select in Tribeca. The exhibition runs from May until June 21, coinciding with the NYCxDesign festival. The collection is notable for its fusion of fine art and furniture, with each piece individually hand-painted by Toogood herself in her London studio, following fabrication by small-scale artisans. "Lucid Dream" presents an experimental and intuitive approach to artmaking, utilizing existing furniture lines such as the Roly Poly Dining Table set and the Gummy furniture line as canvases. Toogood enhances these pieces with expressive and often haphazard painted motifs and shapes, giving them a sculptural quality. David Alhadeff of The Future Perfect characterized the collection as evoking the atmosphere of a "moody evening with Faye," highlighting its vibrant creative energy and expressive color palette, particularly evident in the living space display at The Future Perfect. At the TIWA Select gallery, the nocturnal influences of "Lucid Dream" are emphasized, with Toogood showcasing crumpled lighting made from Japanese paper. These lighting pieces are also adorned with linear improvisations, demonstrating the designer's distinctive artistic style. Alex Tieghi-Walker, founder of TIWA, expressed his belief that "Lucid Dream" underscores the significance of handmade, one-off design. He further remarked on Toogood's ability to bridge the conceptual gaps between two galleries, each with distinct philosophies regarding design and craft, through a cohesive body of work. The collection’s methodology involves a deeply personal touch, transforming functional furniture into unique art objects. Toogood's practice combines industrial design principles with fine art techniques, resulting in pieces that blur the boundaries between the two disciplines. The exhibition aims to offer visitors an immersive experience into her creative process, where each piece tells a story through its spontaneous and dreamlike aesthetic. This approach not only showcases Toogood’s artistic vision but also champions the value of bespoke craftsmanship in an era of mass production. Overall, "Lucid Dream" serves as a testament to the power of artistic expression within functional design. Toogood’s decision to hand-paint each item ensures that every piece is distinct and imbued with an individual character, reinforcing the concept of art as an integral part of daily living. The dual exhibition across two prominent New York galleries highlights the collection's versatility and its capacity to engage with different interpretive spaces, from the domestic setting of The Future Perfect’s townhouse to the more art-focused environment of TIWA Select’s studio. #FayeToogood #LucidDream #FurnitureDesign #FineArt #HandPainted #NYCxDesign #TheFuturePerfect #TIWASelect #Exhibition

Dana Harel, a San Francisco-based Israeli designer, has launched her inaugural lighting collection under her studio, White Dirt. Harel's career trajectory showcases a diverse artistic exploration, starting with architecture and extending into ceramics and line art before her current venture into luminaires. The new collection, dubbed "Ora," comprises three tented table lamps—Ora I, II, and III—and a suspended, trapeze-like floor lamp, Ora IV. These pieces draw inspiration from Harel’s existing body of work, particularly her vases and vessels, which inform their hand-carved sculptural aesthetic. The lamps are crafted using a combination of gypsum cement, muslin, and brass, materials that contribute to their unique visual and tactile qualities. The design intentionally evokes the imagery of draped wedding gowns, suggesting moments of concealed intimacy and exploring the delicate balance between revealing and hiding forms. This interplay of materials and forms allows the collection to convey a sense of fluidity and softness, a departure from more rigid sculptural traditions. Harel describes the process of working with fabric—folding, pleating, and draping—as a refreshing experience, contrasting with her previous work that often involved tools like chisels and hammers. This shift towards softer, more pliable materials allowed her to experiment with light in a new way, focusing on how textiles interact with illumination to create ambiance and shape. The collection's design ethos embraces a certain spontaneity, reflecting Harel’s approach to her creative process. Each piece in the Ora collection stands as a testament to her evolving artistic language and her ability to translate diverse inspirations into functional art. A notable and unconventional source of inspiration for Harel was a scene from the HBO series *Succession*, where characters Tom Wambsgans and Cousin Greg consume a rare delicacy with napkins tented over their heads. This seemingly obscure reference underscores Harel's willingness to draw from unexpected cultural moments, transforming them into artistic concepts. The designer interprets this act of "masking shame" or "heightening pleasure" as a metaphor for the lamps' ability to create intimate, almost cloistered, environments through their draped forms. The sculptural swagger of the lamps is deeply rooted in these varied influences, bridging architectural precision with textile softness and cultural anecdotes. The collection as a whole is an exploration of form, light, and material, reflecting Harel's multidisciplinary background and her continuous quest for new creative expressions. #DanaHarel #LightingCollection #SculpturalLighting #InteriorDesign #WhiteDirtStudio #ProductDesign #TextileArt #ContemporaryDesign

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

The Nola table lamp, a creation by designer Tom Fereday for the Australian brand Nau, is a lighting product featured in the Dezeen Showroom. This lamp is distinguished by its use of hand-cast crystal glass and carved solid stone, materials chosen to contribute to its soft-edged, statuesque aesthetic. The design is characterized by its simple form, which integrates a cylindrical base with a lightly domed top, creating a cohesive and serene appearance. Two primary material options are available for the Nola lamp: crystal and white jade stone. The crystal version offers a translucent quality that allows for visibility of the internal structure, adding a layer of visual interest to the lamp's design. The white jade stone variant provides an alternative aesthetic, emphasizing the natural beauty and smooth texture of the stone. When illuminated, the Nola lamp emits a soft, warm-toned mood light. This effect is achieved through the translucent properties of the materials, which diffuse the light to create an ambient glow. The design intent behind the Nola lamp is to provide more than just illumination; it aims to introduce a sense of tranquility and stillness into its environment. The creators describe the lamp as a means to foster a calming presence, suggesting that its design transcends mere functionality to become a focal point for quiet contemplation. Nau, the brand producing the Nola lamp, highlights its versatility in placement, suggesting it can serve as both a functional light source on a side table and a sculptural element within a space. This dual functionality underscores the lamp's design as an object that is both practical and artistic. The brand further articulates that the Nola lamp is intended to imbue everyday life with a sense of permanence and poetry, reflecting a design philosophy that values enduring aesthetics and meaningful integration into personal spaces. The Nola lamp is offered in two distinct sizes, allowing for different applications and visual impacts within various settings. The specific details of the product include its name, Nola lamp, designed by Tom Fereday for Nau, and the primary materials being crystal glass and jade stone. This product is presented as part of the Dezeen Showroom, a platform that provides a space for brands to showcase new products and highlight designers to a global audience. The article mentions that Dezeen Showroom content is an example of partnership content, indicating a collaborative approach to product presentation. #NolaLamp #TomFereday #NauDesign #TableLamp #CrystalGlass #JadeStone #InteriorLighting #ProductDesign #DezeenShowroom

FMG Fabbrica Marmi e Graniti, a specialist in premium porcelain stoneware from Italy, has launched the latest iteration of its 'Live New Worlds' campaign. This initiative aims to explore new dimensions of creativity by metaphorically positioning its creators as 'ceramic astronauts' and 'mineral explorers.' The campaign highlights FMG's commitment to blending environmental respect with advanced technology, transforming natural materials like sands, clays, and minerals into high-end, large-format ceramic surfaces inspired by natural stone. The 'Live New Worlds' campaign is structured into three key phases: research, study, and vision. The first chapter, focusing on 'research,' depicts an astronaut navigating pristine, ancient terrains and examining the textures and reflections of ceramic surfaces derived from natural stone. This exploration leads to an analysis of the materials' composition, exemplified by FMG’s Calacatta Black MaxFine with a ‘Jewel’ finish. This product, characterized by its deep black hue and vibrant crystal details, showcases the rich material quality achievable through FMG's research-driven approach. The subsequent chapters, slated for release in the coming months, will delve into the 'study' and 'vision' aspects of FMG's development process. The 'study' phase involves a detailed examination of stone fragments' multi-layered composition, assessing the potential for creating technically and aesthetically superior factory-made surfaces. This includes a thorough analysis of the properties of the sands, clays, and minerals used in the production of large-format ceramic surfaces. The astronaut's attention shifts to Crema Avorio MaxFine, a product designed for both performance and sophisticated aesthetics. The 'vision' chapter brings the creative journey to the factory, which serves as the core of the transformation process. Here, intuition, knowledge, and technology converge to create FMG's surfaces, maintaining an authentic connection to the natural world. Alaska White MaxFine, with its rich colors and complex textures, embodies this process of transforming raw materials into high-performance design solutions that redefine living spaces. Ultimately, the campaign concludes with the astronaut's immersive final foray, where the intricate details of the porcelain stoneware surfaces are revealed with clarity, inviting viewers to appreciate these materials from a novel perspective. This campaign underscores FMG's dedication to innovation, sustainability, and the artistic transformation of natural elements into sophisticated design products for interior applications. #FMG #PorcelainStoneware #CeramicSurfaces #LiveNewWorlds #InteriorDesign #MaterialInnovation #SustainableDesign #CalacattaBlack #CremaAvorio #AlaskaWhite

Fendi's participation in Design Miami 2024 features a capsule collection titled 'Aenigma,' created in collaboration with furniture designer Lewis Kemmenoe. This collection marks Fendi's continued presence at Design Miami since 2008, known for showcasing luxury craftsmanship and rich materiality through innovative collaborations. Kemmenoe's inclusion places him among a distinguished group of designers who have previously partnered with Fendi for this event, signaling his rising prominence in the design world. The 'Aenigma' collection encompasses three chairs, a wall panel, vases, lamps, a table, and a cabinet. These pieces offer a contemporary interpretation of modernism, integrating functional and sculptural elements. The designs combine organic materials such as wood, bark, alabaster, and stone with metals like aluminum and brass. A distinctive feature is the use of patchworked panels, which subtly allude to the outlines found in garment patterns. Kemmenoe's creative process for this collection was significantly influenced by a visit to Fendi's headquarters in Rome. During this trip, he explored iconic Roman landmarks like the Vatican and the Borghese Gallery. The grandeur of the architecture and the organic forms in Caravaggio’s art resonated with his artistic vision, validating and enriching his existing exploration of organic shapes and tactile materials. He found particular inspiration in the Vatican's relief sculptures, noting how the placement of elements within these spaces informed the arrangement of organic forms in his furniture. Further inspiration came from Fendi’s archives, where he discovered handbags featuring leather and wood panels that mirrored his material sensibilities, bridging traditional craft with modern design. Kemmenoe's journey into furniture design evolved from his background in fine art at Central Saint Martins and design at the Royal College of Art, followed by freelance work in film and architecture. The Covid lockdowns provided the opportunity for him to shift his focus from abstract sculptural work to more functional furniture. By 2021, his distinctive aesthetic, characterized by material-led, midcentury-inspired designs, had gained significant recognition. His design philosophy is intuitive, allowing materials to dictate the final form. Kemmenoe, who is not a conventionally trained carpenter, approaches design with a unique perspective, often subverting traditional expectations. His work balances functionality with a sense of intrigue, drawing inspiration from Japanese and American modernism, particularly the works of George Nakashima. He admires Nakashima’s approach to materials, allowing them to speak for themselves, a principle Kemmenoe integrates into his own practice by working with, rather than against, the natural properties of wood and other textures. Fendi granted Kemmenoe significant creative freedom for the collection, which he describes as both exciting and challenging. This autonomy required him to trust his instincts in realizing his vision. The collection explores the intersection of art and design, exemplified by the chairs produced in contrasting brass and aluminum versions, creating a visual dialogue between materials. This contrast between rough and smooth textures is central to his practice. The 'Aenigma' collection also includes organic-shaped lamps inspired by Isamu Noguchi's paper light sculptures. Crafted from backlit wood veneer, they emphasize the material's grain and create a soft ambiance. Kemmenoe also incorporates alabaster, a material with historical ties to Rome, into a series of vases for the collection. He expresses interest in future collaborations, specifically with Fendi Casa, and aims to expand his global presence. #Fendi #DesignMiami #LewisKemmenoe #FurnitureDesign #LuxuryCraftsmanship #Modernism #InteriorDesign #Materiality #SculpturalFurniture

Tom Kundig, a principal at Olson Kundig, shares his insights and inspirations in a special Friday Five segment. Kundig's early life, influenced by his architect father, initially led him away from architecture towards science, seeking poetry in the natural world. However, mountain climbing, with its emphasis on elegant problem-solving, eventually guided him back to the field. A pivotal mentor was sculptor Harold Balazs, whose free-spirited experimentation instilled in Kundig a confidence to embrace risks, a trait that continues to define his life and work. Kundig's architectural philosophy centers on the symbiotic relationship between people and their environment, emphasizing how built structures interact with cultural contexts. His designs are characterized by their subtle strength and deep connection to the human experience, always respecting the surrounding landscape. He is known for integrating mechanical 'gizmos' into his projects, which highlight the wonders of physics and create tactile, engaging moments that stand in contrast to the pervasive digital experiences of modern life. Kundig collaborates extensively with artisans and engineers, pushing design boundaries and fostering the evolution of his practice. Despite the advanced nature of his projects, Kundig maintains a preference for analog methods, particularly drawing, to capture and develop his ideas, viewing it as the most direct link between thought and execution, and a comprehensive tool for communication and design. In the Friday Five feature, Kundig discusses five personal items that hold significant meaning for him. The first is a seal sculpture by an Iñupiaq artist named Luke, acquired in Anchorage in the 1980s. Carved from geological core, the sculpture embodies a quiet honesty and the harsh beauty of its maker's world, serving as a powerful reminder of raw, uncompromising landscapes. Next, he speaks about his custom-made cowboy hat by Ritch Rand. This hat is more than an accessory; it's a personal connection to the high desert, forests, and rivers that have shaped his life, embodying the rugged, land-connected lifestyle he admires and representing the inseparable qualities of function and beauty. His third item is a Jeep Wrangler, modified by American Expedition Vehicles, which he values for its representation of adventure and purpose. Its ability to navigate diverse terrains, from urban centers to mountains and shores, symbolizes exploration and curiosity, with its iconic beauty stemming directly from its function. The fourth item is the pencil, which Kundig describes as the literal link between thought and paper. He highlights its power as a simple, tactile, and portable tool for sketching, editing, communicating, and explaining ideas, emphasizing its timeless utility in an increasingly digital world. Finally, Kundig presents a maquette sculpture by his mentor, Harold Balazs. This small white sculpture, one of seven made by Balazs near the end of his life, possesses an ethereal quality, bridging the finished and the in-progress. It reflects Balazs's genius in leaving space for interpretation and his ability to merge art, craft, and life into a continuous experiment. Balazs's unconventional inspiration, such as hot rods, instilled in Kundig a spirit of audacious creativity and a relentless drive to create, which the maquette now serves as a reminder of in Kundig's studio. #TomKundig #OlsonKundig #Architecture #DesignProcess #CreativeInspiration #ArtAndCraft #ArchitecturalDesign #FridayFive

This article explores the immersive and unconventional art installations of New York-born, Los Angeles-based artist Tita Cicognani, focusing on her use of hot tubs as central elements in her multimedia works. The artist’s practice, which largely involves sculpture and assemblage, took a unique turn with the integration of hot tubs, driven by a desire for physical interaction and shared experiences, particularly during the COVID-19 pandemic lockdown. Her works contrast with the trend of “dematerializing practice” in the art world, instead embracing the tactile and communal. The piece begins by describing Cicognani’s current installation, "Heart Tub" (2022), at the Hammer Museum, where visitors can reserve 45-minute slots to soak in a heart-shaped, red crocodile-skin vinyl hot tub. This installation is designed to evoke a sense of "tackiness" and "religious frenzy," adorned with embedded video screens displaying floating holograms of flying saucers and bubbly hearts. The artist explains that this first tub was created during the initial COVID-19 lockdown, stemming from feelings of isolation and a craving for physical connection. The article then details Cicognani's earlier hot tub installations. "Mothership" (2021) was an inflatable pool designed as a "tiny wet fun house," featuring mirrors, LED lights, and a disco ball, reminiscent of a Gravitron ride. This work explored the convergence of religious and corporeal ecstasy. Another significant piece, "Prayer Cards" (2019), involved devotional cards featuring the artist's image in poses suggesting stigmata or submission, printed with the prayer of St. Francis of Assisi, challenging conventional notions of piety with pop culture aesthetics. Her second tub installation, "Grotto Tub" (2022), presented a more visceral experience. Located in an artist-run space in Chinatown, it encouraged a more uninhibited, almost chaotic interaction, with PVC pipes emitting a brown goo and accompanying videos of mud wrestling. This installation, playfully dubbed “art student soup” by a Hammer Museum curator, highlighted a deliberate embrace of the earthy and raw aspects of human interaction. The transition to the Hammer Museum for "Heart Tub" introduced new logistical challenges, including safety protocols, scheduled time slots, and ADA compliance, leading to elements like a chrome heart-shaped handrail. The article also delves into the video component of "Heart Tub," titled "I Still Believe" (2022). This 40-minute looping video, viewed from within the tub, features a green-skinned CGI avatar of the artist navigating a cheap motel with a heart-shaped tub, encountering UFOs, and immaculately conceiving an alien progeny. The narrative explores themes of desire, beauty, and love, drawing heavily from pop music and shiny aesthetics, elements Cicognani previously resisted but has now embraced. The work also has intellectual underpinnings, drawing parallels to other water-based art installations like Hélio Oiticica and Neville D’Almeida’s “CC4 Nocagions” (1973). Finally, the artist discusses the socio-economic implications of embracing "tacky" aesthetics and the interplay between high art theory and pop culture references, such as the film "Hot Tub Time Machine." The experience concludes with the writer reflecting on the custom-made pea-green towels, embroidered with an alien baby and the words "I still believe," which serve as a tangible takeaway from the immersive art experience. This installation, and Cicognani's broader body of work, actively seeks to engage the body and challenge traditional art consumption by bringing viewers directly into the art. #ArtInstallation #MultimediaArt #ContemporaryArt #HammerMuseum #ImmersiveExperience #Sculpture #PopCulture #ConceptualArt

Expanded Eye, an artistic duo composed of Lisbon-based artists Jade Tomlinson and Kevin James, is exploring the divine feminine and the 'peaceful power of the Earthmother' through their recent sculptural works. Their art blurs the lines between abstraction and figuration, incorporating characteristic geometric and figurative elements. The duo is well-known for their unique approach to tattoos and assemblages, which often utilize wood and repurposed materials to create bold and textured compositions. They have temporarily paused their tattoo practice to dedicate their focus to developing these sculptural reliefs. Ceramic work has become a central part of their artistic process, drawing inspiration from Portugal's rich tradition of azulejo tiles, which symbolizes cross-cultural exchange. The artists aim to use this ancient, earthy material to depict serene guardians in earth-toned colors, seeking to evoke a sense of stillness and calm in contemporary society. Their compositions represent a convergence of past and present, exploring themes of timelessness and continuity through traditional techniques of working with clay, carving, and building. The graphic elements and fragmented features within their work also draw parallels to early 20th-century art historical Modernism, particularly the Cubist movement. Tomlinson and James highlight that the fusion of traditional materials with a modern artistic approach is a significant source of inspiration for them, serving as a connection between historical practices and the present day. Expanded Eye is currently undertaking their largest tile commission to date, and they intend to further integrate ceramics with other aspects of their diverse artistic practice. Their work continues to evolve, pushing the boundaries of material and form while maintaining a consistent thematic thread of earthy connection and timeless spiritual presence. #ExpandedEye #CeramicArt #WoodSculpture #Assemblage #FigurativeArt #AbstractArt #PortugueseArt #EarthMaterials #ContemporaryArt

Digital artist Andrés Reisinger has unveiled his latest NFT project, "Winter House," a virtual residence designed in collaboration with architect Alba de la Fuente. This project is a significant step in Reisinger's ambition to establish a metaverse architecture company and broader goal of digitizing real estate and interior design. The "Winter House" is characterized by a clean, minimalist aesthetic inspired by Dieter Rams' 1960s designs, rendered in soothing pastel hues, evoking the serene and frosty quality of a winter day. The collaboration between Reisinger and de la Fuente integrates their respective architectural and creative perspectives to explore new ways of perceiving space. Reisinger's distinctive dream-like aesthetic is evident in the soft, sorbet-like color palette, which transforms the virtual location into a key design element. The architectural layout emphasizes a seamless integration of the indoor and outdoor environments, primarily achieved through extensive use of glass walls that allow natural light to permeate the interior. Throughout the design, thoughtful juxtapositions create a unique sense of balance. The structure, though composed of concrete, appears to float effortlessly above its foundations, conveying a sense of lightness. Similarly, an open-plan layout manages to maintain an intimate atmosphere. The interior styling focuses on creating a cozy ambiance through a harmonious blend of pink tones, some custom-developed by Reisinger himself. These warm hues provide a tranquil counterpoint to the more rigid natural materials such as concrete, glass, and steel used in the construction. For Reisinger, "Winter House" serves as an opportunity to merge his expertise in both the art and design realms, creating a unique hybrid that combines digital and physical production methods. The project reflects his diverse inspirations, culminating in a virtual sanctuary that embodies the stillness of winter. Reisinger explains that the vision was to translate the feelings of quietness, stillness, and comfort associated with the cold season into a residential form within the metaverse. This project thus not only pushes the boundaries of digital architecture but also redefines how we might experience and interact with residential spaces in virtual environments. #AndresReisinger #NFT #MetaverseArchitecture #DigitalArt #VirtualRealEstate #AlbaDeLaFuente #MinimalistDesign #PastelColors #InteriorDesign #FutureOfDesign

This article, part of a weekly series spotlighting the latest product debuts in the marketplace, presents a curated selection of new launches in home furnishings and materials. The featured introductions span various categories, from furniture and wallcoverings to surfaces, lighting, and textiles, offering a comprehensive overview of recent innovations in interior design. RH's fall 2025 “RH Interiors” sourcebook is highlighted for its reinterpretation of classic designs with a modern sensibility. Key pieces include the 1970s brutalist Adilon tables, the Modena sofa featuring a sleek slipcover, the Calamette chandelier by Jonathan Browning with onyx paneling, and the Toulouse canopy bed, a Julie Lawrence creation crafted from sand-cast solid iron. These pieces collectively showcase a blend of historical inspiration and contemporary execution, emphasizing sophisticated aesthetics and materiality. Fromental's "Phantasm" wallcovering, designed by Amy Lau, is another notable debut. This wet-dyed silk mural, originally a custom piece for Lau's home, draws inspiration from iridescent Loetz glass. It features a painterly polychromatic pattern and metallic accents reminiscent of Gustav Klimt's work. A portion of the proceeds from its sale supports causes selected by Lau’s family, adding a philanthropic dimension to the product. Cambria introduces four new quartz surfaces, expanding its collection of American-made materials. These include "Traymore Bay," a misty neutral; "Claremont," characterized by chocolate and taupe veining; "Kenwood," a marbled ivory design; and "St. Isley," a bold blue-gray with dark wavy lines and white crackles. These surfaces provide diverse options for countertops and other applications, catering to various aesthetic preferences. To commemorate a decade of collaboration, Brooklyn-based Remains Lighting and Los Angeles design studio Commune launched an anniversary collection. The collection features eight new lighting designs, such as blown-glass Cylinder lanterns and brass-mesh Linear sconces. Additionally, it includes the curvaceous Halo mirrors and a range of storage accessories with faceted edges and perforated detailing, blending functionality with distinct design elements. Nurture by Nature, a collectible design gallery in Burlington, Vermont, is set to launch with its inaugural exhibition, “Unknown Friends.” This exhibit will feature 34 handcrafted works by 15 makers, available for public viewing and purchase. Featured pieces include Yuxuan Huang’s Lamp I, made from bamboo and hand-painted mashi paper; Luke Malaney’s reclaimed-wood Gambler cabinet; and Anna Gukov’s ceramic Tassel Il sculpture, showcasing a commitment to artisanal craftsmanship and unique design. Chaddock unveiled its first collaboration with Palm Beach County designer Allison Paladino. This made-to-order, 14-piece collection, produced in North Carolina, includes the French deco-inspired Kuester ottoman, the architectural Randee chair, and the Sir Martin mitered sectional. The sectional is distinguished by its clean lines, canted front, and column-like ends, reflecting a focus on tailored design and quality. OuterClé, a division of Clé Tile, introduced the "Lido Splash" collection of graphic pool tile mosaics. Designed to evoke a Mediterranean aesthetic, the collection features 18 distinct mosaics in various multitonal hues, such as "Pavone" (cool blue) and "Meraviglia" (warm neutral). These tiles can be combined to create customized focal points in outdoor spaces. Pindler’s "Mini Prints" collection showcases small-scale patterns printed on a cotton-linen ground. Available in seven colors, the collection includes designs such as the striped "Tilly," the floral "Fearne," the ikat-esque "Imogen," the dotted "Evienne," and the quatrefoil "Gemma." These textiles offer versatile options for adding subtle pattern and color to interiors. Studio Abrash, an India-based rug manufacturer, launched a new line inspired by William Morris and the Arts & Crafts movement. This collection features 10 hand-knotted rugs made from pure wool and silk, incorporating art nouveau botanical designs. Examples include the acanthus-clad "Eden," the marigold-covered "Mary," and the iris-filled "Luna," reflecting a revival of historical textile motifs. Finally, WallPops collaborated with Bangladeshi American designer Nabela Noor on a line of peel-and-stick wallpapers. The collection features four South Asian block print–style patterns: the sari-inspired "Aliviya," the banded "Zareen," the paisley-accented "Faiza," and "Safia," which features a traditional buta motif. This collaboration brings culturally inspired designs to accessible home decor solutions. #ProductPreview #HomeFurnishings #InteriorDesign #NewArrivals #LuxuryDecor #TextileDesign #SurfaceMaterials #LightingDesign #FurnitureDesign

The field of fabrication technology is continuously evolving, with 3D concrete printing emerging as a promising method for creating complex and large structures efficiently. This innovative process significantly reduces the time required for production and minimizes waste by eliminating the need for traditional molds. A notable application of this technology is seen in the collaboration between designer Philipp Aduatz and Austrian manufacturer incremental3D, resulting in a collection of gradient furniture and vases. This collection includes benches, a chair, and a large vase, all fabricated using 3D concrete printing. A key aspect of this project is the ability to dye the concrete directly during the printing process. This approach offers both ecological and economic advantages by reducing labor, material waste, and production delays. While concrete typically possesses low tensile strength, the designs in this collection incorporate steel reinforcement, seamlessly integrated into the structural integrity of each piece. The reinforcement is crucial for ensuring the durability and stability of the furniture, addressing a common limitation of concrete as a primary material in such applications. Philipp Aduatz's artistic vision for this collection is heavily influenced by the concept of gradients. He describes his long-standing fascination with gradients, perceiving them as embodying elegance and harmony. For Aduatz, the gradient is a fundamental design principle that bridges the perception of the physical environment with its digital representation, attributing to it a mathematical aesthetic and precision. His objective with this project was to merge the inherent beauty and structured nature of gradients with functional objects, leveraging advanced fabrication technologies like 3D concrete printing to bring these intricate designs to fruition. The gradient effect is achieved through precise control over the dyeing process during printing, resulting in visually striking and unique pieces. The collaboration between Aduatz and incremental3D highlights the potential of 3D concrete printing to push the boundaries of design and manufacturing. By combining innovative technology with a thoughtful artistic concept, they have created a series of objects that are not only aesthetically pleasing but also demonstrate the practical benefits of modern fabrication techniques. The collection serves as an example of how technological advancements can support and expand creative expression in industrial design, offering new possibilities for material usage and form creation in furniture and decorative items. The pieces showcase the versatility of 3D printing in producing customized, structurally sound, and visually engaging concrete objects for contemporary spaces. #PhilippAduatz #3DPrinting #ConcreteFurniture #GradientDesign #Incremental3D #InnovativeFabrication #SustainableDesign #ModernFurniture #ProductDesign

Allied Maker, a New York-based design and manufacturing studio founded in 2012, recently introduced four new lighting fixtures at the Architectural Digest Design Show. The studio is known for its minimalist designs that emphasize the inherent beauty of materials such as brass, glass, and hardwoods. The newly unveiled collection continues this aesthetic, incorporating both angular, structural lines, specifically triangles, and soft, curving circular forms into their latest creations. One of the new additions is the Tri Cone Pendant, a fixture that features a cone-shaped shade designed to direct a focused beam of light. This focused illumination is achieved with a glass disc, all contained within a tetrahedron-inspired structural frame. The design seamlessly blends geometric precision with functional lighting, creating a visually compelling piece that is both modern and elegant. Another significant launch is the Grand Aperture 4, an expanded version of Allied Maker's existing Aperture 4 chandelier. This larger chandelier is specifically engineered to make a substantial visual impact in spacious environments. It comprises four glass domes strategically placed to encircle four distinct light sources. This arrangement ensures a broad and even diffusion of light, making it suitable for grand living areas or commercial spaces where significant ambient lighting is desired, all while maintaining a sophisticated aesthetic. The collection also includes the Contour Wall Lamp 22”. This wall-mounted fixture is characterized by its graceful, hand-bent arc, which extends to connect with a glass sphere. The design's functionality is enhanced by its ability to swivel against the wall, allowing for adjustable lighting direction and adaptability to various room configurations. The elegant curve and spherical element offer a blend of art and utility, providing both illumination and a sculptural presence. Completing the quartet of new fixtures is the Concentric 15”, a versatile piece designed for either wall or ceiling installation. This fixture stands out due to its handcrafted wooden dome, which features a series of concentric circles. These circles create a topographic effect, giving the fixture a unique textural and visual depth. The pleasing arrangement of the concentric rings adds a subtle yet striking decorative element to any space, reinforcing Allied Maker's commitment to thoughtful design and meticulous craftsmanship. These new offerings from Allied Maker reinforce their dedication to creating lighting solutions that are not only functional but also serve as artistic statements within a space. The combination of high-quality materials, expert craftsmanship, and a keen eye for minimalist design ensures that these fixtures enhance the ambiance and aesthetic of contemporary interiors. #AlliedMaker #LightingFixtures #ArchitecturalDigestDesignShow #MinimalistDesign #BrassLighting #GlassDesign #Chandeliers #WallLamps #HomeFurnishings

French architect Jean Nouvel has expanded his furniture design portfolio with 'Mia,' a new outdoor furniture collection for the Italian brand Emu. This collection, consisting of tables and chairs made from steel and aluminum, features a distinctive design characterized by 'jaunty angles and simple lines.' Initially conceived for the Mia restaurant within the new RBC Design Centre in Montpellier—another project by Nouvel scheduled to open in the autumn—the collection has now transitioned into mass production, making it accessible to a broader market. Nouvel describes his approach to furniture design as an exploration of 'elementarity,' emphasizing the essence and character of an object rather than merely simplifying its shape. He views himself as an architect who designs like an architect, contrasting his method with that of a stylist. Despite some perceiving his work as minimal, he asserts that his focus is on capturing the fundamental nature and function of a chair or table. He highlights that designing a chair is one of the most challenging tasks, a sentiment he shares with figures like Mies van der Rohe, who famously stated that designing a chair is more difficult than designing a skyscraper. Nouvel's design philosophy for the Mia collection involved a deep engagement with Emu's manufacturing techniques and materials, aiming to create a product that reflects the company's spirit while maintaining a simple yet optimistic identity through angular joints. The Mia collection, while sharing a complementary spirit with Nouvel's architectural work, is not directly designed to reflect the specific character of the Montpellier building. Instead, it embodies a broader stylistic consistency found across his diverse creations. The collection offers a variety of pieces, including stackable seats with and without arms, armchairs, a high stool, a bench, and two tables. The chairs feature tubular steel frames with laser-cut aluminum seats and backs, while the tables also use tubular steel frames paired with fold-down tops made from hot galvanized sheet metal. Nouvel also discusses his engagement with limited-edition design, citing examples such as pieces for the Gagosian Gallery. He notes that he is establishing a showroom in Paris to present a curated selection of his furniture, aiming to provide a comprehensive understanding of his design philosophy of 'elementarity.' This initiative is driven by his desire to clarify his identity as a designer, as he does not produce a large volume of products annually like some contemporaries. The showroom will allow viewers to see the cohesive style and underlying principles across his various furniture creations. The 'Mia' collection therefore represents a significant step in making his distinctive design approach more widely available and understood. #JeanNouvel #FurnitureDesign #OutdoorFurniture #Emu #ArchitecturalDesign #ProductDesign #Montpellier #ItalianDesign