Originally built in the 60s, the Thunderbird Heights Residence was in need of a renovation to update it for modern times. Stuart Silk Architects were challenged by the Rancho Mirage, California, project as they wanted to retain its mid-century charm while creating an open, light-filled home for today’s lifestyle.
The ranch is located on a 1.3 acre lot just above the Coachella Valley with the Santa Rosa Mountains just off in the distance behind the backyard. Situated on the middle of the property, the 6,357-square-foot home remains remarkably mid-century feeling without looking dated.
Large roof overhangs were added to help shade the interior from the hot sun while increasing the outdoor space’s usability.
Floor-to-ceiling windows were added to ensure views of the surrounding landscape and mountains were maximized. They also fill the interior with lots of natural light throughout the day making it feel larger and brighter.
The freshly remodeled interior boasts a new floor plan that opened the spaces up for better functionality.
Polished white terrazzo floors set the tone with wooden ceilings, fun colors, and interesting architectural elements offering visual interest throughout.
The kitchen and living room now open to two terraces, extending the usable square footage.
Additional bedrooms were built to create a total of five, including the master bedroom that has a bathroom with a private outdoor shower attached to the main shower.
Photos: David Papazian
Milan Design Week concluded on Sunday, April 14th last week. Thereafter, installations were brought down, showrooms shuttered. But if design weeks are about brands and designers putting their most attractive foot forward to lure in clients and the crowd, then these eye-catching installations, short-lived as they are, have succeeded in their mission of creating an awareness of the people and studios behind them.
Formations, inside the historic Milanese library Circolo Filologico, showcases all the ways that French floor and wall covering company Tarkett’s new iQ Surface material can be molded, bent, shaped, and used to furnish all kinds of spaces. The Stockholm-based Note Design Studio worked with Tarkett to conceive of something certainly noteworthy here: under a glass roof, in a spacious lobby, 24 speckled columns in shades of red, navy, white, and grey are topped with silver spheres, coral cubes, cones, spheres, and other assorted totems.
It’s an exercise in subtle showing off: instead of exhibiting how Tarkett’s new vinyl flooring can be used in various domestic roomscapes, the sculptural installation invites people to touch, play, and even rest. Yes, rest: one of the most important things a design exhibition can do, at Milan Design Week, is to create a space for visitors to slow down, rest, charge their phones, and just take in the sight of something without having to explicitly interact with it.
Aesthetics aside, the iQ surface is actually made from a quarter of recycled materials. At the end of the installation, the surface can be taken back and reused for the future.
Whether wandering through the Sala Liberty, or into one of the meetings rooms Tarkett designed with iQ Surface flooring and Magis’ furniture, or through the library room where smaller volumes are wrapped in iQ Surface to show—up close—the possibilities that this material can be made into, we never felt like there was something being sold to us. It felt more like a sculpture park or an art gallery, something made for pleasure rather than for purchase, and that pretty terrazzo-like surface has been stuck in our minds since.
In Sala Reale at Milan Central Station, Advantage Austria, created by architects Michael Vasku and Andreas Klug, transformed what was once the waiting room of the Royal House of Savoy into a “design pool.” All day, we saw visitors wade, run, swim, roll, bellyflop, through a sea of foam that was interspersed with designer objects propped on lavender colored pedestals. Groups came in to sleep within the styrofoam puddles and create styrofoam showers for their Instagram photos. One suggestion, though: what gives pleasure might not be the world’s treasure. Foam isn’t the most environmentally sustainable material, and while we’ll remember this approach to presentation, maybe there can be something else to shimmy through next year that won’t sit in the landfill for centuries after.
Nilufar Depot’s exhibition FAR, created by Studio Vedèt with exhibition design by Genoa-based Space Caviar, creates a fluid galaxy with habitable, translucent membranes. Elevated gobbles, injected with furniture, surround an open wide floor that doubles as a gallery space for some quaint, colorful designer objects. Whether you’re a bubble person or someone more down-to-the-floor, this place was made to delight.
For heated tobacco/vaping brand IQOS, British sculptor Alex Chinneck employed his signature rip/unzip effect to a building in Milan’s Tortona district. As the building’s 17-meter-wide wall appears to fall off, the interior layer reveals a blue light, similar to a vape pen that illuminates the street at night. The interiors of the building feature the same style replicated on the walls and the floor.
Even though these installations have a life of only a week, they’ve set people talking about the brands who helped to conceive them, and in Milan, it’s not just all the high-end sofas and designer lamps we see that’s important, it’s what’s left on our minds a week after that counts.
Since its launch in 2013, ANDlight has designed and produced functional lighting that feels authentic and approachable. The Vancouver-based company recently unveiled three new collections at Euroluce, designed by Lukas Peet and Caine Heintzman – the Pebble, Array, and Vale series. The Pivot series, as well as an addition to the Spotlight series, round out ANDlight’s 2019 releases. Each lighting solution has almost endless possibility and versatility, with a variation of form, finish, and material.
The Pebble series is a celebration of stones, translated as translucent sculpture and blown glass. The irregularly paired shapes take on different forms from different perspectives, each with four possibilities for finishes. The Pebble series offers a double glass pendant as well as a single glass sconce version.
“The initial inspiration for the series was the inherent beauty of river rocks—seemingly simple, the complexity of their form and how they interact are the result of thousands of years of sculpting by nature. Glass blowing was an interesting process to utilize for this idea, as the process is enabled for manipulation and malleability of the material. I wanted to allow these primordial shapes to glow—adding to their profoundness and giving them a soul,” said designer Lukas Peet.
The Vale series features a sort of undulating profile thanks to its curvature, creating a gradient of diffused light. The fixture may suspend horizontally or vertically as well as singularly or grouped. The Vale series is available as a single pendant as well as a surface mount.
“Dynamism, created by juxtaposing light with a wave-like contour fueled the initial research. Exploring scale, pitch and frequency, and various materials helped settle for the most effective and interesting radiance. Focused specifically on the lens of the luminaire—the process development determined form and functionality as it needed to be lightweight and translucent, yet able to create volume,” said designer Caine Heintzman.
The Array series diffuses light to create an ambient aura in any space thanks to its circular panels, much like the moon reflects light from the sun. The fixture is available as a single or multiple fixture, as well as in multiple finishes.
Peet shared, “The starting point for the Array collection was a subtle indirect light fixture. The components’ form and finish were elegantly refined to reflect the light source, while remaining functional as well as approachable. The fixture’s methodical form and orderly rhythm is contrasted by the subtly textured and seemingly disorderly natural stone-like finish. The Array family is quite technical, yet pure and minimal in the end.”
The Pivot series is lighthearted and playful in design. The shade balanced upon an opalescent globe, directing light down as well as up and allowing for easy adjustments and dimming with a large spherical knob. Pivot is available in three natural stone-like finishes.
“The idea for the Pivot was to create a friendly and approachable table light that was based on a number of functional elements. The shade ‘pivots’ on the glass light source, allowing for directional downlight and constant uplight. The large spherical dimming knob mirrors the glass globe while also being a point of contact and adjustability. The cord length can be adjusted by simply wrapping or unwrapping it around the base underneath the fixture,” Peet explained.
Meanwhile, ANDlight’s Spotlight series has added a floor lamp to its collection. Inspired by, yes spotlights, the series is based on four shade profiles that can be combined in 16 configurations for various amounts of both down- and uplighting. The Spotlight Volumes Series features a pendant and table light version, alongside the new floor lamp.
Paul Anthony Smith pierces and picks the surface of his photographs thousands of times to create a surface that is both scarred and dazzling; that is visually magnetic and yet obscuring. The textured images are on view in a double-venue show titled “Junction” at two Jack Shainman Gallery locations in Chelsea, New York through May 11th, 2019.
Paul Anthony Smith uses a technique he calls “picotage”, to cut into and lift the surface of the photograph into geometric patterns over images he personally photographs. When viewing the works in person, the greatest surprise is that the white sections change and introduce NEW patterns when viewed from the right or the left. Visible in the two images below, this strange phenomenon is the result of the angle he gouges the paper. When viewed from an angle, the scars in the paper will either mask their damage or reveal more of the torn white paper. So the thick white bars in “Junction” (below) will split into a dark stripe and a light stripe when viewed from the side, and then reverse when viewed from the opposite side. In the same way, Smith can reveal or hide select portions of the image when viewing from an angle.
The content of the images explores “the rich and complex histories of the post-colonial Caribbean and its people”. Smith was born in Jamaica and currently lives and works in Brooklyn, so the images are photographed in both places. For the New York images, dancers and crowds are captured at the West Indian Day Parade, an annual celebration of Caribbean islands and culture. The geometric patterns are references to “breeze block fences”, an architectural element in the Caribbean that are designed to partially veil and obscure. Those patterns perform that same sense of voyeurism, mystery, or an uneasy sense of imprisonment or separation from the subjects of the image. A tropical beach when viewed through a chain-link fence, for example, doesn’t feel much like paradise.
And yet, there is joy in every image, as those same scars seem to sparkle like sequins as you walk around the gallery.
These works speak to extremely complex and often dark personal histories of displacement, colonization, belonging, and cultural pride. And I’m not an expert on any of that. But that’s exactly why this work is so incredibly successful, and why I’ve visited 3 times now.
The best art in the world doesn’t scream or lecture at a viewer, nor does it gently satisfy with something known. Great art makes you curious about something that has always been there, but wasn’t in your personal field of view. Paul Anthony Smith has beautifully damaged photographs with exceptional precision, and in doing so has locked the viewer (joyfully) in front of his images for several minutes as patterns shift with angled views. And what remains when walking out of the gallery is an insatiable curiosity about these histories and issues. For me personally, I’ve already marked my calendar for the next West Indian Parade.
All images © Paul Anthony Smith. Courtesy of the artist and Jack Shainman Gallery, New York.
In less than a month, the International Contemporary Furniture Fair (ICFF) opens its doors to showcase the latest and greatest in design for its 31st edition of the show. We’re excited because this is also the fifth year that we’re bringing the Milk Stand popup shop back to the show floor! ICFF 2019 takes place this May 19-22, 2019 at the Javits Center. Register to attend here.
The show will be the cornerstone event of NYCxDESIGN week and there are lots to put on your radar. With over 900 exhibitors arriving from across the globe, there’s no shortage of amazing designs to check out. Here are some things you shouldn’t miss:
ICFF Talks always brings a wealth of information and this year’s speakers include Italian architect Piero Lissoni, interior architect Lauren Rottet, and Chad Oppenheim of Oppenheim Architecture + Design. See the full schedule of talks here.
The ICFF Contract pavilion is new this year and will showcase lighting, furniture, flooring, wall coverings, seating, and materials by designers of commercial spaces. Participants will include Arper, Bernhardt Design, Blå Station, Humanscale, Kartell, Loftwall, Materia, Poppin, and Scandinavian Spaces. You can be sure we’ll be posting our favorites over on @designmilkworks.
Explore global design without leaving the city. ICFF will have special pavilions dedicated to regional design, including The British European Design Group, Luxe France, Interiors of Spain, The Italian Trade Commission, Brazil, Romania, Austria, Norway, Scandinavia Poland, and a special Ventura New York – The Dutch Edition presentation.
Finally, it’ll take you a while but take a walk through every aisle of the show floor to check out emerging designers + established brands’ latest collections – we do it every year! ;)
Register for ICFF here.
With just 35-square-meters (approx. 377-square-feet) to work with, MÁS maximized every inch of this Budapest flat. Interior walls were removed to open the space up into one room so that it feels larger. Now that it’s not broken up into tiny rooms, The Zero-Room Apartment has a main space that serves as the kitchen, dining room, living room, and bedroom.
In order to reduce clutter, most of the functions are hidden away. The kitchen, closet, and bed reside behind doors that open or slide away when not in use in order to leave the space looking clean.
Most of the surfaces are an aged metal which can easily feel cold. To balance it out, they incorporated books, textiles, and a long, hanging planter above the kitchen table/island.
A Murphy bed folds up between bookshelves leaving the middle of the room empty during the day.
Photos: David Kis Photography
Fresh off its launch at Salone del Mobile, the Gogan sofa takes a fresh approach with seating design. Its curvy, oversized components reference Japanese stones that become smooth over time thanks to the wind and water. Designed by Patricia Urquiola for Moroso, the plush, irregular shape appears solid yet comfortable to lie on, perfectly positioned to hold its form much like a rock sculpture.
The seat slightly inclines towards the back for added comfort allowing the back cushion to remain low.
Abutments join the seat cushions with the back before running underneath the sofa for its structure, giving it the appearance that it’s floating.
The direction-free bouclé fabric is based on a 70’s fabric found in the Moroso textile archive which gives it a river rocklook.
Photos: Alessandro Paderni
Artist Sebastian Errazuriz’s latest public artwork installation transcends the description of monumental with an effort and scale deserving of the epithet of planetary. blu Marble is a 20-foot LED installation capturing a macro view of our planet created using data from NASA satellites as part of a new campaign, ‘Pledge World by Blu’.
The project cites the 50th anniversary of the first lunar walk and the renowned picture “Blue Marble” photo of Earth captured by the Apollo 17 crew from outer space as inspiration. blu Marble pays homage to the iconic picture using contemporary display technology to raise awareness about our global connections and responsibilities.
blu Marble is a reminder of our miraculously fragile existence. It places our very existence in perspective at a global level – as a tiny spec in space – beckoning us to live fully with an awareness and mindfulness of our limited time on this vulnerable and beautiful planet.
Displayed in cooperation with the New Museum, the blu Marble transformed the Manhattan skyline for a single night using a custom-created LED screen and software designed by Errazuriz to scrape, then merge the live imagery from a NASA satellite into a slow progressive feed of Earth as seen from space.
The result is a fleeting and flowing portrait of a planet not much different than that described by Carl Sagan, who famously remarked our lives were all unfolding upon “a lonely speck in the great enveloping cosmic dark…underscor[ing] our responsibility to deal more kindly with one another, and to preserve and cherish the pale blue dot, the only home we’ve ever known.”
One of the UK’s leading product designers, Lee Broom, has created a significant landmark exhibition with Park Life. The 4,000 square foot installation – Broom’s largest yet – is set in an underground car park in Sydney, Australia, directly below Space Furniture’s flagship showroom.
By transforming the industrial space into an interpretation of a traditional 18th century pleasure garden, Park Life takes guests on a journey through hidden passages with 16 vignettes that showcase the brand’s lighting, furniture, and accessories in an entirely new way. This modernist take gives the guest a sense of escapism, amusement, and drama – all of which Broom is known for.
Lee Broom commented, “I am delighted to return to Australia to present this exciting exhibition with Space Furniture and visit Singapore for the first time during Singapore Design Week. Australia has been a big supporter of my work for many years and it is an honour to create such a significant installation to showcase my collection in Sydney.”
Park Life also debuts a new version of Broom’s award-winning Eclipse lights, this time in a polished gold finish. A sculptural silhouette with a mobile-like quality, Eclipse features mirror-polished gold and acrylic discs that interact with one another for a warm illumination. It will be available as a single pendant, a chandelier, and a table lamp.
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Individuals who consider themselves creative usually have some crossover in mediums and disciplines, sometimes their current body of work is lightyears away from where they first began. Aside from that, few artists have the ability to successfully transition in a professional way from one medium to another. Then there is Lindsey Hampton. An established professional in both the worlds of graphic design and ceramics where the two meld together seamlessly through her aesthetic. We talked to her about practices, her two-pronged cross-discipline business, and how Squarespace’s selection of award-winning templates, e-commerce capabilities, and marketing tools help her business thrive.
The first thing we had to know is whether design or ceramics came first in Lindsey’s creative evolution. How do the two practices play off of one another when she’s creating? What commonalities emerge?
“Design definitely came first. I started my career as a graphic designer long before I ever touched clay. so my design brain was pretty strong by then. And because I’ve spent a long time in that headspace, I approached ceramics in a very similar way. It’s still a visual communication, it’s still problem-solving. If I want a handle to be a certain shape, what shape should the body be? Both practices are all about balance, weight, and space. They are both about evoking a feeling,” Hampton shared with us.
You can have a dozen graphic designers, ceramicists, etc. in the same room, working on the same project, and each one will approach it differently. Ideation and process are endlessly fascinating and we wondered how Lindsey approaches her work, in this case what creating a piece of ceramics is like in her studio.
She says, “There are mainly two processes I go through, a production method and a more organic method. The production method is very meticulous. Clay is weighed to a specific amount and then thrown to exact measurements. I keep a book where I sketch out and jot down the measurements and weight of any and everything I’ve ever made more than one of. The organic method is when I just take a hunk of clay and throw it down without any preconceived notion to see what it’s going to end up as. Each move is made in the moment. Even when it comes to glazing, I rarely decide beforehand what I’ll end up doing, I really just try to let it happen. It’s often that things I make organically end up being transferred into production but not always, sometimes it’s nice for something to just live as it is but I think I need the balance of both to be able to make things work.”
Rarely will you find two businesses that have taken the same path, so we often wonder where one has come from and how it arrived at its current place. Lindsey’s design and ceramics business has its own trajectory that we wanted to know more about.
“I know that I wouldn’t be doing what I’m doing without Instagram, but that was really just good timing. I started posting my work right from the beginning when Instagram was in its infancy. There was that exciting time when you’d discover someone new every day, and shops and boutiques and artists and designers were all new on the platform and just super stoked to be finding each other. I was able to start selling my work at some great shops and the demand kept building. I was working a full-time design job that paid well but that I didn’t necessarily like, which made it easy to leave and set up my own studio. I’ve been able to dedicate a lot of time to build things slowly and never produce more than what people wanted. It’s still not something I think of as a business, I’m just a person that makes things that people buy. It’s nice!,” Hampton said.
It’s tough running a business on your own, so it’s nice to be able to reach out to trusted partners to handle the things you know nothing about. We talked to her about how Squarespace helps to streamline her business and allow her to focus on creating.
“I’ve always loved grid style portfolios, it’s so nice to be able to get an overall vibe of someone’s work in a single glance. That’s what drew me to Wells template. I did a lot of editing of my photos so they would work well as a whole set when you view them in a grid. I focused a lot on the type and the colour palette, and I stuck with two typefaces and three colours, being confined to only a few elements makes it feel really crispy and consistent.,” Lindsey said.
She also shared, “There’s an ease to Squarespace that makes it feel like you don’t totally need all of your shit together to be able to look like you do. I’m a one person studio so being able to make something, photograph it, put it online, and sell it is very gratifying. I’m solely involved in every single step and I never have to worry about the e-commerce side of things. I know that if I put something up and someone wants to buy it, it’s no problem at all, it’s easy for them and me. There’s a lot of trust there.”
All photos courtesy of Lindsey Hampton.
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