Category: Design

yatofu on its Theme Exhibition at habitare 2024

Creative studio Yatofu was invited to design and co-curate the Theme Exhibition for Habitare 2024, an annual fair held in Helsinki during its design week. Each year, Habitare selects a theme to guide the event, choosing Layers for this latest program, which took place between September 11th and 15th. Yatofu unpacked the concept of layers by revealing the various dimensions embedded within design and art stories — from form and color to materials, aesthetics, periods, and processes. The exhibition sought to offer a fresh perspective on Finnish design, which, as Yatofu co-founder Angel Lindahl tells designboom, is ‘going through somewhat of a renaissance, as internationalization arrived in Finland a bit later than some other countries.’

This reimagining of the country’s design scene comes through by emphasizing the core values that define it, revealing the hidden dimensions behind a curated selection of local creatives and their works, and showcasing the narratives, methods, and influences behind their intention. designboom spoke with Angela who walked us through the team’s curatorial approach, the transformation of Finnish design, and her take on sustainability. 

image © Aleksi Tikkala 

using layers to explore a fresh take on finnish design

Collaborating in the curation of the Habitare exhibition with Päivi Helander, the event’s creative director, the team at Yatofu highlighted designers and works rooted in Finnish design values while representing a broad spectrum of experiences, thus challenging the limited definitions often associated with Finnish design. ‘Nowadays, we meet so many designers and artists drawn to the values behind Finnish design but hail from myriad backgrounds and experiences. Their interpretation of Finnish lifestyle and design values offer a fresh take on the same values that have inspired the iconic Greats of the past. We wanted the Layers Exhibition to provide a platform for these perspectives, showcasing the works of a range of contemporary designers who identify as Finnish,’ continues Angela Lindahl. 

image © Aleksi Tikkala

Yatofu physically translated the 2024 theme through a tall and large main structure that highlights and exposes its structural frameworks rather than conceals them with surface materials. These frameworks were emphasized in a vibrant lime green, with translucent materials and cutouts, allowing visitors to experience a layered perspective of the space. Resembling a fabric lantern, the main structure was illuminated from within through translucent fabric, casting a warm glow throughout the exhibition, ‘which gives a sense of relief from the often cluttered and overwhelming fair environment,’ she adds. 

image © Aleksi Tikkala

Material choices were intentionally made to support the concept of revealing layers ‘through the process of producing the materials themselves,‘ Angela notes. The exhibition tunnel, clad in carbonized wood from Hiil, showcased the company’s unique carbonizing process, with wood panels finished in a gradient from fully carbonized to heavily brushed, revealing the wood’s original color. Yatofu’s design choices also focused on the afterlife of materials. The carbonized wood panels will be reused in future exhibitions, the homogenous vinyl flooring from Tarkett will be recycled, the main structure woven with Svensson textiles will be repurposed, the Durat tabletop will be 100% recycled after use, and the rustic paving bricks from Wienerberger will be repurposed, recycled, or sold after dismantling. 

image © Henri Vogt

‘We wanted to make sure that the exhibiting artists and material sponsors involved in the exhibition reflect the story we are trying to tell. That design is not just about mere aesthetics, but rather a series of stories and processes woven together to form the final result,‘ she tells designboom. Between recycling, repurposing, and reusing, Yatofu is also shifting the narrative of sustainable design practices. As Angela explained to us, the priority here was to use materials with an afterlife, offering a simple and direct solution to waste, carbon footprint, and more. While she does confess that their solution isn’t perfect, the studio is seeing ‘more and more emerging brands who focus the core of their business on the values of sustainability. It is a joint effort for sure.‘

image © designboom

yatofu spotlights the exhibitors’ stories and intentions

Accompanying the physical Habitare exhibition is a series of videos inside the main structure, featuring four participating designers and artists, each one narrating their individual inspirations and values. ‘It allows visitors to slow down in the fast-paced environment and re-center their attention to the most important part of art and design: the stories and intentions behind the objects on display,’ Angela adds.

The first video documents designer Lennart Engel‘s material investigation into the lifecycle of Finnish sauna stones. The second short film spotlights how designer/sculptor Eemeli Sahimaa leverages his heritage and tools passed down through generations to produce Practice Of and What Would I Do Without through scavenged pieces of wood. The third video stars Finnish-American designer Paul Flanders, who wanted to explore the potential of using Curly Birch in its solid form, creating the Kudos Collection, an ongoing series of woven woodworks in which slabs of carefully selected solid Curly Birch are paired with ok. Lastly, furniture designer Rudi Merz presents a collaboration with his daughter, Laura Merz, creating an installation of interactive wooden toy pieces titled Play in Progress. The blocks are made from off-cut wood (like oak, birch, yew, pine, ash, applewood, plum) leftover from furniture production.

image © Aleksi Tikkala

The full list of exhibitors at the Habitare 2024 Theme Exhibition by Yatofu is as follows: Practice Of / What Would I Do Without by Eemeli Sahimaa; Kudos Collection by Paul Flanders; Sauna Stone Lab by Lennart Engels; Untitled / Bas Relief 01 by Apolline Laforêt; Pond Glass Table by Pasi Kärkkäinen; Wood Pleats Collection by Didi NG Wing Yin; Bamboo Collection by Yrjö Kukkapuro; Magic Islands ja Itämeri by Karin Widnäs; Play in Progress by Rudi Merz, Laura Merz; Trace of Light by Paja&Bureau. 

Featuring gentle curves and rounded edges, low-lying banquettes in the front of the space guide guests towards the wood-panelled bar, with a slightly elevated platform at the back offering additional seating. Nestled in an alcove across from the elevated platform, a cosy eight-person booth, dubbed the ‘Honeymoon suite’, is framed by a velvet headboard, above which hangs a whimsical portrait of a white Persian cat seductively reclining on a chaise longue.

Echoing the interior’s hedonistic vibes, MEO’s cocktail menu offers reimagined classics with a twist, such as the Asian-inspired Grasshopper and a Turkish-inflected Sbagliato, alongside unique house creations like the Espresso Carrotini (made with Beefeater Blood Orange gin, carrot reduction, and citrus peel-infused cold brew). An eclectic sparkling wine list adds a touch of effervescence to the experience, while a selection of small plates by Michelin-starred chef and MEO co-owner Joël Watanabe, designed for late-night socializing, perfectly complements the bar’s vibrant offerings.

In an era where play is becoming less accessible for many families, the LEGO Group has introduced a groundbreaking experience that aims to reignite the joy and creativity of play. Superpower Studios, which recently opened in Paris, challenges traditional notions of art galleries by transforming them into dynamic spaces where children and families can explore, create, and connect through the magic of play. This new initiative is part of LEGO’s broader “Play is Your Superpower” campaign, which seeks to highlight the profound impact play has on individuals and communities.

Set within La Gaîté Lyrique, a renowned cultural venue, Superpower Studios breaks the mold by inviting children to be the architects of their own creative experiences. The space is designed to be a vivid celebration of the power of play, turning a gallery visit into an interactive adventure. The concept behind the studio is to blend art and play in ways that allow families to explore their creativity while emphasizing the importance of inclusion and connection.

This initiative is backed by LEGO’s research, which underscores how vital play is to family happiness and child development. Their findings reveal that families who engage in regular play are often the happiest, yet the research also highlights concerning trends, including limited access to safe play environments and the negative impact of digital devices on family interactions. With so many barriers, LEGO’s mission is clear: to inspire families to prioritize playful activities and rediscover the benefits of creative playtime together.

The gallery’s immersive experience is brought to life by a team of global Play Ambassadors, who are artists and creators known for their innovative work and dedication to fostering creativity. Led by Sarah Andelman, a renowned curator known for her visionary retail space Colette, the Play Ambassadors infuse their unique artistic styles into the space. The vibrant illustrations of French artist Aurélia Durand, the intricate paper-cutting work of Chinese artist Chen Fenwan, and the incredible LEGO sculptures of Ghanian-Canadian artist Ekow Nimako are all integral parts of the gallery’s design, offering visitors multiple ways to interact with art and play.

Chen Fenwan’s “Forest of Wishes”

Each section of the gallery presents a distinct artistic experience, all centered on the theme of playful creativity. In Fenwan’s “Forest of Wishes,” visitors contribute to a growing installation by building LEGO seeds, representing dreams and hopes, and adding them to the forest. Durand’s “Remix Room” offers a digital art experience where guests can remix her colorful illustrations, creating new forms of art in real-time. Meanwhile, Nimako’s “Mythical Maze” immerses visitors in a fantastical world inspired by Ghanaian mythology, where they can construct guardian creatures to protect the earth.

Chen Fenwan’s “Forest of Wishes”

Chen Fenwan

The gallery also emphasizes the role of play in bringing people together across differences. LEGO’s research indicates that play is an essential tool for building inclusive communities, as it fosters joy and connection regardless of age, background, or ability. By turning play into a shared experience, Superpower Studios aims to break down barriers and encourage people from all walks of life to engage creatively with one another.

Aurélia Durand’s “Remix Room”

Aurélia Durand’s “Remix Room”

Aurélia Durand

Ekow Nimako’s “Mythical Maze”

Ekow Nimako’s “Mythical Maze”

Ekow Nimako

This initiative extends beyond Paris. Around the world, LEGO is launching additional playful experiences, including a pop-up in Japan where children can combine culinary creativity with LEGO play, a playful reading room in China, and collaborations with public figures like Emma Watkins in Australia to redesign spaces through the lens of play. “When we see the world through the untethered and imaginative perspective of kids, it transforms into a place brimming with creativity, joy and connection. Creativity flourishes when we embrace playfulness as our muse – it’s the spark that ignites innovation, turns the ordinary into the extraordinary and brings diverse and unique communities and visions together. That’s what Superpower Studios is all about,” shares Andelman.

Sarah Andelman

To further their mission, LEGO is also making a long-term commitment to increasing access to play for underserved communities. Through a partnership with La Villette, the company will offer free workshops and play sessions to over 87,000 disadvantaged children in Paris over the next two years. This initiative will provide much-needed opportunities for families who lack access to safe, affordable play spaces.

Sadly, Superpower Studios in Paris was only open from September 11 – 16th, 2024. Hopefully LEGO will continue to open these immersive art galleries in more cities in the future! For more information from LEGO, head to lego.com.

Photography by Julie Ansiau.

Caroline Williamson is Editor-in-Chief of Design Milk. She has a BFA in photography from SCAD and can usually be found searching for vintage wares, doing New York Times crossword puzzles in pen, or reworking playlists on Spotify.

a legacy of iconic coachbuilding

For over a century, Zagato Atelier has been synonymous with the art of coachbuilding, crafting some of the world’s most coveted collectible cars. Established in 1919 by Ugo Zagato, the company quickly distinguished itself by merging principles of aeronautics with coachbuilding (the design and manufacture of horse-drawn carriage bodywork), and soon automotive design. This fusion ultimately informed its unique aesthetic language. Unlike mass-market manufacturers, Zagato has always focused exclusively on custom-made, limited-edition vehicles that have become prized collectibles. Today, the brand is led by third-generation Andrea Zagato, alongside his wife, Marella Rivolta Zagato, granddaughter of ISO Rivolta founder Renzo Rivolta.

As the atelier expands its reach, the upcoming launch of new offices in the United States and the United Kingdom marks a significant milestone. Andrea Zagato explains in the following interview with designboom, ‘We are not an automotive maker; we are a coachbuilder. Our cars are items for collectors, rather than consumables.’ The decision to open up more spaces reflects a desire to engage directly with collectors, offering new gateways into the history and artistry behind each Zagato creation. Marella Rivolta Zagato adds, ‘We sell works of art, unique pieces… Our cars are made of design, of ideas, of passion, and of a story.’

Zagato Atelier in Milan, image courtesy Zagato (unless otherwise stated)

the future of rare, exclusive, and timeless design

As they look toward the future, Andrea and Marella Zagato continue to embrace their legacy while adapting to an evolving automotive landscape. In a world increasingly defined by digitalization and electric vehicles, the studio‘s focus on aesthetic purity and craftsmanship remains a point of distinction. ‘We work not for addition, but for subtraction,’ Andrea explains, emphasizing the timelessness of their design philosophy, rooted in simplicity and functionality. As the brand continues to evolve, its expansion promises to bring more collectors into the fold, deepening its connection to the art of coachbuilding.

In an interview with designboom, Andrea Zagato and Marella Rivolta Zagato discuss their approach to coachbuilding, the significance of preserving tradition in an evolving automotive industry, and their plans to expand the atelier’s presence to engage collectors on a more personal level.

Andrea Zagato, grandson of Zagato Atelier founder Ugo Zagato

interview with marella rivolta zagato & Andrea zagato

designboom (DB): Might you begin by describing the origins of Zagato, and how it operates today?

Andrea Zagato (AZ): The key point is that we are not an automotive maker, we are a coachbuilder. We established the company in 1919, as a coachbuilding company for automobiles and airplanes. While automotive design is 120 years old, coachbuilding is, in Europe, a 500 year-old activity. It started with horse carriages. The difference between all the other coachbuilders is that Zagato started with airplanes, and we transferred the technology of the airplane into coachbuilding and cars. If you want to visualize our language, you have to blend a whole chariot — without the horse — and an airplane. It’s a unique reality in the coach building panorama.

Zagato is also different from other coachbuilders or car designers because in 105 years, we never build a larger series of cars, only custom-made, limited edition series. Our cars are items for collectors, rather than consumables. These are the three milestones about the history of the company: It’s a coachbuilding company, we uniquely mix the language of chariot building with airplanes, and we only concentrate on limited edition series which results in our cars becoming collectible items.

Marella Rivolta Zagato (MRZ): It’s a very old and specialized trade. We are like architects of the cars. We’re not car producers. We mostly look at the design, at the lines, at the setting. Many clients that love Zagato, the ones who know us more, they know this. But the ones who don’t know us say, ‘What is the engine? What is the car?‘ That’s the donor car. We are the ones who dress the cars. We are architects of cars, not car producers.

Marella Rivolta Zagato, granddaughter of ISO Rivolta founder Renzo Rivolta

DB: What are the characteristics of a Zagato-designed vehicle?

AZ: The language of our design was always connected to its aeronautical origins. If you work on airplanes, you detach everything that is not necessary because the airplane has to fly. So you don’t add ornaments to an airplane, because this makes the airplane heavier. In design, this idea is called ‘functionalism,’ or ‘rationalism.’ We work not for addition, but for subtraction. We take away, rather than add. While most coachbuilders add elements to the design, we take off everything that is not necessary.

MRZ: Purity is most important. We try to enhance the volume of the product and try to make it as simple and functional as possible without ornaments. Then it lasts over time. There are some famous traits of Zagato, like the double bubbles on the roof, which are functional elements. For racing, cars are designed lower to make the air flow. These elements were born because the pilot has to fit inside with the helmet. But at the same time you don’t want to make the car too high or too bulky because it wouldn’t be as good in performance.

DB: So it’s a form to follow the function.

AZ: Exactly. In Milano we call it ‘essential beauty,’ bellezza necessaria. The idea also was supported by Enzo Ferrari. Ferrari was our best client in the first two decades. He said, ‘The car that wins the race is the most beautiful car.’ You lose the race, the car is not good looking. (laughing)

the coachbuilding company is informed by its aeronautical roots

DB: Zagato is going to be expanding into the US and the UK. Could you speak about your goals of this expansion?

MRZ: Most of our greatest collectors are in the US. Our main markets have been, for the past hundred years, the US, Japan and the UK. These are very good markets, but because we are such a niche market, we are very limited. And in a way, we are still a family-run business. Andrea and I have always been a little bit ‘closed door.’ We don’t open our doors to the public. Now the objective with a new partner that is in the company as shareholders, we want to open a little bit more of our home, Casa Zagato, to a wider community. That’s why there is this project of the Domus, as we call it.

We sell works of art, unique pieces. So we don’t have dealers. We need the right person who tells a story. Because our cars are made of design, of ideas, of passion, and of a story. There is so much behind it, and we must be able to communicate that in order for people to really appreciate it. Today there are many beautiful things you look at. For example, with clothes, you might go in a store and only one thing might catch your eye — why? Maybe because of the quality of research on the materials or the details. It’s because of the idea and the purity, not because of the brand. The brand’s name could be almost nonexistent. We have a similar philosophy.

Zagato Maserati Mostro, transformation process

AZ: You could recognize the brand, but it’s not evident. The first thing we have done with Marella was to take off the name Zagatto. Because we said, ‘You have to know us. If you don’t know us, you don’t deserve this.’

MZ: We did this twenty-five years ago. We said, ‘If you don’t know who Zagato is, then you’re not our type of client!‘ (both laughing)

AZ: It’s a bit snobbish, but it worked. Every client was telling friends about the experience of coming to an Italian atelier in Milan, and the friends are coming. Then we decided to open up our market a little bit to newcomers, and so to enlarge to the Domus portfolio. We’re choosing twenty Domus all over the world that will act as a gateway, a portal to enter our history and our products. We replicate a gateway, the entrance to the company, from Tokyo to Greenwich, London, and Toronto and so on.

Zagato Maserati Mostro

DB: What is the meaning of Domus?

MRZ: It took us months to find the right word! It means portal — it’s a gateway to come into our world.

AZ: The Domus are based on luxury dealerships all over the world, but we have reversed the pyramid. Normally the manufacturer, with marketing, decides the product, then the product is pushed to the dealer who has to sell the product to the clients. Zagato was always a client-oriented company, not a marketing-oriented company. We have probably the best clients in the world — Enzo Ferrari, Lamborghini, and Maserati were all clients of ours. They, or the racing drivers, were suggesting the product to us, and we were making the product according to their suggestions.

We are trying to replicate this 105 year-old attitude by involving clients all over the world. The Domus will connect us with a group of clients, and they will be able to suggest our next type of project with which brand, and then we follow the suggestion. Practically, we reverse the pyramid with the bottom part, who’s suggesting, to the top. It is exactly the opposite of how the automotive industry works today.

At the heart of the renovation was a desire to transform the apartment into a home that feels immediately welcoming, capturing both the property's original character and the dynamic, contemporary spirit of its vibrant neighbourhood. The design team meticulously restored key period features, such as the ornate ceiling moldings, while seamlessly infusing a cosmopolitan flair throughout the interior.

The renovation involved a complex process of transformation, stripping away layers of cement patches, previous renovations, and botched repairs. In their place, a robust, eco-friendly foundation was established using lime-based plaster, a material that pays homage to traditional craftsmanship. This choice allowed the walls to breathe, yielding a velvety matte finish that not only repels fungi but also purifies the air by capturing pollutants. Complemented by concrete flooring in some rooms and refurbished hardwood in others, the plastered walls bring a soothing ambiance to the spaces, while bespoke furnishings made from wood, granite, and marble add rich textures.

Custom-made elements were integral to the renovation, each crafted in collaboration with skilled local artisans who used natural materials in a sustainable manner. From the hand-carved wooden headboard in the master bedroom and the marble washbasin in the principal bathroom, to the handmade solid brass door handles and the wave-shaped granite backsplash in the kitchen—described by the designers as "a projection of the client’s voice soundwaves, or chitchat over great food"—every detail was thoughtfully designed to feel as though it had always belonged to the space.

While studying interior design in college, Kate Rohrer waited tables and poured cocktails at Stephen Starr’s flagship eatery in Philadelphia, The Continental. Not only did Rohrer earn a paycheck, she experienced the impact of design firsthand. This real-life case study still continues to inform many of her hospitality projects today.

Even though Rohrer always wanted to be a designer, the path to get there was hardly a smooth one. By the time she founded her firm ROHE Creative in 2014, she already had her share of sleepless nights and major leaps of faith. “I would say the moment it all became real was when I took on my first restaurant project,” Rohrer says. “I had a newborn at home, no real team behind me, and no studio. Just my living room floor with material skewed about.”

Those early struggles were equal parts exhilarating and terrifying for the designer, who now takes a holistic approach to every aspect of her work, from construction challenges to budgets and schedules. Rohrer also never ties herself to a single period, but instead seamlessly blends disparate styles to create strong narratives. By being open to unique sourcing and styling elements, the more impactful the moments in each of Rohrer’s spaces.

When the ever-busy Rohrer does have some spare time, she’s tackling renovations or scouring antique stores for the perfect find. She’s also scribbling or doodling everywhere she goes. Rohrer will write on old bills, napkins, and cardboard boxes, eager to capture bits of inspiration.

The ups and downs of design are equal parts exhilarating and terrifying, but Rohrer wouldn’t have it any other way. “It was and still is what keeps me coming back for more every single time,” she notes. “It’s not just about the final result or the pretty picture for me, but the creative process and collaborating with equally passionate people.”

Today, Kate Rohrer joins us for Friday Five!

I have two kids, six employees, simultaneous projects, work travel, business meetings, antique sourcing, and a never-ending calendar of sporting events. Let’s just say I’ve become admittedly lazy in the fashion department. I would not be alive if it wasn’t for the eight million Alex Mill or Still Here jumpsuits that I own in various colors and sizes, which I have officially made my uniform.

I don’t care how “in” or “out” they are or will become, nothing will tear me apart from the pleasure instilled with putting on pants and a top at the exact same time. It’s one less decision to make before I’m able to walk out the door comfortably. On site, I typically wear them with some colorful retro Nikes, and when going out I’ll dress them up with boots and heels. Everyone I know reading this is nodding their head right now.

26 Gurney (Stockton Cottage) Photo: Courtesy of Cape May History

2. Cape May, New Jersey

My grandparents purchased their first vacation home there in the 1960s, and ever since my family has been making beautiful memories in Cape May, New Jersey. Every summer has been filled with the salt and sand of the Atlantic Ocean and Delaware Bay. The country’s oldest seaside resort recognized for its grand Victorian architecture, it is also a National Historic Landmark.

The seaside town is quaint and familial. Washington Street is lined with well-sourced shops, cafes, and local delights. The B&Bs and motels now attract the design-eyed (say “hi” to Lindsay at GIVENS, she’s the coolest) and the culinary-curious – Mayer’s Tavern and Luisa’s are a must. Cape May is worth the trip in any season and it will always have my heart.

A morning ritual of mine, whether I am working from home or in the studio, has become taking a moment of pause to light incense or a candle. It may seem silly, but it’s something I look forward to each day to enjoy a solo moment of reflection, intention, or gratitude before I get into my work. I’ve been a long-time lover of NA NIN’s Cedar & Santal. There is power in scent, and it can instantly reset my mood or mindset. The studio now shares in my obsession, and they have these candles for road trips now too!

4. Mini Lamps

I’ve always been obsessed with weird and mini lamps. I love them for bedside, tableside, deskside, and shelfside. We’re currently working on a project inspired by the Ferrari Testarossa and we’ve been eyeing up this cutie, Tatu by Santa & Cole, to be perfectly placed at the restaurant’s host stand.

Thank You, Have a Nice Day! by CJ Hendry

5. Thank You, Have a Nice Day!

“Thank you, Have a nice day!” is a saying that has been floating around our studio for a long time. It’s a nicety that’s here to stay, but it has also become our favorite punch line, period, and mic drop at the end of an inter-studio rant or design session. I have a small collection of stickers, bags, and badges piling up. I’ve always been completely in awe of the artist CJ Hendry. Her talent knows no bounds. I also share her sentiment behind this piece. Her career, like mine, was made on “late nights and take out bags,” just like this one.

Works by Kate Rohrer:

Photo: Jason Varney

Hotel Genevieve Located in the heart of the hip NuLu neighborhood in the booming city of Louisville, this newly built boutique hotel features 122 rooms on six floors, a lobby art gallery that pays homage to the city’s layered history (including a modern take on quilting culture) and includes a curated retail shop. The hotel boasts four distinct culinary spaces: the vibrant and casual Parisian-inspired ground-floor restaurant is full of brasserie details such as cafe curtains and Royer-inspired lighting; a rooftop lounge offers sweeping views of the city and Ohio River, alongside lush greenery, vintage finds, and elevated design touches. Overall, the spaces are feminine and playful to offset the masculinity often associated with bourbon, baseball, and the city’s industrial downtown.

Photo: Heidi’s Bridge

Louie Louie Rohe Creative has renovated a former 3,600 square-foot restaurant space inside the Inn at Penn Hotel on the University of Pennsylvania’s campus to create a bold new restaurant, bar and lounge concept, Louie Louie.

We looked back to the traditions of many classic and timeless European Grand Cafés. We were inspired by the historical significance and ultimate beauty of the Art Nouveau design movement. We designed custom furniture and lighting using traditional details and antique brass metals and offset them with more modern glass globes and forms. We sandwiched the classic checkerboard flooring in the main dining room, with intricately bold and graphic floor patterns. As we worked through the blend of classic European details with bold and bright ideology, we began to realize that we had something special, a design language we call Retro Nouveau.

All of the surrounding millwork and metalwork have been thoughtfully designed to allow each space to function with its unique look and create private areas ideal for more intimate conversations.

Photo: Heidi’s Bridge

Irwin’s The timeline was tight on this project, but it was such a special building with unique grit and charm that we knew we had to be a part of it! It forced the team and I to be creative and resourceful in ways that we love to be. Set on the 8th floor of the Bok building – a former technical high school turned mixed-use creative development which was designed in the early 20th century by Irwin T. Catharine from whom the restaurant takes its moniker

Converted from the old nursing classroom, the dining room itself is the work of ROHE Creative, the local studio mixing box-tufted banquettes, coppery light fixtures, tulip chairs, and six-foot chandelier with repurposed furniture. The soapstone-topped bar is from the science room, old science lab tables lined with communal benches from the library, and salvaged yearbook photos in the bathrooms. It is quite something!

Photo: Jason Varney

Darling Jack’s Tavern Darling Jack’s isn’t your average tavern, although it’s inspired by the comforts of one. Here, the design team played with the idea of a paint-by-number landscape with a single goal in mind; evoking the comforts of a classic tavern in a modern and unique way. Inspired by the colors and textures of landscapes, and the simple joys of being outdoors, the interior palette began to unfold.

Darling Jack’s Tavern has the unique feeling it’s been around for ages, yet it’s visually something new and exciting for the block. As guests enter the space, they make their way through a dramatic entry of red and white velvet drapes and are immediately greeted by a retro radio-turned-host stand, with a red rotary wall-hung telephone beyond.

Photo: Jason Varney

Guild House Hotel Guild House Hotel was a once-in-a-lifetime project. A 12-suite boutique hotel in an 1850s Italianate row home, it is also a National Historic Landmark. In 1906, it became home to the New Century Guild, a group of powerhouse women who advocated for the growing female workforce. After researching and selecting the women we felt best represented the guild, we told their stories via subtle design touches – blending history and modernity. It’s eclectic but not messy.

Anna Zappia is a New York City-based writer and editor with a passion for textiles, and she can often be found at a fashion exhibit or shopping for more books. Anna writes the Friday Five column, as well as commercial content.

informal design completes healing pets in hangzhou

Located in the Xiaoshan District of Hangzhou, Healing Pets by Informal Design transforms a former toy factory into a lifestyle destination for urban residents and their pets. Situated within West Lane Cultural and Creative Park, the project revitalizes an industrial neighborhood to foster warm community bonds between people and animals by offering flexible, inviting spaces where they can engage in shared activities.

The architectural design merges the old and the new, emphasizing sustainability while preserving the building’s original structure. The Chinese practice exposed the main roof framework and integrated it with contemporary additions, creating an open and fluid space. Natural textures are introduced through materials like washed stone, gravel concrete, granite cubes, textured paint, and marine plywood. The rough washed stone, used for the indoor bar counter, seating, and flooring, provides a durable, non-slip surface ideal for pets while maintaining an outdoor aesthetic. This selection of materials is designed to age gracefully, enhancing the building’s texture over time.

all images by Hei Shui

reviving an old toy factory as a pet-friendly urban playground

A pet-friendly ramp serves as both a functional element and a key branding symbol, integrating with the overall space. Graphic elements with three-dimensional qualities reinforce the identity of Healing Pets, reflecting its playful and engaging environment. Further, Informal Design uses pet-sensitive colors such as blue and yellow across the space’s lines and planes. Branding materials, signage, and installations are also thoughtfully crafted to echo the space’s functionality, with a pet map at the entrance and clever design details like a door handle that incorporates business hour information into a three-dimensional graphic.

By utilizing the building’s height, the design team creates a two-story space that ensures brightness and transparency while diversifying the spatial functions. The overall layout is composed of three sections — the cafe at the entrance, the activity area in the middle, and the functional area at the back — which maintains relative independence while ensuring an orderly circulation. The cafe is conceived as a landscaped courtyard, creating a continuous corridor that breaks the boundary between interior and exterior. A semi-enclosed landscape entrance is formed around a big tree, with the entire area wrapped in washed stones. These natural textures invigorate pets and enhance the outdoor feel with a fresh energy.

Informal Design transforms a former toy factory into a lifestyle destination for urban residents and their pets

In the middle, the activity area retains the original spatial structure and connects the first and second floors with a ramp, simulating a natural hillside for pets to roam. The park-style bench seating maximizes space for play, while the flow of natural light throughout the day creates a dynamic atmosphere. At the back, the functional area consists of several stacked boxes. The first level accommodates the pet hotel and grooming rooms, with capacitive glass partitions that can be flexibly adjusted to display the grooming room’s work status as needed. The second level features office spaces and a pet photography studio, with the offices offering a panoramic view of the entire space for improved communication and management.

Throughout, Informal Design thoughtfully crafts furniture details to provide a sense of security for pets visiting for the first time. Space is intentionally left under the seating areas to give small animals a safe spot to settle in and ease their anxiety, while the suspended design beneath the movable central bench minimizes obstacles during play. The space’s flexibility is further enhanced by fully movable furniture, allowing for easy reconfiguration to suit different pet-themed needs.

Healing Pets offers flexible, inviting spaces where people and animals can engage in shared activities

natural textures are introduced through materials like stone, concrete, and marine plywood

Nestled on one of Venice’s most serene, secluded islands, the 16th-century San Giorgio Monastery stands worlds apart from the modernist Palazzo del Cinema on the lively Lido, the main venue of the Venice Film Festival. This year however sees these two seemingly disparate worlds artfully connected through the vision of acclaimed film director Luca Guadagnino whose striking scenography sets the stage for the third edition of Homo Faber, the biennial celebration of contemporary craftsmanship at the San Giorgio Monastery (now the home of the Fondazione Giorgio Cini).

Organized by the Geneva-based Michelangelo Foundation for Creativity & Craftsmanship, the exhibition (running from September 1–30, 2024) unfolds across 11 themed chapters charting “The Journey of Life,” a concept envisioned by the Foundation’s Vice-Chair Hanneli Rupert and evocatively brough to life by Guadagnino, an accomplished interior designer as well as filmmaker, and Milanese architect Nicolò Rosmarini, the project manager of his eponymous interior design studio. From Birth to Afterlife, and through stages such as Childhood, Love and Dreams, visitors embark on journey that spans the full spectrum of the human experience underpinned by a wondrous, atmospheric energy that mirrors the visual richness of Guadagnino’s cinematic style—serendipitously on display across the lagoon with the premiere of his latest film, Queer, during the Venice Film Festival.

Showcasing over 800 handcrafted objects created by around 400 artisans and studios from 75 countries, a significant change from the previous editions that focused on Europe, the exhibition’s curation was certainly no easy task for Alberto Cavalli, Executive Director of the Michelangelo Foundation, with the The Journey of Life theme both guiding and complicating the process. Despite the diversity in concepts, techniques, styles and settings, which range from a 16th century refectory to a 1960s indoor swimming pool, there is a cohesive narrative running through the exhibition thanks to Guadagnino and Rosmarini’s art direction, and particularly a vibrant colour palette coupled with recurring motifs such as mirrors and pleated fabrics—the latter used to wrap up entire rooms as a nod to Venetian-born designer Carlo Scarpa. Striking elements like a pair towering 12-metre papier-mâché cypress trees, a forest of high-tech chandeliers and a sinuous 3D-printed pink ribbon sculpture weaving its way around the columns of one of the cloisters, further underscore the scenographers’ zany theatricality, imbuing the historic spaces with a sense of joviality and wonder.

Symmetry, a concept found inextricably throughout nature, is something our brains are hardwired to perceive. Expert pattern seekers, we are drawn to repetitive noises, colors, and movements as physically calming or perhaps cathartic. Austrian-born sculptor Erwin Hauer knew this to be true, and devoted his life to the pursuit of symmetry. He is known for his seminal work in Modular Constructivism, a movement characterized by repetitious surfaces made of carefully constructed modules, usually organic in form. Spinneybeck has translated a familiar Hauer creation, Design 406, into a modern classic wall system.

Starting his career in the 1950s in Vienna installing light diffusing panels in churches, Hauer soon patented his designs and won a Fulbright Scholarship for his contemporary and innovative work. Moving to the United States in 1955 to continue his work, he studied at the Rhode Island School of Design, until he was invited by Josef Albers to join the faculty at Yale. In 2004, Princeton Architectural Press published Erwin Hauer: Continua, Architectural Screens, and Walls, which renewed interest in the repetitive screens. About a year before this publication, the sculptor joined forced with former student Enrique Rosado to form Erwin Hauer Studios, and produce some of his earlier designs.

Over the next 15 years, they produced a number of these screens, which can be found at iconic buildings like the Boston Museum, the Standard Hotel in New York City, the World Bank in Washington D.C., and countless private homes across the world.

Erwin Hauer in Bethany, Connecticut

Erwin Hauer barn in Bethany, Connecticut

In 2020, Spinneybeck and FilzFelt worked with Erwin Hauer Studios to revitalize a crowd favorite – Design 406 – as hanging panels. Now, they’re turning Design 406 into carved wall panels. With natural materials at the nexus of this reimagining, this wallcovering is now available in five wood species, with options for paint or leather upholstery. The magic of the modular system is immediately recognizable, creating one seamless plane that is harmonious and calming to perceive.

The screens have a hypnotic quality to them, seeming to go on to infinity. Combining compound curves with the regularity of modular design, the panels start to take on a bone-like quality, the eye skipping organically and rhythmically to the next module.

Knoll NYC

Knoll NYC

Knoll NYC

Roger Fiedler of Art Review Magazine writes: “Hauer’s work, beginning in 1950, entails elements of infinity, continuity, and periodic repetition. This reiteration is strongly present in Baroque music, where we often find ongoing continua, totally repetitive, and then the theme music emerges and interweaves with the framework of the continuum. Asserting that music has always been his main inspiration, Hauer says the shapes within his continua need to be akin to ‘cantabile,’ like theme melodies.”

Design 406 is available in Douglas Fir, Maple, Sapele, Walnut, and White Oak, with the option to add color via paint or upholstered in one of Spinneybeck’s leathers. Visit spinneybeck.com for more details.

Growing up in NYC has given Aria a unique perspective into art + design, constantly striving for new projects to get immersed in. An avid baker, crocheter, and pasta maker, handwork and personal touch is central to what she loves about the built environment. Outside of the city, she enjoys hiking, biking, and learning about space.