The word “perfect” is subjective. It holds within it an individual’s taste and proclivities, needs and non-starters. The search can be elusive, exhausting — but also thrilling and very satisfying. But we'd venture to say the new Rugosa collection from Los Angeles–based Kalon Studios offers a seven-piece slate of perfect living room pieces, for anyone tired of the hunt but also for anyone who’s over the idea of furniture that doesn’t actually get used, sat upon, or well-loved.
So much of design can be about standing apart from the crowd. But for Cuff Studio, it was commonality that inspired their Offsite collection. For their Common Ground collection Kristi Bender and Wendy Schwartz of the Los Angeles–based studio looked to shared design elements that form not only a foundation within their practice, but in art and design as a whole. What they found was nature, form, shape, negative space, even community.
If you’re lucky enough to ever see one of LA-based artist and sculptor Bari Ziperstein’s outsized ceramic works in person, the combination of scale, texture, and hue might stop you in your tracks. Her design studio, BZIPPY, creates striking, often Brutalist-inspired ceramic vases, lamps, and furniture, while within her complementary fine art practice, Ziperstein has been known to explore meticulously manicured fingers, dimensionality, or the aesthetics of Soviet propaganda. With her robust dual practice, Ziperstein welcomes decorative ceramics into the fine art conversation, and vice versa.
For Los Angeles–born artist Cindy Hsu Zell, nature has been a lifelong inspiration. Working from her sunny North Hollywood studio, Zell creates tactile sculptures with rope, ceramic, wood, and, most recently, stone. In the midst of this confounding global crisis, we remote-toured her space and took some time to chat with her about confronting the economics of productivity, prioritizing mindful practices, and the magic of working with organic materials.
A weekly Saturday recap to share with you our favorite links, discoveries, exhibitions, and more from the past seven days. This week, proof that floor-to-ceiling carpet is having a moment, an freshly optimistic take on the armchair, and some solace to art-loving Angelenos.
A weekly Saturday recap to share with you our favorite links, discoveries, exhibitions, and more from the past seven days. This week, an exemplary #StickofButter interior, marble and travertine porn, a drama-filled office interior (above) and one more — excellent — New York holiday pop-up.
A weekly Saturday recap to share with you our favorite links, discoveries, exhibitions, and more from the past seven days. This week, holiday season teasers, a design show at Le Corbusier’s convent, and a new resource for environmentally conscious designers and brands.
A hybrid cultural venue and design gallery intimately nestled in a modernist apartment building in the Roma Norte neighborhood of Mexico City, Studio IMA — which stands for “in my apartment” and nods to the Japanese word for “the present” — follows the shoppable interior model of The Apartment by the Line or Casa Perfect. But while those locations merely gesture towards an inhabited domestic space, Studio IMA founder Bettina Kiehnle Garza lives right alongside the art and objects on display day and night.
The Italian design duo Zanellato Bortotto set out to produce a series of works dedicated to collectors and their passion for objects, with metal pieces produced by De Castelli and a rug from cc-tapis. The result is ‘Labirinti,’ a range of six pieces that nod to cabinets of curiosity; even empty, they each possess a magnetism that calls out to be filled.
In 2018, French ceramicist Léa Munsch traded Paris for Lorraine, and a new studio in a former factory that’s perched on a river in a forest. There, she has been particularly called to draw inspiration from nature — producing unglazed stoneware pieces that preserve the texture, imperfections, and color of her raw materials.
The Flavour Is So Strong — Anton Alvarez’s second solo exhibition at the Stockholm gallery Larsen Warner — opened last week, situating Alvarez’s hyper-colorful, texturally striking sculptures within a peaceful white setting at the gallery’s new space in Ostermalm. Alvarez has always been interested in formal instability, and these new objects — a continuation of his work with a kind of automated ceramic extrusion — challenge our perception of weight as well as gravity, while embracing the imperfections inherent to the process of transforming wet clay inside a kiln.