Slowly by Sam Moyer at Galerie Rodolphe Jansen

While the Chicago-born, Brooklyn-based artist Sam Moyer has played around with fabric painted to look like marble in the past, the geometric panels suspended in gorgeous bronze armatures that she recently installed at Galerie Rodolphe Janssen in Brussels are, in fact, the real deal. Meant to interact with the space's striking ceilings and the summer light that filters through them, the slabs are cut so thin as to be almost semi-translucent, a subverting of expectations about the way certain materials are supposed to look, feel, and function — a common theme in Moyer's work, and one that will sound familiar to many designers, which is probably why we've found ourselves so drawn to her.
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Week of June 15, 2015

A weekly Saturday recap to share with you our favorite links, discoveries, exhibitions, and more from the past seven days. This week we survey the sudden trend of gymnasium-inspired designs, the best of Design Miami/Basel, and a few of our favorite works by photographer Suzanne Mooney, pictured above. Plus: the weirdest design-world video we've ever, ever seen, featuring Chen Chen, Katrina Vonnegut, and a cat driving a dumptruck.
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Subtle, Pastel Paintings Inspired by the Tokyo Metro

Growing up in Wisconsin, artist Trek Matthews was initially inspired by his natural surroundings, incorporating wildlife scenes and Native American mythologies into his illustrations. But following a move to Atlanta and a short stint in Japan in 2014, his artistic style began maturing into what we see today.
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Designers Interpret the Classic Tolix A Chair

We aren't quite sure how we missed this project — considering both our affinity for the classic Tolix A chair (we might own seven (!) of them ourselves) and our affection for the designers involved — but in Milan last month, the French company celebrated its 80th anniversary and in doing so invited eight design studios to reinterpret its most famous offering.
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Portland Textile Artist Kayla Mattes

Kayla Mattes’ tapestries are an antidote to the disconnection and depersonalization that spending hours online can sometimes leave you feeling. Her work is plugged in to all the technology we take for granted but she recontextualizes it, slows it down, and the effect is immersive, dizzying, a little chaotic, and oddly comforting.
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Kay Wang, The Things We Keep

If you only knew Kay Wang through her Instagram — and chances are you might, considering her 33,000 followers — you wouldn’t necessarily immediately know what she does for a living. She could easily be a baker, a stylist, a ceramicist, or a woodworker; in December alone, she posted pictures from her Bed-Stuy, Brooklyn, apartment of the frangipane tart she’d baked, the cherry cutting boards she’d sanded and oiled, the canvas bags she’d dyed with onion skin, and the silk cord necklaces she’d strung with hand-carved brass pendants. (And you’d certainly never guess that she spent nine years before moving to Brooklyn as an online marketer in Los Angeles and Seattle.) What she is, very clearly, is a restless creative spirit; so much so that even though her main focus right now is as a jewelry designer who crafts under the moniker The Things We Keep, she has trouble pinning herself with a specific label.
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Italian Product Designer Giorgia Zanellato

About six or seven years ago, when Jill and I were still editors at the late, great I.D. magazine, we had a gut feeling that something was happening in Italian design. For years its reputation had been seemingly stuck in the '80s — no one ever, ever talked about its contemporary scene — and yet suddenly we were seeing a few young talents pop up here and there. We commissioned a story on the subject, but despite our prescience (as evidenced in part by the subsequent head-spinning rise of Luca Nichetto), we missed something seriously major: Fabrica. Neither of us realized the impact its residency program and Sam Baron–led design studio would have in nurturing Italy's brightest new voices, from Matteo Cibic to Matteo Zorzenoni to today's subject, Giorgia Zanellato.
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Week of June 8, 2015

A weekly Saturday recap to share with you our favorite links, discoveries, exhibitions, and more from the past seven days. This week: a look inside Andreas Murkudis's new full-service design outpost in Berlin, a sneak peek at our favorite projects launching at Design Miami/Basel next week, and our first picks from this year's degree shows, starting with the vanity above.
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ECAL Takes Over Apartment 50 in Le Corbusier’s Radiant City

Since it was renovated in the early 2000s and restored to its original 1952 condition, Apartment 50 in Le Corbusier's famous Cité Radieuse housing complex in Marseilles, France, has played host to a rotating cast of designers — Jasper Morrison in 2008 followed by the Bouroullecs, Konstantin Grcic, and, perhaps most successfully, Pierre Charpin. But a group of Swiss design students may have just completed our favorite intervention yet.
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Wintercheck Factory’s Collection No. 300

When we asked Brooklyn's Wintercheck Factory — who debuted their latest collection with us at Sight Unseen OFFSITE last month — to shoot those new pieces in the most appropriate scenario they could imagine for our Self Portrait column, their choice of venues ended up being even more fitting than they themselves realized. A 1910 bank building in Bed-Stuy is about to become the duo's new studio, and clearly it makes for a stunning backdrop, but having been ripped up, painted, retiled, left to rot, bricked up, and, now, appropriated as a creative space, it can also be read as a symbol of Wintercheck Factory's own gradual reinvention.
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Top 5: Dust Pans

Our Top 5 column is a periodic nod to object typologies both obscure and ubiquitous, with five of our favorite recent examples highlighted in each post. Today, the subject is dust pans, whose utilitarian beauty is being rediscovered by a new generation of retailers and designers.
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French Sculptor Cécile Mestelan’s Ceramic Objects

As an MFA student at ECAL, French-born artist Cécile Mestelan got into making small-scale sculptures with plaster for practical reasons — cost and ease of transport — but stuck with the material for more poetic ones: "It’s a very powerful and open material to work with; you can do so much with it, from modeling and sculpting to engraving," she says.
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Thing Industries

When designers approach their medium with such a religiosity that it pushes their work into an unattainable or off-putting place, it can make the viewer a bit uncomfortable. On the other hand, not taking your work seriously enough is a recipe for kitsch, and being relegated to that dustbin of history. Enter Bridie Picot and Matt Smith, two native New Zealanders behind the design studio Thing Industries, whose work flits back and forth between the arch and the architectural.
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