Here are the most exciting pieces this year.

Montreal Parisian Laundry Gallery opens the show (it is literally the first stall you encounter) with a stunning exhibit from Gabriele Beveridge. “By isolating, juxtaposing, layering and ultimately recontextualizing objects including found images, shop fittings, semi-precious stones and hand blown glass, the artist is able to rupture and rearrange the conventional staging of attraction and desire. These visual strategies work less to dismantle conventions of the beautiful than to exaggerate them to a point where they are made alien, initiating a fluctuation between the attractive and the unfamiliar."

This enormously powerful charcoal drawing (enormous both in power and size: 101 x 120 inches) by Robert Longo is in Galerie Thaddeus Ropac’s booth. The Brooklyn artist’s use of charcoal expresses great depth and realism on such a massive scale.

Swiss gallery Cortesi highlights Belgian artist Wayne LeBlanc’s Mobilio-Statique which is anything but static. Made with polyvinyl shards, the black and yellow dynamic art move with the viewer’s movements.   

A huge crowd gathers around Spanish artist Nacho Carbonell’s lit sculptures, highlighted in Carpenters Workshop Gallery’s first-ever Armory show booth. Carbonell’s sculptures, made of metal mesh, stone and concrete look like coral on the ocean floor. About his creations, Carbonell says, “I like to see objects as living organisms, imagining them coming alive and being able to surprise you with their behaviour.”

The Pace Gallery's display of Tara Donovan’s massive installation is made from clear plastic tubes of varying heights that fill a space the size of an airplane hanger. Shaped into a wedge, Donovan uses a single material to play on light and edge that seem to expand to infinity.

Photographer JR’s “So Close” exhibit, shown by Jeffrey Deitch, displays life-sized translucent images of Ellis Island immigrants waiting in line.

Jose Carlos Martinat’s Distractor IV is a spinning, turning sculpture made with LEDs, motors, microcontrollers, collectors, wood, aluminum and iron.

Galerie Ron Mandos’ display of Mohau Modisakeng’s photography series Zion draws viewers in. The artist’s use of material, metaphor and the black body symbolize South Africa’s violent history and how we understand our cultural, political, and social roles as human beings in post-colonial Africa.

Amsterdam gallery Upstream, showcased Dutch artist’s Constant Dullaart’s. Dullaart’s PVA Composition is made with hundreds of “fake” phone sim cards pasted on a mirror and on photos of the Battle of Saratoga. The art symbolizes a “fake army to stand up in the war against the current American social media revolution and the false validation system in journalism based on follower counts.” 

The crowd pleasing My Turn, a work by Edward Cella Art and Architecture’s Alex Schweder and Ward Shelley, showcase the men taking turns sitting in the tiny ferris wheel. Tired show-goers taking a break on the nearby couches are amused by the show.

Two galleries showcase works by Yayoi Kusama, whose garden of red-and-white polka-dotted penis sculptures drew a lot of attention at last year’s Armory show. This year’s Kusama displays are much more tame. The Omer Tricohe Gallery shows Kusama's rare works on paper.

Pierogi Gallery draws crowds with The Pink Forest, a diorama by Patrick Jacobs. The pink explosion is made with styrene, acrylic, cast neoprene, paper, hair, polyurethane foam, ash, talc, starch, acrylite, vinyl film, copper, wood, steel, lighting, BK7 glass.

If you can’t make it to the show this year, follow live Armory updates @thearmoryshow (Instagram) or @thearmoryshow (Twitter).

The post The 2018 Armory Show: What Not to Miss appeared first on Haute Residence by Haute Living.

For all the Sex and the City fans out there, (and even the ones who won’t admit it) the rivalry between Carrie and Mr. Big drifts into all kinds of aspects of their life. At the beginning of their relationship, one of their first big differences was in apartment style. Big lived in a swanky apartment uptown, where as Carrie had a more lived-in abode within walking distance of Bloomingdale’s (that was preposterously big for a weekly writer, trust us!)

Mr Big’s Swanky Pad:

Carrie Bradshaw’s Writer’s Den:

In real life, the actors have the inverse taste in real estate, with both making headlines in New York. Sarah Jessica Parker and her husband Matthew Broderick are currently in the construction phases of creating a Franken-mansion in the West Village, only a few blocks away from their current apartment. The space is also only a few blocks away from "Carrie's Apartment", the set that was meant to depict her characters's building much farther uptown. The power couple recently bought two adjacent town houses in the neighborhood and has scheduled plans for interior demolition and reconstruction. The West 11^th Street homes cost a total of $35 million. Once conjoined, they will feature a 2,100 square foot private garden, and cover about 13,900 square feet in total.

Chris Noth, AKA Mr. Big, is comfortable in a more subdued setting. The actor recently purchased a small co-op on the Upper East Side, in a pre-war Lenox Hill building. While the building was renovated recently, it still has classic touches like oversized windows, herringbone wood floors and crown molding. Noth paid a reported $1.85 million for the space, $30,000 less than it was previously listed for. Noth also owns an apartment downtown on 9^th street in the same building as Sex and the City writer, Candace Bushnell, used to live.

Whether its on the screen or in the streets, Carrie and Mr. Big are still at it in the New York real estate game to see who can score the headlines. As expected though, Carrie always wins in the end.

The post Big And Carrie’s Apartment Rivalry Still Goes On IRL appeared first on Haute Residence by Haute Living.

The 26-year-old's unique product line is grabbing the attention of luxury buyers and corporations. He has just introduced innovative technology to a sector rarely regarded as cutting-edge—the furniture industry—and people are paying attention.

A Miami native with degrees in mechanical engineering and business administration from Northeastern University, Chaille serendipitously discovered a way for his passion for designing and constructing original works to collide with his enthusiasm for luxury cars. Studying design for over a decade eventually spurred his obsession with carbon fiber and “its unbound potential,” leading him to conduct years of intense research on the material. His work culminated in 2013, when he founded his business Chaille Industries.

An extremely expensive and time-consuming process, the creation of carbon fiber furniture is a multi-week process that begins with a simple client meeting. Chaille’s line of furniture, The Sans Pareil Collection, offers sleek, durable outdoor living pieces, but many of Chaille’s designs are custom creations to fit the vision and needs of his clients.

Characterizing his creations as “sleek, simple, and timeless,” Chaille, who grew up on the water, blatantly imbues his fascination with the outdoors in his designs. “The soft, fluid lines, simple curves, and a continuous flow to the pieces mimic those found in nature,” he says.

While consumers are willing to spend thousands on other luxury items, Chaille is confident his handcrafted works will also be popular among the wealthy, explaining the mentality behind owning something of such value in saying, “It is the same reason one would invest in an expensive car or a piece of art. You are investing in the longevity, the quality, the uniqueness, the craftsmanship, and the feeling. You are not simply purchasing a piece of furniture, but an exclusive experience.”

Below, Chaille explains the detailed process of custom creating carbon fiber furniture, from concept design to delivery:

"The process starts with studying. I study a variety of different industries to gain inspiration. I also find inspiration in nature and the shapes and curves of the human body. For the last piece, I studied things such as ergonomics and anatomy to gain better understanding of the human body and how it works.

I then begin the design process, hand-sketching hundreds of concepts before getting to my final design. I feel it is imperative to begin by drawing by hand versus using a computer program; there is a certain connection one feels when hand-sketching that cannot be fulfilled when using a 3-D program. Once the final design is chosen and the dimensions are finalized, it is imported to a 3-D computer program for further inspection and final analysis. A mold is created using the 3-D program as a template to ensure pinpoint accuracy. Once the mold is created and inspected, the furniture is ready to be constructed.

To start, carbon fiber sheets are carefully cut and laid into the mold. This is truly an art form. It takes several hours to lay the carbon fiber sheets in a way to ensure strength and rigidity in the areas needed. The sheets must be perfectly aligned for the pattern to be aesthetically flawless.

After the carbon fiber is laid into the mold, it is sealed and placed into an autoclave: a machine that bakes the piece under high pressure and heat to ensure the lightest, strongest and highest quality product is made. This process is extremely expensive and time-consuming, however, necessary in order to achieve the best result. Once the autoclave process is complete, the piece is inspected for minor flaws and inconsistencies in the weave. Once approved, it is sent to the painting area.

Each piece is hand-painted to the client’s requests. This paint process takes over 40 man hours to complete. The piece is hand-sanded and painted multiple times to get a finished product displaying the highest quality finish. It is difficult to properly execute this task. Ensuring the carbon fiber is not damaged in the process takes great finesse and skill.

Once the paint process is complete, the quality control department reviews each piece with strict guidelines before being approved for final delivery.

At the end of this multi-week process, the client will receive nothing but the finest handcrafted art piece."

Visit chailleind.com to view products and learn more.

Photos courtesy of Chaille Industries.

The post Defying the Laws of Design: Chatting with Carbon Fiber Furniture Maker Andrew Chaille appeared first on Haute Residence by Haute Living.

The one-of-a-kind edifice—inspired by gilded notions hand-plucked from the past—looks to recall the exquisite elegance of a bygone era.

Offering 43 two- to six-bedroom homes with 27 unique layouts (including three duplex townhouses with cellars and two one-of-a-kind penthouses at the top, with prices ranging from $4.5 million to $35 million), 20 East End is set to become one of the most coveted addresses in town.

Haute Residence chatted with Edward Baquero, president of Corigin Real Estate Group, about the up-and-coming residential, the NYC-based developer's latest undertaking.

What sets 20 East End apart from other luxury residential buildings on the Upper East Side? Are any of the building’s features one-of-a-kind?

Designed by Robert A.M. Stern Architects, 20 East End Avenue showcases incredible thought and consideration while retaining an intimate yet stately scale. It’s been designed to deliver a bespoke living experience, including generously scaled and elegantly proportioned residential layouts, 11- to 13-foot ceilings, extraordinary finishes, and unique amenity spaces that were designed to be a proper extension of one’s home. We were driven to consider even the smallest of details like no other building of its kind.

One aspect that sets 20 East End Avenue apart from other luxury residential buildings is its spectacular gated porte-cochére that opens up into a secluded motor court entrance on 80th Street. The extremely rare feature allows residents to enter directly and discreetly inside the building through the lobby door. 

The motor court features a landscaped courtyard complete with a hand-carved limestone wall fountain and a heated cobblestone driving surface, accented by two tones of granite and hand-set pale Indiana limestone walls. An elegant porte-cochère like the one at 20 East End Avenue hasn't been developed in New York since the 1920s.

Describe the building’s overall exterior aesthetic, and talk a little about the architectural firm commissioned to design the structure.

The design concept for 20 East End Avenue embodies the heritage of distinguished, pre-war architecture. The building’s intricate brick and hand-set pale Indiana limestone façade includes oversized bay windows to maximize each home’s natural light and views of the East River, Juliet balconies, and numerous setback roof terraces.

Robert A.M. Stern Architects is a 330-person architecture, interior design, and landscape design firm based in New York with an extraordinarily diverse portfolio. Robert A.M. Stern is the preeminent scholar of early 20th century architecture. Stern’s designs are about perfecting a craft and embracing lessons learned through rigorous research and a study of the neighborhood’s content and history. A self-described “Modern Traditionalist,” Stern creates buildings that fit in seamlessly with their surroundings and give the impression they’ve been there forever. He was the perfect architect for 20 East End Avenue.

What kind of vibe do the residences’ interiors collectively exude?

With meticulous interiors by Robert A.M. Stern Architects, the homes feature 11- to 13 -foot ceiling heights; rift and quarter-sawn Appalachian white oak hardwood floors in a dark walnut finish; custom-designed paneled entry and interior doors; as well as moldings and casings designed specifically for the building.

Many residences include oversized windows, private setback terraces, or gardens with outdoor gas or wood fireplaces. Several have beautiful interior gas fireplaces or some of the last city-approved, wood-burning fireplaces. Every detail is custom-designed or hand-selected by Mr. Stern, which allows for the architecture and the interiors to work seamlessly together to create an unparalleled design.

Robert A.M. Stern

In what ways does the building reflect Stern’s philosophy and aesthetic?

Robert A.M. Stern Architects’ reinterpretation of the classic pre-war façade at 20 East End Avenue has grown organically out of the fabric of the neighborhood. 20 East End Avenue’s two-story, handset base is a warm addition to the area, connecting it to the tradition of pale stone and brick pre-war buildings of that era. It is traditional going forward, and has been called Stern’s most intricate boutique residential building in New York to date.

Describe the lifestyle 20 East End offers.

The lifestyle at 20 East End Avenue will resemble a very sophisticated, social, and exclusive club-like environment. We spared no expense on the amenity spaces at 20 East End Avenue. They are intimate and are designed with the highest level of residential quality. Upon arrival to the building through the circular motor court, residents will enter the lobby, [which features] a blackened steel sculptural staircase with marble treads and risers, a forged steel and bronze railing, and a breathtaking three-story bronze hanging pendant light fixture down the center. The three-tiered, circular staircase graciously connects its residents to the library on the second level, which features a fireplace and a handsomely-appointed library featuring a book collection on the history of New York personally curated by Stern.

Adjacent to the library, through tall double doors, is a billiard room with a wet bar stocked with Christofle lead-crystal glasses and a wall of privately keyed lockers for each family to store its favorite cordials, perfectly located next to the property’s private card room.

These second floor amenity spaces include expansive windows fronting East End Avenue, and are designed to extend each homeowner’s living environment.

Taking the staircase down one level from the lobby, residents and their guests will enjoy an approximately 8000-bottle wine cellar featuring a private dining room with a vaulted ceiling, butler’s pantry and private, separate temperature and humidity-controlled wine storage units. In addition, the lower level will include a children’s game room; a sophisticated 3,000-square-foot fitness center and spa with high- and low-impact training rooms; private treatment rooms and a sauna; as well as a bicycle storage area.

Residents will be able to reserve the billiards room, dining area, and wine cellar for private parties. The building will also include a 24/7 attended lobby concierge.

Name a few features all of the residences share.

All of the homes will feature 11- to 13 -foot ceiling heights; rift and quarter-sawn Appalachian white oak hardwood flooring stained in dark walnut; bespoke paneled entry and interior doors; and moldings and casings especially designed for the building. Many residences will feature private setback terraces, and a select few residences will include private gardens along with outdoor gas and wood fireplaces. Several will have interior gas fireplaces, while others will have some of the last city-approved wood-burning fireplaces.  

The Stern-designed custom kitchens feature millwork cabinetry and granite countertops with crackle tile backsplash. Hand-crafted custom islands designed in an imported marble/granite hybrid—finished in cerused oak with under-counter storage—serve as the showpiece of most kitchens. The kitchen appliances are provided exclusively by Gaggenau of Germany, including fully-integrated, stainless-steel-lined refrigerators and freezers; gas cooktops with a signature dark bronze exhaust hood; and the latest enamel encased speed ovens.

The master bathrooms include three-piece crown moldings; a custom milk-glass vanity encased in a polished nickel frame with marble countertops imported from Italy; under-mount sinks; high-honed marble slab walls; WiFi-controlled radiant heated flooring; Toto water closets; and imported fittings from Lefroy Brooks of London in a polished nickel finish all throughout.

Talk about the neighborhood surrounding 20 East End and the conveniences that come with living in the area.

East End Avenue is a true residential enclave on the Upper East Side. It has the feel of a small town, with streets that end at the park. It is this intimacy that makes the area an “urban suburb,” benefiting from the very best of the Upper East Side in a riverside location that affords a sense of tranquility. It’s full of neighboring parks and the country’s best private and public schools including Chapin School, Brearley School, and Lycée Français De New York, which are a draw for the neighborhood.

East End Avenue’s centerpiece is Carl Schurz Park, a 15-acre park designed by Calvert Vaux—the architect who designed Central Park—that borders the avenue from 84th to 90th streets. There residents can enjoy a playground, hockey rink, large and small dog runs, and several sculpted gardens, all alongside the East River.

In addition, East End Avenue is in close proximity to green spaces such as John Jay Park and Asphalt Green, [not to mention] numerous summer festivals. With a location providing easy access to FDR Drive, East End Avenue enjoys convenient access to Midtown, the Hamptons, Westchester, and metropolitan area airports.

There is simply no better place to live in all of Manhattan.

Are there any residences presently available for purchase?

To date, we have sold over 30% of the residences. We currently have a select number of two- to six- bedrooms available including a three-floor townhome with a private garden and separate entrance on 80th Street, as well as a duplex residence with over 450 square feet of private outdoor space.

What would you say is the building’s "crown jewel?"

While all of the building’s residences are incredible and very unique, the two penthouses are spectacular. The penthouses range from approximately 6,000 to 6,300 square feet, and the top penthouse features 13-foot-high ceilings, five wood-burning fireplaces, and an expansive 5,000-square-foot-plus private terrace overlooking the Upper East Side and the East River.  

The post 20 East End Evokes the Extraordinary Elegance of a Gilded Era appeared first on Haute Residence by Haute Living.

“Barbie was always a huge influence because I was able to design my own dream homes for her out of shoeboxes and things that didn’t cost anything,” she says. Even once she grew up, her love for interior decorating stuck, and when she purchased and revamped her first home in 1997, a buyer came along and offered her the opportunity to make quite a pretty penny. Ever since, she has bought, renovated, and resold over a hundred residences to date—not to mention designed spaces for countless high-profile individuals.

We chatted with the “sassy” designer, tastemaker, real estate flipper, author, and TV host—who also happens to be an avid welder—about her personal aesthetic, philosophy, and key sources of inspiration, and probed her on one of her biggest projects to date: the ultra-glamorous “Barbie Penthouse,” where she and her daughter Ava currently reside.

Formerly owned by the Handler family—who founded Mattel Toys, the makers of the famed doll—the ritzy home is poised at the acme of the Century Towers' east building, located on the westside of Los Angeles. Overlooking the Santa Monica mountains to the north, Hollywood and downtown L.A. to the east, and the Pacific to the southwest, the dazzling abode—purchased by Nicole back in 2012—now features a resort-like, ultra-chic vibe inspired by Barbie’s fabulous lifestyle, all thanks to the designer's unique creative eye.

HR: Describe your personal design aesthetic and philosophy. What mission do you ultimately hope to achieve as a designer?

Nicole Sassaman: I would describe my work as modern, yet warm. I always try to create unexpected elements in all of the spaces that I design. My philosophy is that all things are possible and that every wall is a door, so I aim to create unique spaces that leave people asking, ”How did she do that?”

HR: What are your key sources of inspiration?

NS: Each space inspires me in a different way. I try to see the possibilities that haven’t been realized in a space. For example, can the closet under the staircase turn into an unreal wine cellar? The possibilities are what inspire me.

HR: Describe the “Barbie Penthouse.” Why did you decide to purchase and flip the home?

NS: The Barbie Penthouse is a very special property. It is irreplaceable. Its views are the most jaw-dropping ones in the city. The story behind the home of the Handlers is inspiring and I wanted it to live on. I am very attached to it, and can’t imagine not living here. Ava and I love it! Our friends and family have so much fun here.

HR: How did you go about designing the residence? What type of vibe does it exude? What kind of lifestyle does it offer?

Like any space that I work on, I allowed the space to speak to me and figure out how I could lay the space out, open it up, and finish it off with just the right amount of everything. I tore everything out and then looked at the space as a single room and began putting it back together. It is very sophisticated, warm, and whimsical, and there is something unexpected in each and every room… even in the closets!

HR: How drastic was the home’s transformation?

NS: The project was a complete gut, including windows—[initially], it looked like the set of Bewitched!

HR: How did you get into welding? Did you employ your welding skills at all in the revamp?

NS: I got into welding and concrete technology at the same time. I wanted to design and build my own furniture and back in 1989, and those were very popular materials. And yes—I welded some of the accessories in the space.

HR: Talk about any noteworthy elements that adorn the residence, and why you chose to incorporate them. Do any of the pieces/works featured have an interesting backstory?

NS: The space is sprinkled in Barbie art, books, etc. The light fixture in my daughter’s room is a custom piece that I created for the space, as well as the Barbie artwork hanging above her bed that includes a very special and meaningful note to her. All of the art in the home is special and has a back-story. I know most of the artists on a personal level and that makes their work that much more special to me.

HR: To what extent do you feel the penthouse embodies the “Barbie” lifestyle? In what ways does it not?

Barbie is a girl who has recreated herself time and time again. She exudes fun and sophistication. I think that the penthouse embodies all of those qualities.

HR: Describe the personality of the individual you believe would best fit the unique penthouse.

NS: This space was carefully designed to be able to be fully transformed. If you remove all of the art and furnishings, it can quite easily be changed to reflect a more country or masculine feel. As it is, the home is warm, inviting, great for entertaining, fun, elegant, and unique. The space is suited for someone with style and the courage to be different.

HR: Where do you like to shop for furniture to incorporate in your designs? Do you have any favorite brands/stores that you frequent?

NS: I love B&B Italia, Poliform, and Holly Hunt, and I shop all around the world for unique art and accessories to fill spaces and make them special and unforgettable.

HR: What plans do you have for the penthouse (are you hoping to keep it or sell it)?

NS: At the moment, we plan to create many more amazing memories in it. We love living here!

HR: If you could design any other space in the world without having to worry about any fathomable limitations such as cost, what would it be?

NS: A hotel!

HR: Reveal a fun fact or two about yourself that fans of your work might not know about you.

NS: I love working with my hands, so mixing concrete, welding, and drilling are part of my everyday life. I would love to begin creating artwork. There doesn’t seem to be enough time in a day to do everything, and I barely sleep as it is. I aspire to inspire people to design a great life. Diana Nyad is a wonderful source of inspiration for me. She is proof that the human spirit transcends everything and that anything IS possible!

The post Spotlight on ‘Barbie Penthouse’ Designer Nicole Sassman appeared first on Haute Residence by Haute Living.

Now an award-winning professional whose eponymous firm has designed slews of luxury residences and restaurants all over the globe (including Bice restaurant in NYC), Delrosso is looking to expand his ever-growing architectural empire to include headquarters in the Big Apple—one that'll rival his majestic post in Milan.

We chatted with the renowned architect during his recent venue-scouting visit to New York about his design philosophy, key sources of inspiration, and what sets his company apart from its competitors.

Describe your design philosophy and ultimate professional goal.

When I am asked what I believe in, I say that I believe in architecture having the power to give spaces soul. What makes design special is the alchemy that emerges between the space, those who inhabit it, and the designer. Architecture can elevate the spirit of a place. My design style is very clean and clear, and not too "minimal." I also love empty spaces. I like to work with fewer materials, such as concrete, wood, iron, and stone, and focus on natural finishings where everything is integrated with natural light. 

Residence in Monte Carlo, Monaco designed by Federico Delrosso

Residence in Montel Carlo, Monaco designed by Federico Delrosso

“Pushing the Boundaries” is a metaphor for my approach to everything that I do. It's also the name of my book, which was presented by Gucci in Milan. It means constantly seeking that special thrill you feel when you break new ground and overcome your limitations. I think this urge comes from my passion for racing. 

What are your key sources for inspiration?

I am inspired when I am traveling—walking in cities like New York, Istanbul and Milan, or simply driving. I store in my mind what I see and when I get immersed in a new project, draw out inspiration from what I have seen and start designing. I believe in following your gut instinct.

Are there any architects or designers—dead or alive—whose work you deeply admire? 

I never had a specific architect who I really followed that influenced my style, as I try to be free of dominant influences. I can say that my personal design trajectory has referenced the modern masters, such as Gio Ponti, Ernesto Nathan Rogers, and Le Corbusier. 

What are the three most important factors you take into consideration when designing any given space or structure?

The location, the type of building or land and its relationship with the urban landscape. I design to bring out the "soul" of architecture, not for me or the client. That is my mission.

What sets your firm apart from other design and architecture companies? 

We design for those who share our philosophy of luxury. For me, it’s not about using expensive materials or following trends. Luxury is the feeling of being somewhere else without feeling isolated. We believe in creating private spaces that exude a sense of intimacy with the surrounding of people, cities, and nature. We collaborate with clients and artists, iterating ideas until we are confident that we’ve created a space that captures emotion and tranquility. A space must have its own soul. 

Are there any projects you have completed in the past that you are particular proud of?

I like to say the next one! However, a project that I am particularly fond of was the home of LVMH artistic director for Berluti, Alessandro Sartori. He remains one of my closest friends to this day. I am also proud of a farm renovation in the hills of my hometown, because I was completely involved in every single detail of the house, including its selection of art.

Farmhouse designed by Federico Delrosso in his hometown of Biella

Farmhouse designed by Federico Delrosso in his hometown of Biella

What are some projects you are currently working on?

I’m working on several exciting product design collaborations, the design of a vertical farm building, and an art installation for the upcoming Biennale of Art in Venice. I have a great interest in art and am directing more of my focus to working with artists.

If you could design any space in the world without having to worry about any fathomable limitations such as cost, what would it be?

A Museum of Modern Art.

The post Q&A with Award-Winning Italian Architect Federico Delrosso appeared first on Haute Residence by Haute Living.

The New York native—who moved to her family’s homeland of Portugal at the age of 10—continued the odd practice even once she got older, eventually kicking her sly habit of targeting the unsuspecting to pursue a full-blown career in interior design.

But even after successfully establishing a solid repute conceptualizing spaces for clients all over the world, Morais—who speaks four languages: English, Portuguese, Spanish, and French—still wasn’t satisfied. “Interior design is my passion, but [it involves] designing for my clients—not for myself,” she explains, adding that it was always a constant challenge finding pieces that truly spoke to her aesthetic.

So Morais decided to launch Koket: a furniture brand founded upon her fierce and ultra-feminine personality, along with her affinity for luxury and beauty. “Koket offers a glimpse into my world and everything that moves me,” she says. “It [embodies] all of what I believe in.”

Encompassing everything from elegant chairs and sofas to brilliant sconces and armoires, Morais’ poignant collection will perhaps most appeal to those who are wildly colorful and daring at heart, similar to Morais’ vibrant persona. “Koket was designed for people who believe in love at first sight—for those who live for the moment when they are stopped in their tracks by something beautiful,” she explains. “It caters to powerful and extremely confident women who know what they want and are not afraid to ask for it.”

Featuring Koket's Hypnotic chandelier and Privé daybed

According to the designer, the notion of starting her own furnishings label came unexpectedly in a New York City lounge over cocktails, sparked by a simple drawing of a chair. “The moment that first sketch was created, love happened,” she enthuses, revealing the origins of Koket’s motto: Love Happens.

“At that moment, I felt an overwhelming desire to create more pieces with the same [sense of] empowerment I felt creating that first [work]. I wanted to [produce] a collection that consumers would not just like, but love: one reflecting the experiences, simple pleasures, passions, and life events that have shaped me.”

Koket's Nessa chair and Kiki table

Given a moniker that happens to be a twist on a nickname she’s had since she was a child—“Janette la coquette”—Koket offers a highly-edited line of bold and sumptuous pieces largely inspired by fashion, flora, and fauna, featuring luxe metals, vivid jewel tones, lush fabrics, and semi-precious stones.

Unlike many designers who are reluctant to reveal which of their creations are their favorites, Morais doesn’t hesitate to divulge her top pick. “The Divine armoire is my absolute favorite piece,” she confesses.

Koket's Divine armoire

“The design—with its feathers, colors, and textures—embodies who I am. [Its handle] is modeled after a girl’s hair ribbon, gracefully coiled on a vanity. The gold leaf and peacock feathers are tributes to my love for the exquisite, and [I incorporated] the pagoda top because of my fascination with Asian architecture and design.”

In addition, Morais admits the antique mirror interiors found in all of her cabinets and armoires can be attributed to her admiration for the escalators at Bergdorf Goodman. “The stairway to heaven is lined with antique mirror,” she declares.

Though it may not be the piece dearest to Morais, the Mademoiselle armoire—which features an intricate, gilded butterfly cut-out motif that overlays fuchsia silk-lined doors—is noteworthy in a different respect: it recently made its silver-screen debut (along with over a dozen other Koket furnishings) in Fifty Shades of Grey, as part of the movie’s design set. “The essence of my pieces dreamily complements the film’s aura of desire, passion, and power,” she enthuses.

Apart from being showcased in the sultry Hollywood blockbuster, Koket’s pieces have also graced 17 Saks Fifth Avenue window displays, and can be found within the grand palaces of numerous royals, as well as in the homes of several leading ladies in the music industry (of course, Morais can’t name names).

“I have had the honor of working with [a slew of notable individuals]; however, my true dream project is to design my first flagship store in New York City,” the designer says, noting that it’s an aspiration she’s incredibly close to realizing.

Koket's Guilt mirror and Nessa chairs on display at Saks Fifth Avenue in New York City

At the end of the day, Morais’ aim is fairly simple: “I want to change the way people [see] furniture and furniture shopping,” she says, adding that she hopes her intrepid pieces serve to empower her clients. “The public and the industry have always been ready for it, but only very few have the know-how; for this I thank my creative writers, talented designers, and amazing graphic artists,” she gushes. “They are the ones fulfilling fantasies.”

The post Profile on ‘Fifty Shades of Grey’ Furniture Designer and KOKET Founder Janet Morais appeared first on Haute Residence by Haute Living.

Among the boutique high-rises set to sprout up around the sinewing, picturesque parkway is Bauhouse Group's 515 Highline, currently in the works along 29th Street, between Tenth and Eleventh avenues. The unique building will offer a dozen high-end residences priced from $4.5 million to $25 million (including 2,200-square-foot half- and 4,400-square-foot full-floor condos, on top of one simplex and two duplex units in its upper floors), with sales expected to begin this coming spring.

Below, we chat with Joseph Beninati—managing member of the Bauhouse Group—about the up-and-coming development, which will undoubtedly become one of the most enviable residential spots not just in Chelsea, but in the city—upon its debut in early 2016. 

What sets the development apart from other luxury residential buildings existing (or sprouting up) in the neighborhood?

With 515 Highline, we aimed to take everything that defines the High Line park and the surrounding area and seamlessly work that essence into our building. Additionally, our building is located at the 90-degree bend of the High Line, making it the only property in Manhattan with the famed park on both sides.

Talk about the lifestyle 515 Highline will offer. 

Simply put, 515 Highline offers an ultra-luxurious lifestyle with designs that exceed even the highest of standards. Some of its one-of-a-kind features include a chef’s kitchen on the building’s lowest level, which provides serving wares for parties—something that’s very English and unheard of in New York City. Caterers can use the kitchen to prepare hot and cold dishes, and use a private elevator to take it up to the residences.

Describe the building’s overall exterior aesthetic. Are there any notable architectural details you’d like to point out? Briefly discuss the architectural firm commissioned to design the structure, and why it was chosen.

515 Highline features a glass-wrapped exterior that will allow each residence to have a perfect view of the greenery spanning the High Line park. The building is uniquely positioned to have five vantage points, and its sculptural façade consists of laser-cut, fritted laminated glass plates and steel, which reflect the interplay of organic and manmade characteristics of the urban park. On the northern and southern sides, 515 Highline’s ribbed façade creates the appearance of wavy glass fins. Additionally, a 65-by-45 foot space on the building’s eastern wall facing the High Line will showcase various large art installations.

Given the unique location of 515 Highline, we sought a designer with the global experience, vision and sophistication to match the high caliber of new residential development in what has become the modern art capital of the world. Soo Chan and SCDA Architects perfectly fit the bill, with stunning interiors that evoke an understated appeal and modernity, and an exterior façade that incorporates the High Line [and is appealing to] both onlookers and residents.

Who designed the building’s interiors? What kind of vibe do they collectively give off? Are there any notable design details you’d like to mention?

Soo Chan of SCDA Architects designed both the interior and exterior of the building. We’re aiming to evoke an ambiance that will see a combination of West Chelsea’s industrial heritage with contrasting light and dark colors using stones, wood, cotton, linen, and leather materials. There will be bleached oak floors and a lot of bronze detailing to capture a deep, natural feel. There will also be a fire pit on every terrace, and private elevators opening on each floor. Kitchens will consist of Miele appliances as well as blond oak cabinetry. Five-fixture bathrooms include standalone bathtubs, Azul limestone walls, lava stone floors, and custom-designed hardware.

Does the finished structure wholly reflect the image you initially had in mind for the development? In what ways does it differ from the design your company original imagined?

Absolutely. Soo has done an incredible job in designing this building, and has made our vision for 515 Highline come alive.

Apart from the High Line, name a few notable sites surrounding the area. 

515 Highline touts such notable neighbors as the Hudson Yards district; new developments by Related Companies, The Moinian Group, and Brookfield; the future Culture Shed, which will be the forever home of New York Fashion Week; and the new Whitney Museum of Art.

The post Bauhouse Group’s Joseph Beninati Dishes on 515 Highline appeared first on Haute Residence by Haute Living.

Read on to learn what makes the newly-minted condominium unique, and how its developer went about selecting the individuals responsible for designing its structure and interiors.

What sets 345 Carroll Street apart from other luxury residential buildings existing (or sprouting up) in Carroll Gardens?

345 Carroll introduces a rare full-service luxury building to the neighborhood. The residences, which range in size from two-to-four bedroom apartments, appeal to a wide variety of people. The building's bluestone façade is eye-catching, unlike any that of any other new development in the area. It also offers large bay windows with a ton of light, a double-height lobby, vast amenities, and top-of-the-line fixtures and finishes. Carroll Gardens has never seen a building quite like this.

In what ways is each of the building’s 32 residents unique?

The majority of the apartments have their own unique layout, which buyers have been drawn to. The floor plans are thoughtfully designed, resulting in garden duplexes with private yards, multi-story penthouses with terraces and roof decks, and more. More than half of the apartments have private outdoor spaces.

How did your company initially go about selecting an architect to design the development? 

We interviewed several firms we believed would be appropriate for a luxury development in Brooklyn. We ultimately decided to hire Gluck+ because its architects shared a similar vision for the site. They understood that architecture could create significant value. There also needed to be items that differentiated us from the other new development projects on the market, like the bay windows and bluestone façade. They recognized the importance of creating luxurious homes in an efficient square footage.

Describe the lifestyle 345 Carroll Street provides.

In addition to a doorman, superintendent and porter services, residents can enjoy a 5,300-square-foot private rooftop including a landscaped garden with quiet alcoves, a vegetable garden, and a bocce court. A children’s playroom, fitness center, pet grooming station, and bicycle storage are also being offered, and private storage units and private parking are available for purchase.

Are any of the building’s features/offerings one-of-a-kind? Talk about what it offers that similar luxury condominiums in NYC might not be able to provide.

The building is located in one of Brooklyn’s most elegant historic districts, which sets it apart off the bat. The design elements are beautiful, and being able to grow vegetables in your own garden and have the option to play bocce are definitely uncommon yet welcoming perks.

Does the finished structure wholly reflect the image you initially had in mind for the development? In what ways does it differ from the design your company original envisioned?

The final design of the building is consistent with the overall feel we were looking for when we initially got involved with this project. However, we did not go in with a specific design concept. We tried to be open during the design process and not limit ourselves to a particular aesthetic. I believe we achieved our goals of creating a development that is contextual in the neighborhood, yet still has a more contemporary feel.

Why did you decide to erect the condominium in Brooklyn, as opposed to Manhattan? What do you think are the benefits of a Brooklyn-based lifestyle versus one rooted in Manhattan? 

We are big believers in both Brooklyn and Manhattan. The opportunity with this project arose because we recognized the supply and demand imbalance that existed (and still does) for luxury condominiums in Brooklyn. There are people who gravitate towards the cultural and nightlife options that Brooklyn has to offer, and prefer more of a neighborhood feel. I don’t believe it is a case of one area being better than another, but more of an individual preference.

The post An Exclusive Q&A with 345 Carroll Street Developer Greg Katz appeared first on Haute Residence by Haute Living.

Jarvis Wong

So much so, he asserts his personal design philosophy is wholly rooted in his penchant for fusing seemingly clashing patterns and pieces. “I love to combine contemporary and classical elements to create something that is fresh and uniquely mine,” he reveals.

The designer—who grew up in Hong Kong and attended boarding school near Chicago as a teen—originally started out in the fashion industry in pursuit of a childhood dream, only to later realize the profession didn't quite suit him as well as he'd imagined.

Armed with an architectural degree from Columbia—along with a keen eye for design, honed by years working as a women’s wear designer at Ralph Lauren and Kenneth Cole—Wong smoothly transitioned from haute couture to interior décor.

Following a stint at architectural firm Kohn Pedersen Fox, he moved on to CetraRuddy—another New York City-based company—where he designed the lobby and model unit of Walker Tower, a luxury residential development in Chelsea. “[Due to] the success and positive response I received [for my work] at Walker Tower, [I realized] it was time to launch [my own firm],” he says.

Walker Tower Residence

Soon after, Jarvisstudio was born.

Below, Haute Living chats with the designer about his up-and-coming interior design company (which already boasts clients in Hong Kong, London, and New York), ultimate career goal, and projects he currently has in the works.

What is your ultimate goal as a design professional? Which are you more passionate about: architecture or interior design?

My ultimate goal is to use design as a tool to help others realize who they are. An important part is also creating mood and desire. I’m definitely more passionate about interior design! It allows me to combine my architectural training with my experience working in the fashion industry. It’s the best of both disciplines.

Describe your experience working in the fashion industry. How did it ultimately impact your interior design career?

Truthfully it was a bit overwhelming working at the fashion shows. I remember sitting on the studio floor late at night, picking swatches and sketching out looks for months on end. However, the experience made me more in tune with fabrics, patterns, and color palettes.

Name a few individuals you look up to and draw inspiration from.

Architects I admire greatly include Le Corbusier, Zaha Hadid, Arata Isozaki, and Oscar Niemeyer. Fashion designers include Karl Lagerfeld, Raf Simons, Miuccia Prada, Nicolas Ghesquiere, Yves Saint Laurent, and Christian Dior.

Which types of projects do you enjoy working on the most?

Jarvisstudio focuses mainly on interior design—especially high-end residential work [such as] the Walker Tower, and Stella Tower, its sister project in Hell’s Kitchen. We also started developing a hospitality project in Asia this year that I’m extremely excited about.

Stella Tower Lobby

What are some projects you currently have in the works? Which of your projects are you most proud of or excites you the most, and why?

We are working on several residential projects in Manhattan and Hong Kong, in addition to the hospitality project in Asia I mentioned. The Stella Tower lobby is near completion, which is very exciting to us. It’s a gorgeous space. I am extremely proud of the work we did at both Walker and Stella towers, in collaboration with CetraRuddy. I have a great working partnership with the team: developers Michael Stern of JDS Development Group, and Elliott Joseph of Property Markets Group, and of course Vickey Barron of Douglas Elliman—the head of sales on both projects. For any designer, it’s a dream team arrangement!

Stella Tower Residence

If you could design any structure in the world without having to worry about any fathomable limitations, what would it be?

A museum, hands down.

Name one trivial fact about yourself one might be surprised to hear.

Shoes! I have a closet full of shoes for all kinds of different occasions. I don’t believe in all-purpose shoes. A beautiful pair of dress-up shoes or sneakers are must-haves for any outfits, just as accessories and art are must-haves for any great interior space.

The post Interview with Fashion-Inspired Interior Designer Jarvis Wong appeared first on Haute Residence by Haute Living.

Faced with the reality that the company he’d long worked for was at the verge of shuttering its doors, his 26-year-old self deeply contemplated his next career move. "I didn’t see myself looking for another job," he says, recalling his reluctance to start back at square one at another firm. So he didn't.

Instead, he decided to take the plunge and pursue his lifelong dream.

Pinedo boldly set sights on transforming his hobby of handcrafting custom furniture pieces in his garage into a full-scale operation: an ambitious vision that would demand a great deal of time, courage, and support—not to mention money—to fully realize.

He cashed out his 401K, invested the $10,000 he collected after taxes on equipment and, with a whole lot of help from friends and family, launched Cisco Brothers in 1990. "I had a very simple mission: to design and make beautiful products that would improve the quality of life of people... [using methods that would have minimal] impact on the environment," he says.

Ever since, Pinedo has championed sustainable living through his work, designing products meticulously handmade by local craftsmen using eco-friendly materials and manufacturing techniques. In fact, all of his company's woods are certified by the Forest Stewardship Council. Its foam is also free of fire-retardant chemicals, and all its glues and stains are water-based.

The brand took its mission a step further in 2005 with its introduction of “Inside Green,” a unique technology that entails fashioning pieces solely out of all-natural substances including organic latex, cotton, and wool. “Through our journey we have learned to challenge our vendors and our customers to embrace and demand materials that are less harmful to our health and the environment,” Pinedo says.

The designer's story is rooted in very humble beginnings; in truth, his prolific career can be traced all the way back to a small, local re-upholstery shop in which he worked part-time as a teen. Shockingly, the California resident—who was born on a bucolic swath in central Mexico, in an area devoid of electricity and public transportation—had zero exposure to the modern urban world until he was 13, when he and his family moved to Los Angeles.

Even more surprisingly, Pinedo wholly credits his atypical childhood with his success as a designer, asserting that his experience growing up in a primitive, unspoiled environment spurred his passion for nature, which in turn sparked his desire to craft creations that are not only aesthetically pleasing, but also sustainable. “[Living such] different lifestyles… helped me adapt and become flexible. I did not have the normal youth path and influence of pop culture… so my craft became very natural,” he says. "I became a craftsman at such a young age that designing my own product came naturally."

At the end of the day, Pinedo—who claims he's inspired by "all walks of life," including weathered and discarded materials—is driven by a fairly straightforward ambition: "[I want to] connect with people from all cultures and inspire a lifestyle that brings authenticity and comfort to their lives," he says.

Recently the designer's home décor line, Cisco Home, opened a new 8,000-square-foot outpost—the brand's seventh location nationwide—in Costa Mesa.

“Our goal in the new store was to invite our craftsmen, architect friends, and artists to come and make an interactive [place] that [features products made from] re-purposed materials, and to bring a new retail environment to Orange County,” he says. "We pride ourselves in creating interesting products out of rescued and cast-away objects that may otherwise end up in landfills."

The whimsical, vintage-inspired boutique is adorned with a slew of one-of-a-kind installations, including a luminescent silkscreen wall, an airplane skeleton from the ‘50s, and a carousel from the 18^th century. Aside from displaying the brand's already established array of home decor pieces, the playful space showcases the brand’s new Mid-Century Collection: a line of furnishings inspired by the 1930s modern revolution, featuring clean lines and modern silhouettes.

Asked whether or not he plans to establish any other locales in the near future, the designer remarks that the opening of his stores are, like his products, very organic. “We wait for the right location and partner to do it with,” he explains.

When he's not coming up with new ways to better the world through furniture design, Pinedo—an avid cook, bicyclist, runner, and hiker—loves traveling to remote places. “Going to space would be fun!” he says, only half-kidding.

Though we doubt he'll ever make it on board a rocket ship, we're confident the veritable family man—who has three daughters with his wife, Alba—will manage to check off the more sentimental aims on his bucket list: "To see my girls take over my company and continue its mission... and to stay healthy [and live long enough] to meet my grandkids!"

The post Meet Organic Furniture Designer Cisco Pinedo appeared first on Haute Residence by Haute Living.

It was the year his parents decided to build a custom-made house, unwittingly igniting the young boy’s passion for home design by allowing him to shadow the architect in charge and partake in the design process—an experience that, much to their surprise, would resonate with their son long after the project’s completion. “While most of my friends were reading Sports Illustrated, I was reading Architectural Digest,” Oppenheim reveals. “By the time I was in eighth grade, I knew I wanted to become an architect.”

The New Jersey native carried his childhood dream all the way to college, eventually graduating with a degree in architecture from Cornell University and landing a post at Arquitectonica, one of the most prominent design firms on the globe. It didn’t take long for him to garner enough courage, means, and desire to launch his own business, however, and in 1999, his eponymous firm—Oppenheim Architecture + Design—was born. As put by its founder, the Miami-based creative company aims to design structures that are “nothing more than what they essentially need to be”—a mission that wholly reflects Oppenheim’s romantic and minimalistic design aesthetic.

“Similar to cooking a balsamic reduction, you boil off the water and other non-critical ingredients throughout the creation and end up with the most hyper explosion of taste and flavor. That is the same process my firm and I follow when designing,” Oppenheim explains. “We strive to produce architecture of elemental means that achieves the maximum effect of the building both [in an urban sense] from the scale of the pedestrian, to the experience [offered] inside of the structure.”

Wudi Rum Desert Resort – Wadi Rum, Jordan

While modern construction designs are often regarded as cold and absent of charm, the acclaimed architect and his team work to produce warm, nurturing environs that support and enhance the lifestyles of their inhabitants. “I like to celebrate the sense of place for each project that I’m designing by using natural resources and elements such as light, air, water, sky, and vegetation, as well as locally sourced materials that root the creation in its place,” Oppenheim says.

Driven by a deep respect for nature, he asserts architecture should be sensitive to natural beauty and ultimately seek to enrich its surroundings in a non-invasive way. “What’s really interesting to me today is our ability to enhance natural environments and work on projects that are meant to [conserve and augment] these incredibly beautiful and delicate ecosystems,” he says. “Through our work, we’re able to recreate and help preserve these places, not destroy them.”

La Nubia – Aspen, Colorado

In truth, Oppenheim’s sustainable ways extend far beyond his professional work. He and his wife Ilona have sought to craft a lifestyle inspired by nature, supporting ecological practices such as growing and eating local produce, and providing educational lectures on diverse farming and meal preparation. “My main mission is to enhance life and the way people live,” he says.

Bal Harbour House – Miami, Florida

It’s therefore no surprise that building healthy, sustainable structures is one of Oppenheim’s key objectives. “It’s something incredibly important to me, and something we demonstrate every day at my firm,” he says. “It’s crucial that our projects showcase our appreciation and love for the natural world, and help preserve local resources.” With that in mind, the designer is constantly working to develop novel ways to live and design using green concepts and materials.

Among his impressive collection of completed eco-conscious works is Net Metropolis, the first certified green project in the Philippines under the nation’s new sustainable building system, BERDE (Building for Ecologically Responsive Design Excellence).

Net Metropolis – Manila, Philippines

The edifice boasts sun-shading and a full glass curtain wall that features double-glazed low-emissivity glass, which aids in reducing costs and energy usage associated with the air conditioner. “It was such an exciting experience to be a part of, not only because of the forward-thinking design and aesthetic performance of the building, but also because I [helped develop] the new standard that will be applied to all future developments in the country,” Oppenheim enthuses.

His work on La Muna—a private residence sited in Aspen, Colorado—involved the revival of the rustic ski chalet. Using natural resources such as regional wood, local stone, and weathered steel and copper, Oppenheim and his team seamlessly integrated the structure into the surrounding forest. The organic update also entailed the installation of solar collectors that would harness the energy necessary to power and heat the entire home, as well as the addition of large, operable panels of insulated glass that blur the boundaries between indoors and outdoors, further strengthening the relationship between nature and the manmade creation.

La Muna – Aspen, Colorado

Perhaps one of his firm’s most famous works is Ten Museum Park—a condominium skyscraper completed in 2007, whose construction became a catalyst for the design of Museum Park and downtown Miami. “We wanted to create a tower that was slightly different in proportion and scale [in comparison to what] you would usually find in the city,” he says. “The building takes incredible advantage of resources, sky, and water, and celebrates everything Miami has to offer. It’s a very urban, serious structure that’s devoted to pleasure and delight.”

Asked to divulge the project he is most proud of, however, Oppenheim describes House on a Dune—a home he and his team designed on Harbour Island in the Bahamas. “It’s the purest example of what I’m trying to accomplish with my architecture,” he says, revealing that all of the materials used in the residence’s construction—including stucco, impact-resistant glass, Ipe wood, Indian sandstone, onyx, and milk paint—were chosen to help the structure blend into its environment.

House on a Dune – Harbour Island, Bahamas

“The home is integrated very comfortably into the island setting,” he explains. “It is a pure expression of the architectural styles that have existed on the isle for years… and is historically and contextually sensitive to the island.”

With scores of successful projects around the world already under his belt, the internationally-acclaimed architect shows no signs of slowing down. At this moment, he's juggling a dozen or so developments, including Metropica—a mixed-use structure in Miami that will include 2,500 residential condos, 300 townhouses, and 1.135 million square feet of office and retail space—and Net Park, a 1.55 million-square-foot, mixed-use office and retail complex in Manila comprised of two towers.

Metropica – Miami, Florida

Ultimately, what keeps Oppenheim going is quite simple: “I love creating incredible houses and environments for amazing clients,” he says. It's a genuine sentiment that not only fuels him and his team through each long work day, but also promises the continuous production and design of unique, contemporary—and most importantly, sustainable—architectural works for many more years to come.

The post Spotlight on Eco-Conscious Architect and Designer Chad Oppenheim appeared first on Haute Residence by Haute Living.

In truth, the Connecticut native—who graduated with a fine arts degree from Dartmouth—originally ventured to the Big Apple right after college in hopes of launching a lifelong career in fashion. And though she managed to successfully land a string of jobs in the industry, her burgeoning interest in outfitting spaces soon began to overshadow her love for dressing human figures.

Eventually, she relocated to the west coast, where her penchant for conceptualizing interiors prompted her to enroll in UCLA's design program. Soon after, she launched her eponymous design firm. "If I’d stayed in New York I think it's likely fashion would have been a 'forever' thing," she says. "Interior design happened somewhat organically once I [moved to California], [where it] grew to be my full-time career."

The creative expert—who describes her style as "a little bit country club, a little bit rock-and-roll"—says that her design aesthetic has east coast roots, but is "very much Californian," in the sense that it doesn't take itself too seriously.

Constantly inspired by travel, architecture, and street style, Burnham—who appreciates "a clean, unfussy 'canvas' with modern lines, edited details, and lots of white"—claims to be drawn to classic elements such as ceramic tiling, painted wooden floors, linens and denims, and plaids and stripes. "In general, the Burnham Design style is all about a mix, and that’s how we add some edge," she reveals. "There’s nothing like contemporary art in the same room as vintage accessories; an old Turkish rug in an all-white mudroom; or a drum set living alongside fine furnishings in a formal living room."

Burnham's venture is by no means a cookie-cutter interior design company. The Los Angeles-based firm features a unique service that sets it apart from its competitors called "Instant/Space," which allows clients to employ Burnham and her team's services from all over the country—and occasionally, even abroad—solely via online communique.

"I thought of Instant/Space in 2004/05, back when I was building my business and had to turn down smaller jobs in favor of those with broader scopes," Burnham explains. "I wanted to find a way to keep those small jobs, because often those were the clients who were most enthusiastic about my work and most engaged in the process."

Burnham Design – Instant/Space

The company's innovative practice—nicknamed "e-decorating" by the media after it gained traction and other designers started to offer similar services—requires potential clients to fill out a questionnaire that asks them to describe the architectural style of their homes, name their favorite design blogs and magazines, and express their color preferences. It also requires that they provide digital documentation and a detailed floor plan of their rooms, as well as tear sheets of their dream spaces. "Often we share Pinterest boards," Burnham divulges. "The more [clients] tell us about themselves, the more seamless the process."

Burnham Design – Instant/Space

Read on for a Q&A with the busy mother of two, who talks to us about her favorite past projects, where she likes to shop for furnishings, and how she successfully melds the wants and needs of her clientele with her own personal style.

How closely does your own home’s interior echo the work you design for others? Is there any room in your home in particular in which you love to work in, and/or relax and unwind?

I live in a 1927 house in one of the older neighborhoods of Los Angeles, with classic bones and large-scale rooms. I love its sense of history, and I often borrow its architectural elements (like mouldings, doorway proportions, wrought iron) for use in my projects.

[My family and I like to relax and watch TV] in our library, which is a cozy room with pale blue walls, lots of books, layered rugs, and a random mix of wall art (from drawings and vintage paintings, to faux taxidermy and antique mirrors).

Burnham Design – Instant/Space

Which of your past design projects are you most proud of? Can you elaborate on some of your current ones?

I designed a 15,000-square-foot house on a private island in northern Michigan for some of my favorite clients several years ago. It was a once-in-a-lifetime project in a truly unique setting; I’d call its vibe “boathouse glam.” Tons of wood wall treatments (like board and batten) painted creamy white, comfy deep upholstery, faux bamboo, vintage Hermes and Gucci accessories, and old-school printed textiles. The clients are private people so we never published the project, but we had an unforgettable time designing that house.

A couple of current projects include a Moroccan-meets-modern home in the Hollywood Hills. The clients were both very involved and wonderfully open minded, and they let us go crazy with patterned tile and off-white limestone. And in June we installed the 2014 Coastal Living Showhouse in Coronado, which is open for tours until September. It was great fun putting the Burnham Design spin on “coastal chic.”

The Pierre Hotel

If you could design any space in the world without having to worry about any fathomable limitations such as cost, what would it be?

My family used to stay in the Pierre Hotel when we were in New York City, and although I kind of loved its dated elegance, it was in dire need of a remodel. I always thought it would be the most glamorous project, and redesigned it in my mind a hundred different ways. Of course, someone else got the job without me even knowing—it was remodeled at great expense a few years ago.

Where do you like to shop for furniture to incorporate in your designs? Do you have any favorite brands/stores that you frequent?

We shop all over, from 1stDibs, Etsy, and JF Chen, to Lawson Fenning and The Rug Company. My favorite lines include Lee Industries, Charles Fradin for upholstery and casegoods, Urban Electric Company for lighting, and Rogers & Goffigon and Peter Dunham for fabric.

Describe yourself in five words.

Anxious. Detail-oriented. Authentic. Animal-obsessed. And the opposite of a foodie, if there’s a word for that—I eat the same things every day.

The post A Q&A with Ecclectic Design Expert Betsy Burnham appeared first on Haute Residence by Haute Living.

One of the handful of agencies focusing primarily on the marketing of luxury destinations, the firm works alongside real estate brokers before they even officially put a property on the market.

Here, CEO Mark Fitzpatrick talks to us about RUHM’s unique real estate marketing strategy, what sets the company apart from its competitors, and what it takes to become one of the unique agency’s exclusive clients.

What sets RUHM apart from other marketing agencies?

Beyond just being a production company, RUHM provides a full service marketing package of video, public relations, design, online marketing, research, and real estate consulting.

The people are central to each marketing package—our creatives don't want to settle for the expected—it's just not as fun. We are idea generators—always thinking of the best ways, no matter how unorthodox, to sell one particular property in the shortest amount of time and for the most money. We aren’t a "trust me, baby!" company. Everything we do has a reason and finds support in our analytics.

Aside from being priced at $5 million or more, what other criteria must an estate meet in order to be featured on RUHM?

Any luxury destination that isn't getting the attention it deserves is right up our alley. Sure, many homeowners have unrealistic expectations of price. We get attached to our homes—they become part of our family. But sometimes, families are crazy. Your valuation may not be what the market can bear... which is why the story of why its worth what you feel it is needs to be told.

It just doesn’t make sense to us that homeowners aren't expecting more. If any major company were to market a product, they'd do more than hire the local wedding photographer. With a home being many’s biggest investment, it just makes sense to hire a team capable of giving it a unique voice, engaging buyers' emotions, and getting it in front of eyes that matter.

Briefly describe your thoughts on Hale Ali'i, the $26 million property in Maui that you’re currently featuring. What makes it a “RUHM-worthy” estate?

Hale Ali'i is Maui's premiere beachfront estate. Being one of the most expensive properties on the island, the home’s marketing package needed to be stronger than average to defend a premium price point amongst lower value homes.

Securing a buyer for a $26 million property requires targeted channels, creative thinking, and a knowledge of how that demographic speaks, thinks, and congregates (or just a lucky break—but no one can count on that). Hale Ali'i was on the market previously and even featured in some of the world's most respected real estate publications, but it still didn't manage to secure a buyer. It was just another gorgeous mansion without a story.

We saw an opportunity to shift the discussion from price per square foot to the experience of being in this unreal place. It's indescribable—and that's the type of challenge we love.  We tried something totally different and unexpected—having to search out the technology to make our ideas work. We’re pretty happy we took the risk.

Are you open to packaging and promoting other high-end assets aside from real estate? 

Though we specialize in luxury properties over $10 million, we’re always open to new opportunities—from yachts, to hotels, to private residences, we have a wide network and the background of selling high-end dwellings to targeted affluent audiences.

For those interested in becoming one of your exclusive clients, how can they get in touch? 

Anyone interested in knowing more or seeing if his or her property may be a good fit for RUHM can email us at Hello@RUHM.com, or contact me at (949) 891-0177.

The post A Q&A with RUHM CEO Mark Fitzpatrick appeared first on Haute Residence by Haute Living.

In truth, her path to becoming one started with her working in a completely unrelated sector—international affairs. “My first job out of college was working for the Italian government at the Italian Trade Commission in New York City,” she reveals. “For a long time I aspired to be a diplomat. I only discovered my creative side much later.”

Indeed the Boston native has worn many hats along the way—from pursuing her interest in fashion as Bloomingdale’s women’s couture department head, to spending nearly six years at Puma International as a trend scouter based out of both the U.S. and Germany. It was a particular "cap," however—one handed to her by an international headhunter working for Liberty, a fabric firm based in London—that ultimately piqued her passion for interior design.

“After I was hired to re-launch Liberty of London’s furnishing fabrics collection, I became entrenched in the interior design world,” Foster relays. In fact, she became so enthralled by the artistic realm, that she opted to enroll in London’s KLC School of Design at Chelsea Harbour. It was there that she decided to pursue an extremely narrow (and not-so-common) focus: luxury pillow making. “The more I spoke to designers, the more I became aware that the hardest part of their job is oftentimes finding pillows for a project,” she explains.

Now a full-time Londoner, Foster successfully launched her own line of vibrant silk cushions just last year. Retailing for $295 apiece, the posh pillows—which are artfully crafted in Milan—are each inspired by a different city the avid traveler has ventured to in the past. “Some of the most inspiring destinations [include] the Amalfi Coast in Italy, St. Barth’s, Marrakech, Paris, Cyprus, Rome, London, Hong Kong, and Tokyo,” the designer says. And the list goes on and on. “I’ve honestly lost track of how many cities I have been to—I wouldn’t even know how to begin to count them!”

From left to right: Alexandra D. Foster's "Amalfi Coast," "Roma," and "London" Pillows

Given that statement, it’s not hard to imagine how Foster’s plethora of experiences traveling abroad—coupled with her deep admiration for nature—serves as her chief source of inspiration. “Travel changes you fundamentally and to the core, while opening your eyes to possibilities you never knew existed,” she asserts. “And nature is perfect in every way, from the stunning creatures of the sea, to the symmetry, form, and colors of flowers.”

According to Foster, luxury, quality, and style are paramount to her brand. “I chose [to craft my pillows out of] silk because it is a luxurious fabric with a beautiful hand feel, and the way it takes color is just breathtaking,” she enthuses. “Colors really do come to life on silk, more so than any other fabric with which I experimented.”

Foster's silk is printed in panels at one of the most prominent mills in Milan, where many of the world’s greatest fashion houses also manufacture their fabrics. It is then taken down the road to a small atelier, where the rest of the cushion’s luxe trimmings—including its cotton lining, zipper, care labels, and hand-braided trim from Bologna—are all sewn on by hand. “In such a fast-paced technological- and machine-driven age, it is nice to know that master seamstresses in an atelier in Lake Como are meticulously hand-making each of my pillows as if it were a work of art,” Foster muses.

From left to right: Alexandra D. Foster's "Marrakech," "Tokyo," and "Paris" Pillows

And each one tells a story. The Marrakech design, she divulges, was inspired by a handmade table with an intricate Mother of Pearl inlay design she saw on a recent trip to Morocco. “The ‘Paris’ pillow is actually a photograph I took of a beautiful wrought iron gate in St. Germain on the Left Bank of the Seine,” she adds. “Similarly, the “Roma” cushion features a picture I took of a doorknocker across from the Parliament building in the Italian capital.”

When asked which of her sumptuous cushion designs embodies her the most, the entrepreneurial belle described the “Sorrento," a pillow featuring an octopus (her brand’s logo), hand-painted by an acclaimed artist from the Amalfi Coast.

“The [painter] comes from the same region of Italy that my great-grandparents emigrated from back in the early 1900s, so the area holds special significance for me,” she says. “[The piece] also speaks to my love of the sea… and for turquoise, my favorite color.”

The meaning behind her label’s charming logo is also steeped in her adoration for the ocean. “I have always been in love with the sea and marine life; everything from coral to seashells, to crashing waves and turquoise waters. While the actual symbolism of the octopus is vast and varied, I chose it because it is a totem of protection and good luck,” she reveals.

In the fall, Foster plans on traveling to the Middle East to visit BLAQ Concept, a store in Kuwait that sells her decadent cushions, then stopping by a few of its neighbors, including Qatar and Saudi Arabia. “I would love to do a collection based on beautiful Arabic calligraphy,” she confesses.

If the cushion queen had her way, everyone would be surrounded by beauty on a daily basis. “It is my dream to dress the most glamorous interiors in the world with my creations,” Foster says. And with her opulent line, she’s doing just that, one fine pillow at a time.

But she’s not stopping there. “I certainly plan on expanding my collection and am juggling a few ideas right now,” she divulges. “I would love to do silk scarves that you can wear or frame as art in your home… I am also considering [creating] beautiful silk caftans to be worn at the beach, or maybe even starting a line of blankets and throws.”

The post Spotlight on Posh Pillow Designer Alexandra D. Foster appeared first on Haute Residence by Haute Living.

Christopher Guy Luxury Furniture

The British creator—who describes his design aesthetic as “timeless,” “elegant,” and “contemporary”—has always admired beauty in all forms. Having spent much of his youth living or traveling around continental Europe, Harrison grew up with an immense appreciation for the finer things in life, particularly luxury design, and at age 16, he jumped at the chance to build a home from the ground up alongside his stepfather in France, foregoing the far more banal option of furthering his education in England. “I needed to find my own direction, rather than have one laid out for me in the form of a formal profession,” he explains.

The experience, he says, ultimately ignited his passion for design... and business.

Christopher Guy Showroom in West Hollywood 

Now a world-renowned designer, the founder of Christopher Guy—who splits his time living between three different continents—boasts a slew of high-profile clients based all over the world. Remarkably, each of his gilded products is meticulously handcrafted in his workshops in Central Java, Indonesia, where two thousand craftsmen bring his vision to life using luxe materials such as plantation mahogany, marble, and limestone. "Design DNA is like music—it should be immediately clear who the composer is, and to which genre it belongs," he says.

Christopher Guy Showroom in Shanghai

Harrison's elegant furnishings have graced the homes of a number of Hollywood A-listers, including pop singer Christina Aguilera, CSI: Miami’s Sofia Milos, and TV reality star Kim Kardashian. They can also be admired in several high-end hotels around the world, including The Savoy, Claridges, and The Dorchester in London; the Bellagio, Wynn Encore, and The Venetian in Las Vegas; the Atlantis Hotel in Dubai; and the Beverly Hills Hotel in Los Angeles (to name a few)—not to mention on the set of several of movies and television shows.

Actress Sofia Milos on Christopher Guy's "Sofia" chaise lounge

We chatted with the creative jet-setter about his chief sources of inspiration, signature motif, and "Mademoiselle," his thoughtful and urbane new line, inspired by the fabled Coco Chanel.

What are your key sources of inspiration? Given your incredible international background, is there a particular culture you like to submerse yourself in or city you like to frequent to stimulate your creativity?

I was born in Britain, raised there and in Spain and France, and now reside between England, Singapore, and the United States. I draw a lot of my inspiration from my travels and the various cultures I’ve come across. My works are also inspired by the female form and the elegance, sophistication, and grace that comes with a certain type of femininity. The early James Bond movies had a huge influence on my creative thinking, as they allowed me to dream for two hours. The beautiful opening titles by Maurice Binder, layered with music composed by John Barry, were the start of that fantasy world that went on to be filled with exotic locations, Riva speedboats, Aston Martins, and of course, beautiful women. To be able to live and pay for that dream, however, I had to spend many years in many of the world's less desirable locations, from West Africa to a dusty little village in Java, where I built my business.

Are there any particular styles or motifs you use that you feel wholly reflect the “elegance, sophistication, and grace” your brand aims to achieve? How do you successfully convey those three notions through design?

Like many of my designs, the Chris-X motif [pronounced "criss-cross"] was inspired by the feminine form: the corseted waist of the graceful Scarlett O’Hara in Gone with the Wind, and the crossed legs of a ballerina. Redefining the posterior of a dining chair, I tapered the form without compromising the comfort, structural strength or stability of the chair.

Christopher Guy's Chris-X Motif

The idea was to create a chair that was simple, sophisticated, and flexible enough to work with a variety of style categories. The only way to emulate this sensuous yet elegant look was to reconfigure the rear legs, and so the Chris-X chair was born. There are many other subtle signature design details, including the silk-cut that can be found on certain pieces.

Your pieces can be seen in a number of celeb homes… but a few of your furnishings are also Hollywood stars themselves! 

I have been very fortunate to have had furniture pieces be a part of some of Hollywood’s blockbuster movies such as Ocean’s Twelve and Ocean’s Thirteen, The Devil Wears Prada, Casino Royale, The Hangover, 1408 [which showcases "The Tate," a plush confidante], and Sleuth, [which features] my fabulous myriad of 72 square-pane mirror, “Carrée."

The film "Sleuth" featured "Carrée," a 72 square-pane mirror from Christopher Guy's Mademoiselle Collection

Explain how the Mademoiselle Collection reflects the timeless elegance of Coco Chanel. How is it similar (and different) in comparison to your past collections? 

The Collection reflects my personal interpretation of how Coco Chanel’s home may have looked in today’s modern world. I was privileged to have visited her private apartment in Paris, which shared many of my own design philosophies and experiences with its mix of Asian and European craftsmanship. "Mademoiselle" draws on Chanel's unrivaled chic, elegance, and timeless sense of style.

"Dita" chair from Christopher Guy's Mademoiselle Collection

When I was creating a theme for the new collection, I realized that my style was inspired by 20th Century modernist France, probably as a result of my early years in the South of France, and from a design era that Coco Chanel herself helped influence. There are very few straight lines in the Mademoiselle Collection, but rather a variety of curves that follow the curvaceous figures of the beautiful women that [adored her aesthetic].

"Tate" confidante from Christopher Guy's Mademoiselle Collection

What’s next?

The century-old Georgian Restaurant in Harrods—London's flagship eatery on the roof of the world's most famous store—[was recently] refurbished entirely with CG furnishings, and will [be re-opening later this month following its phenomenal facelift].

This was a dream project for me personally, and in a way it completes the dream I had as a teenager: to be featured in Harrods and in James Bond movies, and to experience exotic cars!

My biggest project, however, which I started three years ago, will be revealed in late 2015. It’s a project that goes beyond CG—one that I am creating to unify the global interior design industry. So sorry, but I can't reveal more than that for now... though I can say it will be largely Internet-based, and that I believe it will revolutionize the way our industry operates!

The post Surveying Internationally-Renowned Luxury Designer Christopher Guy Harrison appeared first on Haute Residence by Haute Living.

The expert duo dished on the fundamentals and tricks to artfully incorporating blossoms in home décor, including how to achieve a neutral—or dare I say, masculine—look with florals, and revealed popular mistakes people often make when using blooms to liven their living spaces.

Dianthus bouquet in a vase

What are the best blossoms to use in a home décor arrangement? What are the worst?

Claire: Lisianthus, dianthus (e.g., Green Ball, Amazon, Sweet), alstroemeria, and limonium do fairly well, and all have decent vase life. Others such as snapdragon, sunflowers, tulips, and stocks also have impressive vase life and can be used in home décor arrangements. Cut flowers such as sweet peas, asters, and phlox may look pretty, but they all have a very short vase life and need to be constantly replaced.

Jeremiah: In my opinion, there’s not really a “worst” flower; however, you do have to do some research based on the people whose space will hold the flowers. For instance, there are some flowers that are poisonous to have around kids or pets. I personally think that a bouquet of white roses is simple, chic, and surprisingly long-lasting.

Photo courtesy of Choy's Ikebana

Where are the best places to showcase floral arrangements in a home? Which room(s) do you believe benefit(s) the most from floral accents?

Claire: Generally any place in a house can showcase floral arrangements; just avoid areas that are too hot or sunny. Common gathering areas of the house—such as living and dining rooms—can benefit the most from [them]. Surprise your visitors with a fresh floral arrangement in a guest bathroom—it’s unexpected, but welcoming.

Jeremiah: I also believe that every room benefits from a natural touch. In my own home I have trees in every room including the kitchen, where I have an olive tree potted on the counter. Break the rules—put a plant or a floral arrangement in a room that you wouldn’t expect!

Interior space designed by Jeremiah Brent

What are some spots in a home you recommend be adorned with flowers, that many don’t typically think to spruce up in that manner (and how do you suggest they go about doing it)?

Claire: Home office spaces are underused for floral arrangements. When you place fresh flowers near your workspace, they become a soothing influence… [not to mention] they can help purify the air, [which promotes] clearer thinking. [You can also] cheer up your laundry room with flowers—and music—to make the space more inviting!

Jeremiah: I think that people overlook bathrooms and closets. I personally love mini bouquets randomly throughout my bathroom and my dressing room. I’ll put a small bouquet on a dresser or on a round marble table in my bathroom next to the sink.

Jeremiah Brent and Nate Berkus' bathroom – Photo by Douglas Friedman

Name a common mistake—or two—that people make when using flowers to decorate their homes.

Claire: Thinking that fresh flowers are just for special events or that they cost too much are both common misconceptions. Also, many times people don’t make a fresh cut at the bottom of the flower bunches before putting them in vases. This shortens the lifespan of the arrangement. Placing the flowers in a very hot and sunny spot of the house is not recommended if you want to keep the flowers fresh for longer periods. A common design mistake: creating over-complicated floral arrangements with colors that don’t match well together. Sometimes “more” is too much.

Jeremiah: I also think that people often overcomplicate things. Especially with design, and especially with natural elements, the simpler the better: stick to one color palette, don’t incorporate every flower type available, etcetera. Also, be cognizant of your lifestyle—if you can’t keep a succulent alive, then maybe you shouldn’t get difficult flower arrangements. Start simple, and work your way up.

This chic and simple flower arrangement featuring three Alliums offers an exquisite (gender neutral) vibe
Photo courtesy of Valeston.com

Flowers typically give off a very feminine vibe—that said what are a few ways to incorporate them into a home’s décor, while still maintaining an overall neutral (or even masculine) feel?

Claire: One can still maintain a neutral feeling by using flowers/colors that are gender neutral; flowers such as sunflowers are best for that. Also, floral arrangements that are bold and big tend to create a masculine look. The vase or bowl you select can also reflect a more masculine or geometric style aesthetic. I would use one simple vase with one variety of flowers—any color goes. A grey room with pink or yellow flowers looks masculine and chic!

Jeremiah: Again—the simpler, the better. If you don’t want the flowers to overshadow the rest of your décor, stick to a simple, single color palette. I love nothing more than a chic arrangement of white flowers with just a little bit of green.

Living space designed by Jeremiah Brent

What flowers are “in” this summer season? Name a few blossoms that are great to use year-round.

Claire: We’re seeing sunflowers and roses are quite popular this year, and both can be found year-round. They can also be tinted to match the season. Dianthus Green Ball offers great texture, and Brassicas (flowering kale, broccoli, and cabbage) make for great bouquet centerpieces.

What are your personal all-time favorites (which do you like to use the most to brighten up your home)?

Jeremiah: I tend to stick to white roses all year-round, and peonies whenever I can get them. I love trees year-round as well, and tend to use those in decorating more than anything else—they last, they’re beautiful, and they’re simultaneously sculptural and natural.

Would you ever recommend the use of artificial floral arrangements for home decor (or is the real deal strictly the way to go)?  

Jeremiah: Personally I prefer real, natural elements over anything artificial.

Claire: No!! That’s like [displaying] artificial fruit on your table. Though these days the artificial arrangements look very similar to the real ones, they come nowhere close to giving the same level of satisfaction you get from using real, fresh cut flowers… especially when you are gifting a bouquet to someone you love!

The post A Q&A with Jeremiah Brent and Claire Watson: How to Expertly Incorporate Flowers into Home Décor appeared first on Haute Residence by Haute Living.

For interior designer Samuel Amoia and sculptor Fernando Mastrangelo, the concept was a no-brainer.

Both successful artists in their own right, the creative pair have managed to add an exciting, new "flavor profile" to the luxe home décor scene with their recent launch of AMMA Studio, an avant-garde furniture line featuring an assortment of pieces crafted using highly intriguing materials, such as BB pellets and Himalayan rock salt.

"We were inspired by nature and geometry to create organic and modern forms out of innovative and natural materials that have never been contextualized before in furniture design,” Amoia reveals. Among the collection's innovative furnishings are drums fabricated out of the natural crystalline substance topped with cement, amorphous tables made out of ground coffee, and skeletal mirrors embellished with brilliant borax crystals.

AMMA Studio's organic amorphous tables

The two artists were first introduced to one another by Tali Jaffe—the executive editor of Cultured magazine—after she interviewed them separately for a feature story. She immediately recognized the blatant similarities in the two men’s design approaches and aesthetics, and eagerly suggested that they meet.

The crafters quickly hit it off and decided to collaborate on an organic-formed piece Amoia was looking to create for 1 Hotel & Homes, a brand dedicated to natural and simple living. Together they conceptualized a functional bar made of Himalayan rock salt and blue-dyed cement—an item that was featured in Amoia’s Elle Décor Showhouse during Art Basel.

Fernando Mastrangelo and Sam Amoia pose with AMMA's Himalayan rock salt and cement drums

Ultimately, the work’s incredible success prompted its makers to ponder the creation of a full collection of products. Their vision quickly became a reality with AMMA’s official launch last February, and the creative firm’s subsequent debut of over 30 pieces just three months later.

“It was a very fast, but natural evolution,” Mastrangelo confesses. “I love making the pieces—you never really know what you’re going to get... [the collection] is truly a perfect combination of both Sam’s aesthetic and mine.”

Fernando Mastrangelo in front of an AMMA borax crystal mirror and a black geode table; a Himalayan rock salt garden stool on his right, and an amorphous sand and cement table on his left

Though they speak the same design language, the two collaborators are fueled by separate motivations: while Amoia’s passion for interior design originated from his extensive international travel, Mastrangelo—who outlines his design philosophy in three points: content, form, and materials—is inspired by the pursuit of an aesthetic he can “feel,” but “often can’t describe in words.”

“A piece’s form must work in harmony with its concept, or else it will not be successful. It’s important to determine which materials are going to work best for the content and form of the piece, [so that they may] tie the entire work together conceptually and metaphorically, the sculptor explains. “When those three elements are fluid and balanced, there is perfect harmony in the work, and it becomes undeniable.”

AMMA coffee grounds table

The handsome duo have a slew of projects in the works, including a 12,000-square-foot ground-up construction along the beach in Miami, for which the Studio is crafting custom sand-cast walls using sand harvested directly from the client’s backyard. AMMA is also in the process of outfitting a restaurant and a hotel penthouse and gym in the Floridian city, plus a Central Park South pied-a-terre and a Fifth Avenue apartment in New York.

“The best part about it all is that this is just the beginning,” says Amoia. “We are constantly growing and evolving and creating, and there is much more to come.”

Photos courtesy of BFA

The post AMMA Studio’s Cutting-Edge Capsule Collection Adds New Flavor to High-End Home Décor appeared first on Haute Residence by Haute Living.

As a child, the American-born artist passed his time cooped up in his basement fashioning doll-sized structures, repairing old clocks, and refinishing antique furniture (such as his parents’ grand piano). Once, he even took apart the family’s clothes dryer, only to piece it back together again.

Soon after graduating from college in the late 1980s, the American-born artist ventured to India to visit his sister—a casual trip that would ultimately morph into a life-changing excursion, as it introduced him to the fascinating metalworking practices of the culturally rich land.

Newly inspired by the country's unique hand-wrought aesthetic and techniques, Aram decided to channel his creativity towards craft design, aiming to shed light on the brilliant—yet severely under-tapped—talents and techniques of the skillful craftsmen he encountered. Resolved to create a luxuriant brand of products unlike any other, the budding metal-molder set up a permanent home and workshop in New Delhi. The rest of the story, as the saying goes, is history.

“Aram”—which means “gently, with peace, love and care” in Hindi—is a fitting moniker for the designer, who asserts that each piece he creates “comes from the heart.” Incredibly, every item produced by the home decor guru’s eponymous company—from tableware to furniture—is painstakingly handmade from start to finish.

According to Aram, who splits his time between New York and New Delhi, each individual product is a direct reflection of the skilled craftsman who created it. He reasons the connection between a work and its creator is “critical,” in the sense that it allows simple objects to morph into meaningful, prized heirlooms that can be treasured for a lifetime.

We chatted with the designer and father of twins about his chief source of inspiration, what sets his brand apart, and what to expect next from his ever-growing range.

Most of your work appears to be organic and inspired by nature. Is there a sentimental reason behind that?

I grew up spending much time outdoors, so I am sure my fascination with nature must have come from that—I have always been intrigued by the cycle of life, death and regeneration, the idea of transformation. Also, I am a firm believer that the imperfect is perfect, as it reflects our individuality and humanity. Nature is my greatest muse and never fails to surprise or delight. There is a wonderful quote by Georgia O'Keefe on the subject of a flower as a microcosm for the universe: "When you hold a flower in your hand and really look at it, it is your world for that moment.”  Taking something as fragile as a natural element and rendering it in metal forces you to examine it anew.

What do you feel sets your creations apart from their direct competitors (i.e., those of other luxe home decor brands)?

2014 marks the 25th year of our brand. Over that time I have enjoyed, every day, waking up and going into my design studios in New York and New Delhi with the intent to create something beautiful and meaningful. Most of our products are made by hand in our workshop in India, by myself and artisans that care deeply about their craft. We are not only the designers, but also the manufacturers, and you can see the care, quality and thought we put into our pieces.

How do you manage to make products that are durable and made of metal, yet are surprisingly lightweight?

Rivets, molten drops, butterflies and other elements of our motifs are brought to life by the artisans constructing them. If you look carefully at each piece, no two are ever exactly the same. You can literally see the specific hand, unique to each artisan, through the bends, folds and curves of the metal. We work very hard to use the highest quality metals that are pliable yet resilient. I work with materials that are beautiful, durable and will stand the test of time.

Are there any items you make that look simple on the outside, yet are actually quite difficult to manufacture? How about any items that appear intricate, yet in reality are relatively easy to make?

Most of our pieces appear deceptively easy. They all have several processes which are layered together to create the final result. One of our most time-intensive collections is “Molten.” It seems simple in appearance, but each metal drop has to be hand dropped in its liquid metal state, balanced on the thin edge of the rim of the piece and cooled before the next drop is set. In the end, it’s worth the time because the Molten drops create a beautiful texture that add dimension to the collection. 

Describe the overall theme of your upcoming Fall 2014 line, and how it is different from your past collections.

Fall 2014 is an exciting moment for our brand. We are introducing a new tabletop collection which harkens back to my first trip to India 25 years ago, when I witnessed talented craftsmen making simple tools and objects using age-old techniques. The collection is called “Rivet” as it is a fusion of hand-hammered stainless steel with actual rivets that hold the pieces together [the Rivet pitcher is pictured on the left]. It’s very utilitarian but elegant and functional. I have also designed 12 table lamps inspired by new and existing motifs. I wanted the lighting to reflect my love of sculpture and exude beauty from every angle. I worked very hard to offer the market something new and fresh, an opportunity to bring the outdoors, in, illuminating any room of the home.

Are there any particular pieces in the collection that you would like to highlight (possibly ones whose designs deviate from what you are known for, or ones that you are especially proud of)?

My “Rock” collection was released just this spring and people have been responding very well to it. It’s a departure for me on some level, as I’ve incorporated more architectural and art references into the motif than usual. It is still a nature-inspired line as we focused on the rock as a form and object in nature. I think it all came together just beautifully.

Rock Cake Stand

Mermaid Bowl

Can you give us a small sneak peek into your spring 2015 collection?

Spring 2015 will be exciting, as we are unveiling an entirely new collection inspired by great structures and palaces from across the globe. It’s very architectural and solid but also maintains a level of softness and elegance. We will also be focusing on more gifts for men with bar extensions.

The post A Riveting Chat with Nature-Inspired Designer and Metalware Expert Michael Aram appeared first on Haute Residence by Haute Living.

Highly intrigued by the physical world, Rashid boldly set out to master nearly every fathomable sector in his trade, including graphic, jewelry, interior, architectural and technological design, in order to explore and influence the way physical material shapes everyday experiences.

Garden Chair (Photo courtesy of archiexpo.com)

The renowned artist has since outlined the creation of a wild assortment of things–from small-scale objects like office desks, laptops and (award-winning) vodka bottles, to grander creations such as furniture, residences and hotels–and has collaborated with a long list of luxury product companies in his storied career, including Prada, Kosta Boda, Orrefors, Davidoff, Veuve Cliquot, YSL, Giorgio Armani, Issey Miyake, Estee Lauder and Cappellini.

The eclectic designer is currently working on variety of ventures across the globe, including a condominium in Latvia; three hotels (one in Germany, one in Malaysia, one in Israel); and four residential buildings in Manhattan (in partnership with Israeli developer, HAP). The Canadian native also has a high-end, advanced mobile phone in the works (which, he confessed, is unfortunately still too nascent for him to divulge much about), and is in the process of planning a bevy of interiors worldwide (among them, a dental clinic in his homeland).

Miami Tower (Photo courtesy of Curbed National)

Though some may call him "kooky" for his outrageous, techno-morphic flair, we'd like to consider Rashid–whose work has been featured in art institutions all over the world, including the MoMA and Centre Pompidou–a passionate innovator who simply dares to push the envelope and think outside the norm (albeit to an unparalleled extreme).

Eager to peek into the mind of the seasoned jack-of-all-design-trades, we probed the eccentric craftsman on his personal aesthetic, unique source of inspiration, and thoughts on the potency of design in the modern world.

Semiramis Hotel (Photo courtesy of idesignarch.com)

Your work has often been described as “funky” and “futuristic.” Do you agree with these labelings? In your own words, how would you define your personal aesthetic?

It’s not futuristic because it exists now–it’s present! What I try to do is bring some heightened, emotional experience into one’s life, to elevate a moment and make one feel more alive through inanimate things. I always wondered if design could touch you emotionally, like a film or music can, because it’s a different type of art form. Can I design something that makes a positive emotional feeling? That’s really my underlying goal: to make things more human. Technology and products themselves can be very dehumanizing and just utility-driven. Can I make you break out into a smile or make you feel more comfortable, or provide you with a more engaging experience? Can I make your life simpler and more relaxed? Can I make an object to destress you and rather than stress you? Those are the questions I try to ask myself.

Is that why you use many colors in your work?

I would say yes–color is very emotional. It has a huge impact on us. I’ve been using a lot of color for a very long time, and the world was pretty gray up until the last few years. If I had one percent to do with it [becoming more colorful], I’m thrilled! Now you can buy yourself a digital camera in ten colors. I love that consumers are now embracing color. In architecture, we’re finally starting to see examples of facades that are beautifully colored, and colored glass around the world. It’s a new energy–one that makes us feel better.

Luminous Sun Lounge (Photo courtesy of archiexpo.com)

You have expressed in the past that the digital/information age has been a key source of inspiration for your designs. How so?

I’m inspired by three different aspects of the digital age–first, I’m inspired by the software and the tools that I have. They allow me to do things that could’ve never done before in history. Second, I’m inspired by the digital age’s language, [as I ask myself], if the digital age has a language today that never existed before, what is it? When we look back at periods of language–at say, the Baroque period, or the Belle Epoque period, or Modernism–they were all very much based on the technologies of that era. Today’s digital age is interesting, because the technologies of today are actually immaterial. The digital age is about “nothing”; it’s about immateriality. So I asked, “What would the material world look like if it’s in unison–if it’s working with and mirroring–this immaterial world?” That forced me to try to find and create new, “visual languages.”

Third, just technology in itself–the production machinery–inspires me. Is there a new machine that can make a chair a certain way? A new material that works a certain way? A new production method that could make something better? The digital age for me is all encompassing and inspiring.

Nhow Hotel in Berlin (Photo courtesy of de.ehotel.com)

Have you incorporated any intriguing materials or elements into your products?

Many, many, many things–I don’t even know where to begin!

In a lot of the buildings I’m working on now, I [try to use] interior materials–claddings–that are more efficient and smarter. For example, the flooring that I put down in my office, in the 400-room Nhow Hotel in Berlin, and now in some of the condominiums [I’m designing] in New York is a 100% biodegradable wood, a sawdust that has been created into a panel. The panels–which are made in Germany–are quite large and interlock, making them so simple to install.

The nice thing about the technology is that I can make a print that is totally biodegradable in any color or pattern that I want, so in turn I can make floors look really alive . . . using a completely self-sustainable product. I make different patterns to speak about the digital age, to look like data and information, energy, and 3D. Every time I have a 2D surface, I try to make it look optically 3D, because I think the digital age has [produced] a really dimensional world, [one] that’s far beyond 2D. When I started design in the analogue age, we were designing everything in 2D, but now that I work with 3D softwares, I don’t look at anything in 2D anymore. In turn a lot of the decoration and embellishment that I do [taps into] the 3D world.

Sustainable Home with DuPont Corian (Photo courtesy of archithings.com)

[I also work with new types of] glass, polymers and plastics. I made a chair that I just showed in Milan; it’s made of biodegradable plastic, made from a Chai fruit in Brazil, instead of a material like polypropylene or polyethylene [that is derived] from oil. We can now make plastics that are very high-performing [without oil-based materials], so I’m trying to use a lot of those plastics now.

Is sustainability one of your key aims?

It’s not right on the top of my list, only because a lot of the time when you work for companies, they’re the ones who [determine] what material is going to be used. If a company asks me to make chairs with polycarbonate material that is are derived from oil, it’s very hard to convince the firm to change the material [in order to] produce goods in a way that is more responsible–believe me, I’ve tried! I try to steer them towards what I think are the right plastics to use, [ones] that are more environmental.

I was brought up with the notion of being [environmentally] responsible–I didn’t know what it was like to be wasteful. [Back when I attended] university in Canada 40 or so years ago, I was taught to design products that were either recyclable or regenerative; I would design something so that it could snap apart, and one part of it could go down one cycling stream, while the other would go down another. If I designed a chair, I would make the legs metal and the feet in plastic, and I had to make sure it could pop apart very easily, so that the metal and plastic could both be recycled. [Sustainability] was part of my education. Recently, I designed a water bottle that’s being produced in [an eco-friendly] plastic.

Luminous Garden Sofa (Photo courtesy of archiexpo.com)

How would you define “luxury?”

I don’t see “luxury” in the cliche sense that something has to be made of impressive material, or handmade. Luxury no longer involves just physical material. For example if I had a camera and I wanted to make a high-end luxury version, I could gold-plate it, but I think now we as human beings realize that that’s not enough anymore. What would really be luxurious is if that camera had features [that made it] more seamless in its user’s life [such as intangible technological capabilities]. So “luxury” can be redefined a bit, based on the 21st Century digital view of it. I see it now as a more immaterial concept rather than a material one.

HAP Six (Photo courtesy of HAP)

Describe the power of design, and how it impacts our everyday lives.

The popular take on design is that [designers] make cool forms, or do funky things, but the reality is every manufactured good in the world was designed, for good or bad. The generic stuff around us that doesn’t work well was poorly designed. Design touches so many daily experiences. When I was a professor teaching, I got my students to count how many objects they touch in a day, and the average number was 640. That’s what we interactive with. So of course design has a massive impact on daily life. Because the world is commodity- and capitalist-driven, design is a commercial act–we design things to sell, [which means] design has a huge impact on the economy. At the end of the day, design is good business. Design is also a way of [recording the] progress and evolution of humanity. If you pick up any object from history, like a vase from the Ming Dynasty, [it tells you] so much about the time, the social life, the milieu of that time. These things are designed to document human existence and history. Design really shapes human culture.

What is your ultimate aim as a designer?

Sometimes I realize that philosophically, my intention is similar in all these projects: to really shape the future. What I mean by that is be really cognizant of the present. The technologies, production and construction methods of today shape [my work], which in turn I hope will affect [mankind positively] in the future. I’ve always believed that design is really about moving us forward. It’s not about looking at or copying the past. It’s not about style. It’s about making a better world and a better life.

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