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    Category: Designer Homes

    Global Carpets and Rugs Market 2020-2024 | Consumer Preference for Interior Designs to Boost Market Growth | Technavio – Business Wire - March 14, 2020 by admin

    LONDON--(BUSINESS WIRE)--The global carpets and rugs market is expected to grow by USD 18.98 billion during 2020-2024, according to the latest market research report by Technavio. Request a free sample report

    Consumers around the globe are spending on designer home furnishings to decorate their homes. In addition, the consumer preference for interior decoration is changing with growing awareness of different cultures, mounting media penetration, evolving lifestyles, and rising consumer income levels. This is leading to an increase in the sales of rugs, cushion covers, beds, carpets, curtains, and other furnishings. The rising income level and growing population of working women is further encouraging customers to invest in home dcor, leading to growth opportunities of home furnishing brands and retailers. Thus, the growing consumer preference for interior designs will boost the growth of the carpets and rugs market during the forecast period.

    To learn more about the global trends impacting the future of market research, download a free sample:

    As per Technavio, the rising demand for eco-friendly carpets and rugs will have a positive impact on the market and contribute to its growth significantly over the forecast period. This research report also analyzes other significant trends and market drivers that will influence market growth over 2020-2024.

    Carpets and Rugs Market: Rising Demand for Eco-Friendly Carpets and Rugs

    Consumer preference for eco-friendly carpets and rugs is increasing because they promote a safe and sustainable environment. These products are safe as they are made from natural fibers such as wool and bio-degradable sisal, jute, and cotton. These sustainable home dcor solutions, use recyclable materials and organic fabrics and materials. Thus, with the rising use of eco-friendly raw materials will boost the growth of the carpets and rugs market over the forecast period.

    The increasing adoption of carpet tiles and growth in number of residential and commercial construction activities are some other major factors that will boost market growth during the forecast period, says a senior analyst at Technavio.

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    Carpets and Rugs Market: Segmentation Analysis

    This market research report segments the carpets and rugs market by end-user (residential and non-residential), and geographic segmentation (APAC, Europe, MEA, North America, and South America).

    APAC led the carpets and rugs market in 2019. During the forecast period, the APAC region is expected to register the highest incremental growth due to rapid urbanization and increased demand for furnishings from new housing projects.

    Technavios sample reports are free of charge and contain multiple sections of the report, such as the market size and forecast, drivers, challenges, trends, and more. Request a free sample report

    Some of the key topics covered in the report include:

    End-user Segmentation

    Geographic Segmentation

    Market Drivers

    Market Challenges

    Market Trends

    Vendor Landscape

    About Technavio

    Technavio is a leading global technology research and advisory company. Their research and analysis focus on emerging market trends and provides actionable insights to help businesses identify market opportunities and develop effective strategies to optimize their market positions.

    With over 500 specialized analysts, Technavios report library consists of more than 17,000 reports and counting, covering 800 technologies, spanning across 50 countries. Their client base consists of enterprises of all sizes, including more than 100 Fortune 500 companies. This growing client base relies on Technavios comprehensive coverage, extensive research, and actionable market insights to identify opportunities in existing and potential markets and assess their competitive positions within changing market scenarios.

    Originally posted here:
    Global Carpets and Rugs Market 2020-2024 | Consumer Preference for Interior Designs to Boost Market Growth | Technavio - Business Wire

    The Dollhouses of Instagram – The New York Times - March 14, 2020 by admin

    The kitchen that Jessica Coffee designed checked all the trendy boxes: white Shaker cabinets, a subway-tile backsplash, wide oak-plank floors and an open-concept floor plan, with views into the living rooms shiplap walls. The photographs she posted on her Instagram page evoked enthusiastic comments from followers, who gushed about high-end details like the water filler above the stove.

    The only drawback? Ms. Coffee, 40, cant actually serve a meal in her kitchen, at least not a real one, because the room, like the rest of the house, is built to a 1:12 scale that 36-inch chefs stove is actually three inches long. Its in a dollhouse that sits in the real-life master bedroom of her home in Walla Walla, Wash., which looks nothing like her amazing tiny one.

    People are always like, Ooh! I would like to see your real house. No you wouldnt. I live in a house that is barely 1,000 square feet with three kids and a Great Dane, said Ms. Coffee, who sells her miniature designs and posts online tutorials at Jessica Cloe Miniatures. My dollhouse square footage is much better than my actual square footage.

    Ms. Coffee is among a growing community of artisans who have turned the craft of dollhouse making into an exercise in aspirational home design on an itty-bitty scale, with their tiny rooms and furnishings displayed on well-curated Instagram accounts with glossy photographs and videos set to music reminiscent of The Fixer Upper on HGTV. Scroll too quickly, or miss the photograph with a human-scale hand surreally poking into the scene, and a viewer might confuse the image for a real-life one, the type of image that leaves you feeling equally amazed by and envious of the enormous kitchen island with a soapstone countertop.

    These dollhouse makers and collectors say weve entered a miniature Renaissance. Call it a Mini-Aissance. Were living in it now, said Kate Esme nver, who curates miniatures on her Instagram page Dailymini, and is the author of the 2019 book The Book of Mini: Inside the Big World of Tiny Things.

    Social media has turned what was once a niche hobby into a decidedly trendy and increasingly profitable business, making it easier for artisans to find each other and potential customers online. The Instagram hashtag #dollhouse has 1.65 million posts and #miniature has almost 4.3 million, a mix of posts from people making miniatures and those sharing what theyve found. Victorian-era lace and antique armoires are being scrapped for midcentury modern chairs, fiddle-leaf fig plants and sputnik chandeliers. House Beautiful took notice and commissioned 11 interior designers to reimagine a Victorian dollhouse in their own style, auctioning the decidedly contemporary finished products at the New York Design Center on Feb. 27.

    In the past six months, searches on Etsy for 1:12 scale furniture were up 39 percent and searches for dollhouse rugs and miniature items were up 20 percent from the same period a year ago. A search on the site for dollhouses yields 237,000 results. Its certainly a trend thats rising, said Dayna Isom Johnson, an Etsy trend expert. The popular items miniature succulents, bath salts, word art point to an interest from the grown-ups, not their children. Maybe there are very sophisticated 10-year-olds out there who want a midcentury sofa, but I assume these are adults who want to take this on as a new hobby.

    Chris Toledo, 34, who showcases his diminutive creations on the Instagram account I Build Small Things, has watched his business soar in the past two years thanks to social media. He now sells his dollhouses, designed in a nod to the 1920s architecture of Los Angeles, where he lives, for $150,000 to $200,000 apiece.

    Before, miniatures were only publicized through miniature magazines, he said. Social media put it in everybodys face. His homes feature intricately detailed rooms, like a kitchen with a subway-tile backsplash and a schoolhouse pendant light that would look real if it werent for the life-size head of garlic positioned in the middle of the room.

    While some artisans specialize in furnishings and dcor, Mr. Toledo focuses on the architecture, selling complete dollhouses as well as individual rooms like a bathroom in a shadow box for as much as $20,000. He designs the rooms by hand, milling moldings and using miniature tools, like a table saw the size of a shoe box, for carpentry work.

    The advent of 3-D printers has opened the door for people without such advanced woodworking skills, too to the disappointment of traditional dollhouse makers, who view such technology as taboo. Ms. Coffee of Walla Walla, for example, uses a 3-D printer to make smaller objects, like decorative pumpkins, which she sells for $5. She makes other items, such as throw pillows, using everyday materials and tools like glue, fabric, tweezers and quilt batting.

    A year into her craft, Ms. Coffee now sells enough printable herringbone floors and cowhide rugs on her website to turn a profit, although still not enough to give up her day job as a graphic designer. She also uses the dollhouses to work out design challenges in the real-life houses that she and her husband renovate and flip. If shes not sure about a floor color or a pattern for a rug, she can try it out on a tiny scale for a few dollars. Her actual home has the same rustic wide-plank flooring as her dollhouses.

    While miniatures have long had their enthusiasts, this new generation of dollhouse makers is turning to idealized contemporary homes at a time when the real-life version is increasingly out of reach for many Americans. High real estate prices and stagnating wages make it difficult for many homeowners to consider a $100,000 kitchen with a farmhouse sink and a Wolf stove. But you could have a very little one or three of them, and fill them with teensy espresso makers, cheese boards and bottles of Dom Prignon. Like the idea of a barn door, but dont actually have a place to install one? Tuck it into the dollhouse attic, and if it grows tiresome, refurnish the entire room with rattan chairs, a shag rug and a soft pink palette.

    Kwandaa Roberts, an OB-GYN in Philadelphia, says she has found a following on her Instagram account, Tiny House Calls, among millennial women who pine for a prettier house. They dont have any money and a lot of them cant afford to buy houses and theyre living at home with their parents or in a tiny apartment with roommates and they cant do design and all the things that they want to do, she said. But like me, they can get a lot of their creative energy out on a dollhouse.

    Dr. Roberts, 47, a single mother of two, started her hobby two years ago when she bought a dollhouse at Target. She intended to give it to her daughter, now 5, but instead found that it filled a creative longing she had to be an interior designer. She painted it, added wallpaper, and details like a brass soaking tub and a kitchen with a waterfall countertop. She made furniture by hand with supplies she bought at Michaels. Ive always loved interior design, had a huge passion for it, and may have gone into it as a career had I known that was a thing, she said. But when she was growing up, there was no HGTV. Home Depot sold lumber; it was not what it is today.

    In her tiny houses, Dr. Roberts has found an outlet, and an opportunity to reveal her projects on videos and photos she shares with her 47,000 followers. I dont have to redo my house, she said. Instead, I can have 10,000 kitchens and they will be fantastic.

    For weekly email updates on residential real estate news, sign up here. Follow us on Twitter: @nytrealestate.

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    The Dollhouses of Instagram - The New York Times

    Find out how this San Francisco homes reverse layout helps the family bond better – Architectural Digest India - March 14, 2020 by admin

    Find out how the designers went about remodelling this home

    A historic Queen Anne bungalow in a row of classic Victorian and Edwardian buildings in San Francisco, had been home to a family of four for a couple of years. Wanting a space more suited to a contemporary lifestyle, they approached John Lum Architecture to transform it into a light-filled, functional home that would also fit into the streetscape in which it was located. Amanda Teal Design designed the interior spaces.

    The family had lived in their two-bedroom, one bath house long enough to know that the current layout and size wouldnt workit was too dark and way too small. The previous addition was falling off its foundation, triggering the need to rethink the entire design. Plus, the backyard was only accessible from an old rickety outdoor stair that was unsafe for the children, says Teal. While the house presented a lot of woes, the family loved the neighbourhood and didnt want to relocate. It was time for an overhaul.

    When we first met with the homeowners, we talked about how they wanted to live in the space now, and how the home could adapt with them in the future, saysJohn Lum, founding principal at John Lum Architecture. Better circulation and functionality, natural light, and a connection to the outdoors was a must.

    Consequently, the gabled two-level home was converted into a three level one, with the addition of living spaces on the top, which previously housed the attic. As with many period homes built in the early 1900s, the floor plan was divided into small, compartmentalised rooms, that no longer served their purpose. The house needed a reboot, says Lum. Working closely with interior designer Teal and the homeowners, the team embarked on an extensive remodel and addition, adding square footage and reorganising the floor plan to meet the familys 21st century needs. In order to balance family togetherness with much-needed private time, we organised the space into private and public levels, creating an open plan that increased the functionality of the home while maximising the views, says Lum.At the heart of the 3,000-square-feet version is a bright, new third floor containing a great room with kitchen, dining and living spaces, and a spacious terrace that opens to the hillside garden. In a reversal of conventional layouts, we proposed converting the former attic space into a third level in order to free up an entire floor for family activity, says Lum. This move made the backyard come to life. You have these amazing views, and it feels like youre floating in the trees.

    The front facade was retained but reinterpreted with a new third floor, enabled by raising the roof. Exposed cedareaves, a navy front door, and modern materials hint at whats inside. Adhering to the original architectural style, the gabled roof, covered porch, and bay window remain. Modern window trims and subtle dentil moulding usher the house into modern times, says Lum.

    This is a subterranean floor which holds the wine cellar.An interior glass stairwell allows light to filter down from the top to all the levels.Tying all three floors together, this glass-railing staircase doubles as the wall of the wine cellar. This sub-floor also houses the garage, media room and mudroom; play and practicality blended as one, says Lum.

    The entrance to the home is from this floor and it holds the foyer, twobedrooms with a shared bath and a home office. It also has a dramatic master suite complete with teak-lined outdoor shower and marble bath, accessible from the garden.

    The master bedroom resembles a luxury hotel with its outdoor shower.The bedroom wallsgrass cloth painted navyevoke a dramatic moodiness. The space is luxurious without being pretentious.

    A Great Room with kitchen, dining room, living space, guest suite-cum-playroom, terrace and a powder room are located herea floor with incredible views and natural light, captured through an entire wall of windows facing San Francisco Bay, says Teal.

    The dining area is casual, taking advantage of a nook wrapped in windows. French doors frame the living areas indoor/outdoor fireplace. An emerald green settee is balanced with an oversized linen couch. A large, leather-tufted ottoman doubles up as coffee table.

    Floor-to-ceiling navy cabinets contrast with the kitchens waterfall marble counter, complementing the wood flooring. The backsplash is a geometric wall of white glazed tile.

    Juggling spaces and eking out new areas, the wand of Teal and Lum has transformed the historic home into a contemporary, fully functional one.

    Mumbai: In this Parisian-chic apartment, the only thing missing is the view of the Eiffel Tower

    Read the rest here:
    Find out how this San Francisco homes reverse layout helps the family bond better - Architectural Digest India

    Heres to Irelands unofficial ambassadors flying flags around the world – The Irish Times - March 14, 2020 by admin
    McKelvey Homes welcomes March with savings on top of savings! – - February 28, 2020 by admin

    Off Feise Road in OFallon, Muirfield Manorhas three gorgeous designer market homes remaining, all scheduled for summer delivery.All are reduced between $6,000-$8,000, plus $6,000 to $8,000 in Union cash. Final prices: $420,827; $454,008; $535,304.

    Wyndemere Estates is featuring $6,000 to $8,000 in Union cash on three market homes. Move-in-ready are two Ranch plans, the Sterling Display, $565,000 with savings of $35,063 and a Tuscany II, reduced by $33,041, for a final price of $420,619. To be completed in summer are a 3-bedroom ranch and a two-story, both sale-priced in the $400s.

    Photo provided by McKelvey Homes

    The 1.5-story Provence display is now for sale listed at $521,960 in the hot-selling Villages of Provence, representing McKelvey savings of $30,824, plus $7,000 in Union cash. $6,000 in savings is also available on two completed ranch plans, The Sterling and Tuscany II.

    Brand-new just north of I-70 in St. Charles, the historic Villages at Sandfort Farm has two fabulous homes eligible for $7,000 in cash at closing. Both sale-priced in the $500s, the LaSalle ranch and 1.5-story Muirfield are under construction for summer occupancy.

    Excerpt from:
    McKelvey Homes welcomes March with savings on top of savings! -

    How this Delaware designer went from boardroom to showroom – Business of Home - February 28, 2020 by admin

    The 50 States Project is a yearlong series of candid conversations with interior designers we admire, state by state. Today, were chatting with Rehoboth Beach, Delawarebased Jess Weeth of Weeth Home, a firm she launched as a side project four years ago while working in the fashion business before pivoting to design full-time two years later. In addition to sharing favorite moments from two recent local projects, she tells us how her background in fashion informed her current career, shares why she partnered with a local furniture retailer to give her clients a white-glove experience, and describes her hometowns unique coastal aesthetic.

    You had a career in fashion before starting your firmlets start there.I have loved design in all ways as long as I can remember, but I didnt really consider it as a career when I was looking at colleges. Instead, I went for as rigorous an academic school as I could and got a bachelor of arts, thinking I would jump into the business world in some way, and try to get as close as I could to the creative areas of business. So when the opportunity [came] to join a corporate training program and take on a buyer role at the corporate office of Abercrombie & Fitch after graduation, I was able to jump out of college and get right into a $4 billion company, which gave me so much insight into not only the design side of fashion, but also the production element.

    I traveled everywhereI was in China, Korea and Turkey often, and in London and Paris for inspiration and shopping trips. I got to see the mills and fabrics and all of the production elements firsthand. I was able to have an awesome career and ended up running a pretty large team, overseeing a large side of the womens business.

    Abercrombie was a brand in transition at that time, correct?Exactly. When I started, it was the heyday of a huge global company that everyone knew so well, which then became a huge challenge to overcome, because everybody had one image of Abercrombie. It was a very cool learning experience to be around all those hardworking people. You would never imagine the amount of talent on that design team. Yes, youre designing jeans and T-shirts, but the capabilities and the [sources of] inspiration are a lot bigger than that.

    I was running a $350 million portion of the business with a team of 13 under me by the time I left. So [the experience of] project management, presenting to the CEO, and exposure from that standpoint cut my teeth a little bit on the business end of things.

    But [the office was in Ohio], so I wasnt anywhere near home. I grew up here in the Rehoboth Beach area, and my husband and I were thinking about how to get closer to that area. We started looking in Philly and Baltimore, a two-hour drive away. He ended up getting a brand manager role at Dogfish Head, a brewery that has a pretty sizable team here, so we relocated back to Rehoboth Beach. I had never considered coming exactly back to my roots, but it was awesome. Along the way, we had renovated our historic home in Columbus, Ohio, and it sold really quickly. Then we moved here into a small ranch fixer-upper and ended up doing the same thingrenovating it completely and flipping that house. In the meantime, I started blogging about it.

    In the dining room of this project, we worked really hard to strike a balance between laid-back and polished, says Weeth. I wanted it to be the kind of room where you could get out the good china but stay barefoot in jeansapproachable with a hit of coastal prep. Keyanna Bowen

    Weeth paired navy grasscloth with shiplap for an elevated but still casual effect.Keyanna Bowen

    Left: In the dining room of this project, we worked really hard to strike a balance between laid-back and polished, says Weeth. I wanted it to be the kind of room where you could get out the good china but stay barefoot in jeansapproachable with a hit of coastal prep. Keyanna Bowen | Right: Weeth paired navy grasscloth with shiplap for an elevated but still casual effect. Keyanna Bowen

    And the blog turned into a design business?In this town, there is a huge needit wasnt long before friends and coworkers and word-of-mouth referrals started coming in and I started taking on smaller projects. I took online classes at the Interior Design Institute to learn as much as I couldI had a baby son at the time, and wasnt at a point where I could move to a city and go to design school, so I had to get a little creative in [how to] get information and hone my skills.

    Had you left Abercrombie when you moved back to Delaware?I was still working remotely for the company when the design business started to grow, more quickly than I could have ever imagined. In May 2018, it got to the point that I actually went full-time into my interior design business.

    The vision for this home was a light and bright open entertaining space for a fun, young couple, says Weeth. With a neutral palette at the heart of the open-concept living space, it was all about texture! Cane chairs, tufted leather, bohemian textiles, woven baskets and an abaca chandelier brought life to levels of whites and creams.Meghan J. Shupe

    How did you know when it was time to do design full-time?My husband would tell you it was blatantly obvious, because I was just working around the clock. I would finish my work, do dinner with my son, and then be up and working, and the projects just kept coming. I did work remotely, but it was also starting to feel like a cheat on Abercrombies time, where occasionally, if somebody needed to schedule a 3 oclock meeting, I would go to their house quickly and then make up for [that missed work later]. It was crazy.

    It just became so clear that the work was there, and I was honing my confidence and my skill set. I was able to raise my prices and start to wrap my head around the business model of design, which is complex and interesting in terms of the margins, savvy sourcing, tracking time, flat fee versus hourly, all of that stuff. It took those two years of hustling [to] feel confident that I could make the jump. Every client project that went smoothly puts that feather in your cap, where youre like, OK, I can do this, its getting easier, and Im loving it more and more because things are clicking. Now, when I source sofas, Im not looking at 2,000, Im looking at my favorite 60 that Ive already narrowed down from years of looking at and sitting in them.

    The classes you took onlinewhat did you gain, and what made you realize that was an important piece of the process?I took 10 modules of interior design, so it wasnt years of schooling. I learned the history of architectural periods, some of the jargon that was making me feel uncomfortable. I knew I could style, I had an idea of what I liked spatially, and color has always been my strengthat Abercrombie, I was one of the color testers. But having that vocabulary and background [the courses provided] gave me the confidence and some good basic tools. The last thing I would want is somebody to think that I have a four-year design degree. There arent a bunch of big firms here, so interning was not an option, and I wasnt able to move to a city to attend school or work at a big firm. For me, that was my scrappy way to do it.

    Woven elements continue into the kitchen.Meghan J. Shupe

    What did the early projects with friends and family look like?They were furniture and styling projects. It was cool to find people looking for something different and a fresher aesthetic. Theres a lot of traditional design that I think is done really well here, and then theres a [firm] or two that does very modern design. I think I fall more in that fresh take on classic [category], that middle, breezier feel. So it was refreshing to see people that saw my home or blog or heard about me and gave me a shot. When I came with design boards and the aesthetic started to sync up, the projects started to spiral in a good way, where it was like, Oh, did you know theres somebody in our area that does this? I worked hard. My prices were super low back then. I was scrapping to gain traction, because I didnt have the internship. I didnt have a prestigious four-year degree, but I had the passion and had an aesthetic that some people were looking for.

    My poor husbandI would have our guest room stocked to the brim with lamps and nightstands, little pieces of furniture. He would help me load everything. We would hang things ourselves. It was definitely down and dirty four years ago, and then one of the biggest changes came when I synced up with Mitchells Interiors, a fine furniture retailer out of Laurel, Delawaretheyre an hour away, but the owner, Derek Feist, lives in the Rehoboth area. I think its a pretty unique setup in some ways. I love a lot of the upholstery lines that they carry, and they have more of a breadth of resources for custom than I could ever want or need in terms of dining tables and beds. Plus, they do all of the receiving for me, including for [a lot of goods] from other vendors. The pricing is great and the client gets that white glove experience. We also spend a day together at High Point, where I point out new lines Im interested in and they use some of their buying power to help with that. Our partnership gives me a huge breadth of resources that I, as one individual designer, couldnt have.

    An abaca chandelier is the focal point of the dining area in an open-concept space.Meghan J. Shupe

    The homes master bedroom.Meghan J. Shupe

    Left: An abaca chandelier is the focal point of the dining area in an open-concept space. Meghan J. Shupe | Right: The homes master bedroom. Meghan J. Shupe

    How long ago did you set up that partnership?I started working with them pretty close to when I started, when the logistics were killing me. So its been over three years at this point. I feel like were on the other side with the logistics a lot more worked out, which is nice.

    You opened your studio in October 2019. Where does that fit into that equation?It seems like a big jump, I know, but I had the luxury of two years of working from home for Abercrombie, and knew that I was not good at working from home. I just struggled with itI was so used to leading a really big team and being in meetings and that energy and focus. Home is home, and work is work. I was really struggling with that and wanted to have a space. Then I was getting so bogged down with the project management and logistical aspects of the job that were not paid as much, that bringing on an assistant or project manager was necessary. Even installs that dont seem that big, doing it by yourself is hard. And textiles are a huge passion of mine. I was building up this sample library that was a tool for people to understand my aesthetic and the things that get me excited. I think if it was all tucked away in our little office at home, which it was, it wouldnt be serving me as well as it could.

    [The studio is] a huge investment that I had to think hard about, but because I work on so many second homes, I was meeting people in Starbucks or bringing fabric samples to dusty new-build sites. It was logistically very hard to give somebody what I thought was a high-end experience from my home. I was tired of bringing design boards to Starbucks and ready to have the presentation be a positive part of their experience rather than something that I was feeling self-conscious about.

    I also think its nice for people to be able to walk in and be like, OK, so when she says shes coastal, but not too coastal, this is what she means, this is what that feels like. There have been anchors and seashells around here my whole life, and I couldnt want to be further away from that, but theres also this barefoot spirit that is why Im obsessed with living here, and why I think people move here or have second homes here. Rehoboth is super small, but it balloons [exponentially] in the summer. So its a nice way to say Im here and part of the community. We did a total gut on our building here on the main street, Rehoboth Avenue. It was a super cute boutique, but very coastal, and set up for a clothing shop. It took a couple months, and then we were able to open last October.

    The bedrooms were designed to be cheery and calmingand to get you ready for a day at the beach! says Weeth. Meghan J. Shupe

    Its you and your project manager. Is that your whole team?Yeah, thats my whole team as of now. My project manager joined when the studio opened. Its crazy that as of six months ago, I didnt have her. I dont know how I functioned. So thats been great.

    OK, and so youre both there, and the studio is open by appointment only.Here, we have such a defined season. Its pretty much Memorial Day to Labor Day. Obviously, that extends every year, and its not like its dead year-round now. For us, it makes sense to be open full-time [during that season], when more people can walk in. We have some cash-and-carry things in here, and its been fun for people to come in and shop and see it. Im getting so much pressure and requests like, I just want to shop there all the time. Cant you make it a shop? That kind of thing. So I think come May, well extend that arm of the business and hire the extra couple of hands to be here when I have to be on-site.

    You mentioned High Point earlier. Why is that so important, and where else do you go for discovery?High Point is essential for me, because of where we are. There really are no resources around hereno big design centers, no huge showrooms. It is a time for me to walk until my feet are numb and sit in everything I possibly can. Seeing something, it just clicks whether its a good fit for your clients and projects or not. I love discovering new lines and building relationships. That way, if theres an issue, theres somebody going to bat for you thats going to get it resolved.

    Weeths studio. 'The focus was really on two thingscreating a living, breathing space that embodies our breezy take on classic style, and to showcase the beautiful textiles and materials we incorporate in our designs, says Weeth. I wanted clients to feel like a kid in a candy store during our concept presentations.Keyanna Bowen

    How many projects are you typically working on?About a dozen at a time. Im about half-and-half right now, [in terms of] full house versus decorating. But the full house ones are on longer timelines, so in terms of all the decorating side, we have a little bit more time to pull things together. I think probably everyone loves the bigger projects, just because efficiencies pick up when youre doing bigger projects. But I dont think we will ever completely [forgo] the smaller projects. We try to impart to people that we really like to do projects to completion.

    Were definitely looking to make the room feel meaningfully different and very finished when we leavenot just coming in to do the window treatments. Not that we cant use a favorite old pieceI certainly love the character and soul that that can bringbut I want to be focusing on, at the very least, the whole rooms design.

    You talked about how in May, so many people are moving in. When did they approach you, and what kind of lead times did those projects come with?Thats the loaded question. The amount of project inquiries we get in January spikes, and even in the last month, too. I think once you cross the holidays and January is behind you, people start thinking about spring and summer. It would certainly be nice if people had the forethought [to think about it] back in early December.

    Often theyll be like, Its March! Can you help me? Those requests havent changed, but my answers haveIve gotten stronger in my stance of being like, No. We cant start now and have a completely renovated, perfect house by May. That doesn't happen. But I will say, from working with builders around here, everybody is on that same timeline. So a lot of new builds, I dont necessarily have to set the schedule as much, because they started on the build nine months or a year ago with that date in mind. Now, am I often waiting on builders to finish up, and then it makes my life a little stressful? Sure.

    A vignette near the shops entrance. Weeth focused on an array of lighting options so that the studio seems to glow from the street.Keyanna Bowen

    We renovated the space completelyit was a drywall box when we started, explains Weeth. It was important to add some character and soul through reclaimed and vintage pieces. The beams came from Old Wood Delaware and the figure drawings are 1920s sketches I found on a trip to the Brimfield Antique Show over the summer.Keyanna Bowen

    Left: A vignette near the shops entrance. Weeth focused on an array of lighting options so that the studio seems to glow from the street. Keyanna Bowen | Right: We renovated the space completelyit was a drywall box when we started, explains Weeth. It was important to add some character and soul through reclaimed and vintage pieces. The beams came from Old Wood Delaware and the figure drawings are 1920s sketches I found on a trip to the Brimfield Antique Show over the summer. Keyanna Bowen

    What are your plans for the next few years? What do you see coming for the firm?I definitely see the shop experience, the studio experience being a big focus, just because of our location. The way weve designed it, its very well lit at night from the road. So theres been so much curiosity about it. I know that its a little unconventional to have such a focal spot thats appointment-only. So we are definitely going to make the studio experience a profitable portion of the business. [Another thing thats important to me is] curating. I dont want the pieces that you see everywhere to be here. We try to utilize our custom lines as much as possible when planning for the retail furniture items in here and some of the decorthat has been a work in progress that were excited to launch in May.

    Im trying to pace ourselves a little. It would be great if this next year or two we are refining our processes and still taking on the same workload before taking on more headcount. I would certainly love to very intentionally grow this team, but I think me being as close as possible to the projects is whats right at the moment.

    Whats the most inspiring thing about the business to you right now?I feel so strongly about the entire history and importance of this area, and how there really is, to me, such a vibe [in Rehoboth Beach] that hasnt necessarily been defined by a style. Theres not a West Coast or California coastal feel at all. It really isnt as specific as a Nantucket. It certainly is not a Southern vibe here, either. You have a lot of heritage components coming from Washington, D.C., and Philly, and some of that old-school tradition, but in a very laid-back way [because] people are so chill here. And theres a huge generational vibe to this town, where everybody is connected.

    A lot of these homes have had iterations, and some of peoples best times are probably in these houses that are packed on top of one another on their way to the beach, and its a very inspiring thing to be a part of, especially having grown up here and seen the evolution. I love being able to bring a global lens, because I did leave and travel around the world [for my former job]. So its very cool to be able to bring, hopefully, a fresh take and style to an area that is very close to home for me.

    To learn more about Jess Weeth, visit her website or find her on Instagram.

    Homepage photo: Jess Weeth in her studio | Leeann Rae Pulchny

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    How this Delaware designer went from boardroom to showroom - Business of Home

    A Farmhouse Fantasy Tucked in the Woods of Upstate New York – The New York Times - February 28, 2020 by admin

    IN 2009, CELEBRITY fashion stylist Thomas Christos Kikis agreed to go on a date with Derek Curl, a film producer, at an East Village dive bar. Kikis, wanting to impress, wore his best Thom Browne suit. Curl, a burly, bearded Southerner, arrived in jeans and a camo trucker hat and ordered them each a bourbon and a beer. The unlikely pair hit it off; three months later, they moved in together. In the subsequent years, their careers have pulled them in different directions: Kikis to Los Angeles, where his clients live and work, and Curl to Europe, where he owns several film distribution companies. Yet the two have found common ground and a home in a farmhouse in Andes, N.Y., three hours north of New York City.

    They discovered the area by chance. In the early days of their relationship, Kikis, 35, would tag along on Curls film shoots in the Catskills, exploring local auction houses and antique stores. On one such trip, Curl, 46, noticed that there were a number of affordable 19th-century American houses in a style he calls the poor mans Greek Revival slightly ramshackle properties with neo-Classical pediments and columned porches that reminded him of the antebellum architecture of his Georgia childhood. He had only three requirements when they began house hunting: I wanted a Greek Revival; a large, old dairy barn with a stone foundation; and a creek running through the property. Kikis had just one: to be no more than 12 minutes from a place where you could buy The New York Times.

    The search took years, but one day in 2016, they came upon a 2,000-square-foot, two-story, three-bedroom white-clapboard 1854 house with a large weathered barn surrounded by five acres of rolling fields. They bought it and did a light exterior renovation, but for the interiors, they enlisted Billy Cotton, the 38-year-old New York-based designer known for his exuberant, off-kilter interpretations of American vernacular. Recently appointed the creative director of Ralph Lauren Home, Cotton was raised in a Federal-style house in Burlington, Vt., and his first job was with the decoupage artist and East Village shopkeeper John Derian. His classic New England sensibility he favors straight lines, simple stripes and the innate minimalism of colonial architecture is tempered by his formal training in industrial design at New York Citys Pratt Institute, as well as his deep affinity for French Modernists, including Jean Prouv and Jean Royre.

    Cotton also loves a good back story; he believes it endows a space with soul and a source of intrinsic warmth. His narratives tend to unspool gracefully, starting quietly and growing more colorful and eclectic as one proceeds through the environment. For Kikis and Curl, he envisioned a home that had been built for a refined family that had migrated from a small European city to begin anew on a farm in the New World, carrying with them only a few bits of antique finery. As such, the public areas downstairs are decidedly ascetic, as were rural homes of the era. The austere kitchen, with simple cabinets painted Shaker red and wide pine-plank floors, has walls of 4-by-4-inch vintage off-white Delft tiles, sourced from different lots, which gives them a subtle patchwork quality. In the sparsely furnished parlor, beside a rough-hewn mantle-less brick fireplace (Cotton convinced the couple not to replace it), a pair of low-slung settees covered in blue-and-white ticking face each other, and a 19th-century mahogany grandfather clock stands in the corner.

    BUT THE STAIRCASE hallway, with its original turned-walnut banister, gives a hint of the idiosyncratic adornment that Cotton has created in the upstairs rooms. Here, the moldings and door frames have been painted bright white, in contrast with the cream background of the vintage-feeling Zuber wallpaper, which is alive with flowering vines and birds. The faded red stair runner, with a Swedish geometric pattern, seems particularly daring in this context. Soft light comes from a simple midcentury Italian pendant lamp in an unexpected shade of matte tangerine.

    In the master bedroom, Cottons love of mixing color and pattern reaches full bloom, with peacock-blue moldings and walls papered in a dense indigo block print. To camouflage the chambers low, slanting ceiling, typical of the period, he covered it with a similar-scale block-printed fabric in red and gold. A pair of Italian gilded and painted oak twin beds one from the 18th century, the other a 20th-century copy have been made into a king-size one, draped in a patchwork quilt, while on the floor, Cotton has layered a red-and-black Tunisian rug over a geometric Turkish runner. In the corner, he added a Louis XVI-style chair covered in worn green leather. The small spare bedroom upstairs has been turned into a cozy refuge as well: Cotton created a corner bed nook from a small closet and painted the paneling a pale blue. The wall behind the mattress, which is covered by a windowpane-checked blanket, is decorated with a piece of faded red Sardinian fabric and a mirror whose glass has clouded with age. The tiny space can be closed off from the rest of the room with a striped curtain, and a red 1960s sconce serves as a reading light.

    The designer pushed the couple to embrace such juxtapositions, which they might never have considered themselves although he played up the houses intrinsic Americana, he paired it with midcentury Italian lighting and vibrant wool Berber rugs. He also encouraged their reimagining of the barn, which Curl plans to use for aging bourbon.

    But Cottons main accomplishment is making the place feel like home. The house has become such a haven from urban chaos that the couple recently decided to give up their West Village apartment altogether. Here, they spend time with their new friends, from the county butcher to the town lawyer to the dairy farmer next door. On weekends, they pick blackberries, swim in the trout pond down the road or fish for bass in the Pepacton Reservoir. And when they return, leaving their muck boots at the paneled front door, they are enveloped in a quiet beauty that years ago they could not have imagined for themselves: the glow of a vintage Scandinavian pendant light on the polished dining-room table, the feel of a Moroccan carpet beneath their feet, the tang of pine and wild ginger in the near distance.

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    A Farmhouse Fantasy Tucked in the Woods of Upstate New York - The New York Times

    Motion Furniture Gets an Upgrade in Technology and Style – Furniture Lighting & Decor - February 28, 2020 by admin

    When you hear the word recliner, the words elegant, modern, or chic might not be the first that come to mind. For many design-oriented folk, the classic La-Z-Boy recliner has always been something of an eyesore a super comfortable one, sure, but still something meant to be hidden away in a man cave, basement or at least a den separate from the living room.

    We used to have this saying, that you could always tell how much a wife loved her husband by how ugly the recliner he was allowed to buy was, says Mark Wilson, Director of Merchandising at Comfort Design with a laugh.

    While the clunky recliners and motion furniture of 20-plus years ago could be something plucked out of an interior designers nightmares, todays motion furniture is telling a different story. Thanks to improved technology and a response to changing consumer lifestyles, motion manufacturers are creating designer-friendly pieces with sleeker silhouettes, improved functionality and stylish fabrics that are perfectly at home displayed proudly in the living room.

    Motion used to look like a big clunky piece of furniture, and now with the advancements in technology, motion has started to look more and more like stationary furniture, says Spencer Bass, Creative Director at American Leather.

    In fact, Bass said hes often seen people walk into the American Leather showroom and take a seat in what they presume is a high-back stationary piece, only to show a look of surprise when they realize theyre sitting on motion furniture.

    So what changed? One piece of the puzzle is technological innovations in the hardware that makes motion furniture move. Motion furniture inherently requires more bulk to hide all of the mechanics and metal components that make it work. But as motors and mechanisms have become smaller over the years, its become easier to upholster around them for a sleeker finished product.

    The introduction of power motion also offers todays consumers the option of an unobtrusive button tucked into the arm or side to control the furniture instead of the manual crank that used to be standard.

    Wilson says at Comfort Design, hes seen chair arms, in particular, size down with the advent of smaller electronic parts.

    Ive now got the the control system down to where I can make a 2.5-inch-wide arm, where in the past that had to have a 4- to 4.5-inch-wide arm to make it big enough to hold the components, Wilson says. So now I can do it with a 2.75- or 3-inch arm, which looks more sleek and substantially cleaner and nicer.

    Its not just the improved, smaller components alone that allow for sleeker motion pieces, Wilson adds. Its also increased acceptance and interest in sleek motion on the part of consumers that drives the volume needed for manufacturers to see the benefit of mass-producing units of component pieces.

    Theres now more focus on making a better, nicer-looking chair that still performs those comfortable functions, and since theres more emphasis in that category, the guys who are developing the mechanisms are much more in tune to it and theres more volume involved. That makes it profitable for the guys making the component pieces to help develop mechanisms and components that more easily lend themselves to a better-looking, more functional and sleeker piece. So its not really that they cured cancer, its just that there are more people accepting the category. That makes it beneficial for those guys to stamp out those types of mechanisms.

    Along with technological advances, shifting consumer lifestyles have also given rise to a thriving market for stylish motion furniture. Where many homes used to have a formal living room meant for entertaining and a family room or den where the TV was (and where the family actually spent time), todays homes are moving toward open floor plans with one main living room featuring a TV.

    American Leather is designing product with this in mind, Bass says.

    We literally designed the sofa with the idea of, if there was a TV in front of me, how can the headrest articulate to get the perfect seating position to watch television, he says. This is the sofa for the living room with the TV now, not the sofa for the living room with the occasionallysat-in sofa.

    These changing floor plans reflect less formal attitudes among consumers, Wilson notes.

    With the consumer being more casual in their attitudes and their lifestyle, its becoming much more acceptable to be comfortable in your home, and kicking your feet up has always been a staple of that environment, Wilson says.

    With the rise of streaming services, consumers are staying in to watch movies in the comfort of their home, and want to create a comfortable experience without compromising on style.

    You dont have to give up comfort to get the look that youre looking for, and thats really what were striving for, Wilson says.

    Founded in 1990, American Leather has been in the motion business for about 20 years and Bass says its grown to be the companys largest product segment. The most popular product is its Comfort Sleeper, a sleeper sofa offered in 15 styles that features a construction with no uncomfortable bars or springs. Along with its own product offering, the company also makes sleeper sofas for retailers such as Restoration Hardware and Room & Board.

    Over the last few years, American Leather has launched three categories of its Style in Motion series of sofas and chairs, the newest of which just launched at the fall 2019 High Point Market. The Style in Motion A-series features pieces with a solid back for a more stylish look from every angle a benefit for consumers who want to float sofas in an open floor plan. Customers can also customize with three different arm styles and nine different back options, along with their choice of 177 fabrics or 100 leathers. Bass says a goal of the new A-series was to continue to offer a range of product, both in terms of price point and styles ranging from transitional to modern.

    Somebody who likes contemporary may not respond to transitional, and somebody who likes transitional may not respond to contemporary, he says, so its about having all the different lifestyles of motion that your retailer can cover. What a store in Aspen or in Denver might carry would probably not be the same thing somebody in Miami carries.

    Introduced about a year ago was American Leathers I-series, inspired in part by 1960s Italian mod sportscars. The Turin chair, with peekaboo welt detailing and metal sled legs, earned the company a Pinnacle Award at falls High Point Market. Across all of the styles offered, Bass is proud to offer sleek motion upholstery delivered in just 30 days.

    At Comfort Design, launched in 2009 as a higher-end offshoot of Klaussner, a new partnership with designer Stacy Garcia is helping the company reach interior designers. Announced before last falls High Point Market, Garcia will debut a stylish new line with Klaussner and Comfort Design at the upcoming market in April.

    With Garcias eye for pattern and color and Comfort Designs customization capabilities (they offer a variety of nail and cushion options along with more than 300 leathers and thousands of fabrics), Wilson says the partnership is moving the company in a promising direction.

    The recent trend toward more transitional looks has made it easier to style motion furniture in a way that fits each consumers aesthetic, Wilson says. Twenty years ago, he says a recliner line would likely feature hardcore traditional and hardcore contemporary styles, offering little room for customizability.

    Because its all blending, now a lot of the styles are going to fit in more environments, and the consumers themselves are also much more eclectic, Wilson says.

    With different fabrics, nails and other design components, a motion chair with the same silhouette can be customized to fit any environment. When motion doesnt have to look just one way as it may have in the past, the consumer appeal becomes broader.

    Along with aesthetic styles, Comfort Design also offers a range of motion options. Any given chair starts with manual, then graduates up to single power (a single button to power recline), then graduates up to power recline with a power headrest, and then graduates up to power recline with power headrest and power lumbar. The next version has all of these features plus a new heat and massage system that Wilson says gives a great massage and uses inductive heating technology that doesnt damage the fabric. Out of all of these features, Wilson says power recline and power headrest functions have become a given, so much so that theyll develop pieces with these features before creating the manual version.

    With all of the innovations and style options available in motion today, the question remains: Are consumers aware of all that the motion world has to offer? Wilson says its hard to tell, since people only really pay attention when theyre in the market for a new piece of furniture. As consumers and designers alike continue to catch on, todays manufacturers will continue making motion thats fit for everyone, from the Archie Bunkers to the Frasier Cranes.

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    Motion Furniture Gets an Upgrade in Technology and Style - Furniture Lighting & Decor

    Why Design Lovers Need to Head to Tulsa in 2020 – The Manual - February 6, 2020 by admin

    Anne Rippy/Digital Trends

    Tulsa, Oklahoma is having a moment, and the world has taken notice. From being honored as home to one of Time Magazines Worlds 100 Greatest Places to the second round of Tulsa Remote opening to new applicants, the city is in the midst of a renaissance. But its the buildings of the past that have architecture lovers most excited. With some of the finest Art Deco designs in the country, a major push to restore long-neglected buildings, and the increased interest and participation of renowned architects, Tulsa is the place to be in 2020.

    The last few decades have seen significant changes in the Buckle of the Bible Belt. Tulsa was among the first to change Columbus Day to Indigenous Peoples Day to recognize the critical role Native American tribes played and continue to play in shaping the city. And for over 20 years, the city has hosted massive celebrations for Juneteenth and Pride Day, embracing the diversity that makes this town unique.

    But its the amazing architecture, restoration, and revitalization thats drawing design lovers from around the world to this central U.S. city. Thanks to the oil boom of the 1920s, Tulsa became the wealthiest city in the world. Construction took off as tycoons rushed to leave their mark on the town. While myriad influences from many different styles can be found in buildings around the area, it was Art Deco that architects truly embraced. Today, Tulsa has one of the countrys largest collections of original Art Deco architecture.

    So just how many Art Deco buildings are there in Tulsa? The Decopolis Tulsa Art Deco Museum lists 63 total, with another 24 buildings that were demolished over the years. So to say the city abounds with Art Deco is an understatement. Everywhere you look, in every neighborhood, elements of the style can be seen. And we cannot talk about Art Deco in Tulsa without looking at Bruce Goff, one of the most prolific architects of the style.

    Perhaps the most recognizable of all the citys Art Deco buildings, Boston Avenue Methodist Church was completed in 1929. Listed on the National Register of Historic Places, the church is carefully positioned at the end of Boston Avenue, making for a dramatic sight when viewed from the historic downtown business district. The 255-foot central tower is capped by four shards of deco glass, making it a striking focal point of the citys skyline.

    For many decades, Bruce Goff alone was credited with the churchs design. But records show that the plan was originally drawn by his mentor and instructor, Adah Robinson. Today, Robinson is credited with coming up with the original sketches that Goff then based the design off of.

    Early on, Goff worked closely with Robinson, who began her career as the first art teacher at Tulsa High School. Goff was one of her very first students, and perhaps this was how he became the designer of her own home. Working with Joseph A. Koberling, Jr, Goff designed the home in 1924. At first glance, it may be hard to see the Art Deco elements of the Robinson House, but they are there. Windows are geometric and elongated, there are terrazzo floors throughout, and the home is covered in stucco (a common material for Art Deco homes at that time).

    The Tulsa Club Hotel is a prime example of the citys modern revitalization. Built in 1927, the Tulsa Club was an upscale gathering place for the citys elite. Designed by Bruce Goff, the 11-story building spent many years abandoned and neglected. Water damage from a leaky roof and fire hoses (the building experienced four fires in just one year) resulted in ceilings and walls beginning to rot. Luckily one developer saw potential in the building and set to work restoring it. Thanks to Ross Group, Tulsa Club Hotel is now a showcase for historic Art Deco elegance with a fun contemporary twist. Stepping into the lobby feels like a Great Gatsby party could break out at any moment.

    After its construction in 1914, Brady Theater was remodeled by Bruce Goff in 1930. Adding plenty of Art Deco details, Goff designed everything from custom acoustical ceiling tiles to gilded air conditioning grilles. The new details effectively turned the simple barn-like convention hall into an elegant and breathtaking theater. It may have received some contemporary updates since then, but that amazing Art Deco ceiling is still there for all to admire.

    Among all of Tulsas Art Deco designs, The Philcade Building truly stands out. Built in 1931, it was one of the many new structures lining Boston Avenue as oil tycoons sought to leave their mark on the city. Designed by architect Leon Senter, the Philcade was one of two towers commissioned by Waite Phillips. Located directly across the street from the already built Philtower, the Philcade represented Phillips dominance in the oil industry. Done in the Zigzag Art Deco style, the Philcades seemingly simple exterior belies the lavish interior, including the stunning lobby with an arched, hand-painted ceiling.

    Tulsas countless Art Deco buildings arent the citys only architectural style worth admiring. In the downtown area alone, visitors will spot a range of iconic styles from Gothic to Contemporary and everything in between.

    Boston Avenue, running through the center of downtown, showcases some of the citys most notable buildings, including the Kennedy Building, the Mid-Continent Tower, and the Philtower Building (connected to the Philcade through an underground tunnel), culminating at the BOK Tower at the top of Boston Avenue. Each building has its own unique look and its own story to tell. For architecture nerds, there are niche tours that have been built around these marvels.

    The Tulsa Foundation for Architecture, formed in 1995, offers walking tours on the second Saturday of every month. Following a different theme each month, the tours center around everything from the impact of Route 66 on architecture to exploring the citys hidden underground tunnels. Its a unique chance to get an insider look at the architecture and designs that shaped the city for more than a century.

    The city is also home to a one-of-a-kind Csar Pelli design. The BOK Center shows off Tulsas contemporary side and its love affair with art of all kinds. As a testament to how seriously this city takes its buildings, it rejected Pellis original (and admittedly boring) concept for the flagship arena. It wanted more than a basic rectangular box, so city planners demanded the world-renowned architect go back to the drawing board and come up with a more contemporary design. The result is the smooth, undulating silver swirl building that resembles a tornado when seen from above, a cheeky nod to Oklahomas wild weather.

    Architecture not your thing? Dont worry, Tulsa still has you covered. From music to ballet to street art, Tulsa is one seriously creative community. Museums abound, each offering a different tidbit on the areas rich history. While not all of that history is something to be proud of (the Tulsa Race Massacre depicted in the opening scene for HBOs Watchmen really happened), locals dont shy away from any of it. A stop at the Tulsa Historical Society and Museum is a must. It gives the full picture of how far this city has come after the devastating attack on Black Wall Street in 1921. From there, you have a variety of museums to choose from to get your art, history, or music fix.

    If you consider food to be art, youre in luck there, too. Incredible restaurants can be found in every corner of Tulsa. In 2018, the city took its food game up a notch with the opening of Mother Road Market. While it is dubbed a food hall, Mother Road Market is more of an experience, getting visitors up close and personal with local chefs, sampling unique cuisine, and socializing with fellow food lovers on the outdoor patio.

    Speaking of the Mother Road, a stretch of Route 66 runs right through town, letting you get a healthy dose of nostalgia. From classic diners to the famous Golden Driller statue, you can get your fix of the vintage kitsch the road is known for. Be sure to check out Buck Atoms Cosmic Curios for the true Route 66 experience.

    Once youve had your fill of impressive architecture, endless art, delicious food, and a stroll through Gathering Place, be sure to stop at the Center of the Universe before leaving town. Yep, Tulsa has that, too.

    See original here:
    Why Design Lovers Need to Head to Tulsa in 2020 - The Manual

    If Tesla designed houses, this is what they would look like – Yanko Design - February 6, 2020 by admin

    I am an all-time architecture content consumer and nothing fascinates me more than seeing concept homes designed for the future! While we imagine it to be all Jetsons and some Avatar, designer Ivan Venkov has created a concept home that makes me curious is this what homes would look like if Elon Musk was in charge?

    Venkov mentions that the original idea was for the modular aspect to only be included in the interior spaces, but the exterior sculptural look could also be shaped differently if desired this means only the interior foundation and platform will remain as is. His aim was to make modular spaces more than just functional, Venkov wanted it to be striking without costing a fortune to execute. The aesthetic is based on pillars of modern, minimal and calming design while still catching your eye. I particularly love the wide glass stairs leading up to the house, it gives such an airy and spacious feeling especially because it is only one floor allowing the trees to tower over you and build the view.

    The illustration by Venkov includes stock imagery and his original concept designs for details as well like the Nebula lounger out on the porch and also the automobile parked up in the front. This concept home is a high-end prefabricated unit resting in a forest, but I imagine it can be assembled in other settings as well. I am sure this Tesla-esque abode will be built to be a smart home. Would you move into a home like this in 2040?

    Designer: Ivan Venkov

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    If Tesla designed houses, this is what they would look like - Yanko Design

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