Exterior of the Mansion on Turtle Creek with its prominent dome

For those in the Dallas area who want to plan a luxury staycation this holiday season, The Rosewood Mansion on Turtle Creek may be an ideal getaway.

The legendary property has recently been redesigned and renovated, enhancing its timeless appeal and charm. In addition, as one of 28 properties in the ultra-luxury Rosewood Hotels and Resorts collection, the hotel has put stringent health and safety measures in place to mitigate the spread of COVID-19 for guests and staff.

Located in a serene setting in the vibrant Uptown area of the city, this hotel was recently named #1 hotel in Texas and #32 in the world by the 2020 Conde Nast Traveler Readers Choice Awards.

Welcoming rotunda area in the entryway

Originally built in 1925, this boutique property was once a private estate, its architecture influenced by 16th-century Renaissance Italy. The interior features meticulously restored old-world touches like hand-carved fireplaces, marble floors and stained-glass windows. With only 142 guestrooms and suites nestled over 9 floors, the scale of the property is intimate.

The redesign was overseen by internationally recognized interior designer Thomas Pheasant and Dallas-based architecture firm, three. The team aimed to maintain the Mansions rich Texas heritage while incorporating a fresh and convivial sense of style into the guestrooms, suites and public spaces.

The inviting lobby showcases one of the most impressive enhancements. The plaster rotunda at the entryway has a leaf design cascading down the ceiling handcrafted by Casci Ornamental Plaster that required the skills of 12 artisans over a period of six months. This area has been reconceived as a casual, residential living space with separate concierge and registration areas, rich wood paneling, custom-made tables and chairs for socially distant lounging, and locally sourced objets de art.

Consistent with Rosewoods A Sense of Place philosophy, an art collection scattered throughout the newly designed spaces was curated by Texas-based international firm Eaton Fine Art. More than 50 custom-created works pay homage to the propertys history and its Dallas roots.

Guestrooms include photography with striking images of the Mansion and its architectural details by Dallas photographer Sil Azevedo. Guest corridors are lined with Western style photographs complimented by 128 ceramic vessels commissioned by potter Sara Paloma.

Mansion Suite Bedroom

Turtle Creek Suite Kitchen

With its incredible setting and story, the Mansion has always evoked an animated and engaging atmosphere that makes its guests feel warmly welcomed and instantly at home, says designer Thomas Pheasant. Taking this residential quality to the next level, while at the same time honoring the Mansions rich heritage and history, was the focus of the renovation, and Im honored to have had the opportunity to build upon the propertys legacy and usher in the next iteration of what is surely one of the most cherished hotels of our time.

The spacious rooms, all with fully renovated bathrooms, include 24 connecting rooms (12 of which are suites) suitable for families or small travel pods of unrelated friends. The interior design couples the hotels classic architectural details (including French doors, petite balconies and bold crown molding) with modern comforts and amenities that mimic residential interior design.

Renovated Turtle Creek Suite Bathroom

Texas-born Executive Chef Sebastien Archambault oversees cuisine and menus across the property, including the highly-acclaimed Mansion Restaurant which, like the hotel, is celebrating its 40th anniversary this year. Although the dining spot, often a scene for celebrations, is known for its romantic ambiance, it is family-friendly, too, with a special childrens menu. Outdoor dining is available, weather permitting.

Foyer outside The Mansion Restaurant

For those who want to bring home a bit of the Mansion, the property has partnered with Miron Crosby, a local cowboy boot maker based in nearby Highland Park Village. Made of calf, Nile belly crocodile and kid skin, the custom-designed Mansion Boot features intricate inlay and applique details that highlight the Mansions iconic quatrefoil motifs.

A new partnership with Neiman Marcus allows guests residing in the hotels top suites to have private access to the brands flagship store in Dallas prior to public opening hours. Alternatively, guests at The Mansions can arrange a complimentary consultation with a personal stylist from the store and have merchandise delivered to their suite.

Guests can expect to find Christmas trees and sparkling lights adorning the hotels public spaces. Additionally, they will find a personal Christmas tree placed in their room prior to arrival. With the option to mail their favorite decorations to The Mansion ahead of time, guests can opt to dress the tree themselves or let the Mansion staff work their magic.

To further spread the holiday spirit, the hotels signature Mansion Bar creates special holiday cocktails and The Mansion Restaurant offers holiday menus.

With coronavirus cases spiking across many states in the U.S., deciding whether to stay at a hotelor travel at allduring the holidays entails a careful assessment of possible risks and rewards. Here is some additional information that may be helpful:

There are currently no travel restrictions or mandatory quarantine requirements for travelers entering Texas from other states. Face coverings are required in indoor public spaces and outdoor areas where social distancing is not possible, with minimal exceptions.

Guided by local and international health experts, Rosewoods global health and safety program, Commitment to Care, extends to guestrooms as well as to The Mansion Restaurant, The Mansion Bar and other on-site facilities. This includes increased cleaning and disinfecting of common touch points, regular renewal of all air filters and air conditioning systems, and implementation of physical distancing protocols. All staff undergo mandatory health and safety training and receive personal protective equipment to be worn while on property, and guestrooms are equipped with personal care kits consisting of face masks, hand sanitizer and disinfectant wipes.

The Mansion caters to the individual guest preferences with alternative options for check-in and check-out, in-room dining, parking and housekeeping, ensuring the maximum level of comfort and safety.

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The Rosewood Mansion On Turtle Creek: Reimagined In Time For The Holidays - Forbes

PUBLISHED: 19:30 19 October 2020

Danielle Lett

Lindsey Rendall, left, pictured alongside Helen Wright. The two run Rendall & Wright, a Suffolk-based interior design practice Picture: Nicky West Photography

@Nicky West

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As autumn settles in, its high time to give your home a refresh and switch up your surroundings to help you welcome in the new season.

East Anglian-based interior designer Lindsey Rendall, of Rendall & Wright, shares her top tips to help you nail this years autumn/winter home trends - and explains why this is the year to put a little bit more thought into your homewares.

2020 has seen us all spend far more time in our homes than we ever thought possible whether weve been homeschooling, working, entertaining via Zoom, working out or cooking endless family meals, said Lindsey.

We now expect our interior spaces to provide a multitude of services for us, and deliver more than they ever have before. On this basis, they deserve some TLC. Our homes should be a safe haven to enjoy and take comfort from.

With that in mind, these upcoming months will provide you with ample opportunity to overhaul your interiors and give your surroundings a much-needed revamp.

I love the start of autumn its a time to hunker down and an excuse to enjoy cosy afternoons at home with friends and family.

As with all seasons, our fashions change. We upgrade our wardrobe, invest in a few key seasonal pieces, put away the flip flops and get out our cosy winter attire. Our homes are an extension of this, and they too thoroughly deserve a seasonal spruce up.

So what sort of shades should we all be looking to incorporate into our homes this autumn, to help spruce it up?

Warm terracotta tones are big news for 2020, according to Lindsey. This cosy, natural, sumptuous colour softens the much-loved spring coral that was seen this year, as we move into autumnal burnt amber palettes.

If youre not keen on having one colour dominating your home, terracotta has a number of shades that pair wonderfully with it, including deep olive green, rich caramel, deep charcoal and delicate rose pink. These warm, beautiful colours work effortlessly alongside natural materials so consider using a mixture of finishes within a room to create interest.

In terms of textures, its go big or go home this autumn. As the weather cools and the nights draw in, incorporate heavier textures around the home. Plush velvets, chunky knits and heavy woven linens add depth and richness to any interior scheme.

To be bang on-trend this winter, bring boucl back into your life. This snuggly texture will increase the cosiness factor of any room by 100%. Using these textures as cushions, throws and on occasional pieces of furniture are an inexpensive way of updating your schemes while making it impossible to not snuggle up on the sofa.

If youre someone whos looking to be a bit bolder this autumn, prints are always an option, and there are a number of designs to help you brighten up your home over these coming months with some firm favourites coming back into style time and time again.

Every year Im asked if patterns are fashionable, and this year more than any the answer is yes. Autumn often sees classic, sophisticated country prints such as rich floral designs, faded vintage rose prints, traditional paisleys, tartans and beautiful plaids creeping back into the home, and 2020 is no different. A well-balanced collection of prints and textured weaves provides an interesting feast for the eyes.

With a number of rooms throughout your home, you may be wondering which areas in particular you should focus on this season. Choose areas of the house you spend most of your time in to give your winter transformation. Be brave, embrace change and most importantly, have fun.

Lindseys tips for getting the autumn look without blowing your budget

Sitting pretty

Invest in a statement piece of furniture in a bejewelled tone such as a terracotta, teal or olive green. Depending on your budget, this could be a sofa, armchair or footstool. To complete the look, accessorise with textural cushions and a splash of pattern.

Light up your life

Lighting makes an enormous difference to the ambiance of a room. It creates a mood, enhances textures and highlights architectural features. Overhead lighting can often be harsh and unflattering, so use a variety of light sources to suit the occasion. Introduce table lamps for a warm, cosy glow in the evening - low-level lighting and candles on the table are great for dinner parties while wall lights and floor lights are great to brighten up a dull day. A quick and inexpensive way to update your existing lighting scheme is a change of shades. Introduce pattern and colour confidently, and enjoy the change in ambiance this provides.

Hearth and soul

If you have a fireplace, make it a focal point. Dressing your fireplace transforms your fire from a cold, dark space into a place to congregate. Consider built in-joinery or matching pieces of furniture either side of the fireplace to frame it. Introducing lighting within the joinery or a pair of table lamps on the furniture will add depth to the room, while enhancing the cosy feel. Dress your mantelpiece and draw the eye to the fire with a great mirror or piece of art above. If you have a fireplace no longer in use, a well-chosen large plant can bring life back to the hearth.

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What are the interior trends for Autumn/Winter 2020? - Eastern Daily Press

Oceancos Black Pearl includes an eco-friendly Dyna-Rig sail and a hybrid propulsion system. Sustainable features like these will be discussed during the shipyards NXT livestream event this week.

The superyacht world is engaging in some deep soul-searching these days, with some of the worlds leading gigayacht builders holding livestream events for both brand aficionados and the rest of the yachting world.

Dutch custom builder Oceanco is holding a livestream event on Tuesday called NXT, which will take a serious look at the future of superyachts, especially with regard to sustainability.

We want to make a commitment around sustainable yachting for the future, Paris Baloumis, Oceancos group marketing manager, told Robb Report. We very much believe in it, and as an industry, we need to focus on it, so a yacht is not seen as a liability.

The Oceanco NXT livestream bannerOceanco

Instead of the usual talking heads from the superyacht sector, tomorrows panel will include a cross-section of experts from other industries, including Giles Taylor, vice president of design at the FAW Group; Sanne Schenk and Tommy Kleerekoper, partners at an interior design and architectural agency; James Roy of Lateral; Peter Economides of brand strategist Felix BNI; Chris Gartner, captain of the superyacht Black Pearl;and Marcel Onkenhout, CEO of Oceanco.

This cross-industry collaboration is to attract free thinkers who can work with us on the push for a more sustainable future, says Baloumis. Taylor was instrumental in revising the Rolls-Royce brand, while Roy has worked with Oceanco to foster a zero-carbon future for the custom yacht builder. Gartner, as captain of one of the most sustainable yachts ever built, will provide insights on next-generation carbon-reducing technologies as a template for future builds.

Baloumis says tomorrows panel will be more than just a one-off discussion and will meet consistently to talk about how Oceancoand the yachting industrycan rework facilities and new yacht plans to foster carbon-neutral production and designs. Oceanco has already invested significant amounts into its facilities in the Netherlands to lower its carbon footprint.

The NXT panel will include experts from different industries, including the former head designer for Rolls-Royce, an expert in sustainability, leading-edge designers, a superyacht captain and the CEO of Oceanco.

This is really a call to arms, says Baloumis. Weve already been contacted by large suppliers who want to be part of this initiative, and even our competitors have asked if they could view the livestream.

Heesen, another yacht builder, has had two livestream events called YachtTalk, where a panel also discussed issues impacting the superyacht world. In the latest episode, Dutch Design Renaissance, the panel included Frank Laupman, founder of yacht design studio Omega Architects; Gabriele Chiave, creative director at the Marcel Wanders Studio; and Niels van Roij, founder of multi-disciplinary design studio Niels van Roij Design. The panel took an interdisciplinary approach, with Laupman speaking about yacht design, van Roij about car design and Chiave about interior design. Heesen says it will continue to hold the series going forward.

Lrssen Live is the third livestream series from a superyacht builder, this time from the German brand that builds the worlds largest yachts. CEO Peter Lrssen was interviewed about the companys new approach to building smaller yachts in the 165-foot range and current trends he sees taking place across the superyacht world. The builders next episode will surround Future Propulsion Technologies.

Heesen YachtTalk is a livestream event that covers different topics, including the latest on emerging design trends.Heesen Yachts

Oceancos NXT promises to be a more free-floating discussion than the other two events, touching on issues that go beyond superyacht design. Baloumis said tomorrows panel will not promote any new Oceanco superyachts and instead will focus on larger issues at hand. We want to go deeper and look in a new and different way at our sector, he says. If we keep looking at the same old industry parameters, nothing will change. But we are determined to help drive that change. The future is now.

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This Is Really a Call to Arms: The Superyacht World Convenes Industry Leaders to Tackle Sustainability - Robb Report

Duncan Aviation explains how a timeless design, high-quality materials and expert installation and application of interior components are important in creating interiors that look great for many years with reference to a Gulfstream GIV it refurbished in 2007.

One of the biggest tests of quality is how long something lasts. In aircraft cabins, years of constant use can impact the function and aesthetics of interior components. Wear and tear on seats, tables, cabinetry and galleys can really date an aircraft.

Longevity is subjective; a lot can depend on how often the airplane is used and how many passengers are regularly on board, says Nate Klenke, aircraft modifications sales manager at Duncan Aviation. In addition, the longevity is based on the quality of the products used coupled with quality installation standards and processes. Of course, how well the interior is taken care of, cleaned and maintained also plays into its lifespan.

The company contends that signs of a quality refurbishment dont always show until several years after the work is done; it rests in the durability of the products selected and the quality of the completion process.

In 2007 the company completed a Gulfstream GIV that was placed on static display at the NBAAs annual convention in Atlanta, Georgia. The aircraft featured new paint as well as a fresh interior. Duncan Aviation believes a look at that aircraft today, after 13 years of regular use, proves that its design was timeless and the interior installation and construction was of the highest quality.

From the beginning, Duncan Aviations design experts worked alongside Aviation Aesthetics owner and founder Havilande Whitcomb to turn the owners vision into a reality. The two firms also worked closely with many other parties, including the owner, who chose high-quality materials such as mohair upholstery and a dark wool custom carpet that was integrated into a cohesive unit to flow seamlessly. Flight attendants were involved in the process to ensure items such as silverware, snacks and beverages were exactly where they needed to be in the reconfigured galley.

The finished product featured intricate design details such as inlaid polish nickel, while the drink rails have a carbon fibre flat finish, installed so the fibre pattern lines up along the entire drink rail. Paldao and wenge woods were the primary finishes used to complement the carbon fibre accents. On the lower sidewall, stingray skins were used to enhance the design. The stingray skin, a unique, natural product, had to be cut to perfection with a high-pressured water cutter and needed to be tightly sealed to provide a continuous pattern. The interior also features a credenza with a pop-up monitor; Duncan Aviation believes this was the first automated lift to raise and lower a monitor from a credenza for viewing.

The collaborative effort between a discerning owner, me as an interior designer, the Duncan Aviation design team and the production teams was refreshing, says Whitcomb. The level of craftsmanship was incredible and there was razor-like focus on the small details.

Fast-forward to 2020, and Klenke believes the GIV interior and paint have held up incredibly well. The aircraft featured a selection of high-quality materials and has held up due to excellent design and craftsmanship by Duncan Aviation, agrees Whitcomb.

The GIV is managed by Volo Aviation and is available for charter through Solairus Aviations charter certificate. When I tell passengers that the paint and interior are 13 years old, they are usually stunned, says Robert Tod, director of maintenance and chief pilot at Volo Aviation.

2007 photos by Duncan Aviation. 2020 photos courtesy of Dan Savinelli.

Continued here:
FEATURE: The test of time - Business Jet Interiors

The biggest challenge was using what was already here but making it better, says Tiffany (left). This isnt our forever home, so I had to be really smart about what I decided to spend money on and what just needed a small facelift. Its way easier to bring your full vision to life without any restrictions, but the fun part is figuring it out with those limitations.

When interior designer Tiffany Thompson bought this two-bedroom Portland, Oregon, town house in 2016, she was working at Nike and viewed its close proximity to the companys headquarters as a major benefit. It also didnt hurt that she had access to a community pool and tennis court, or that the drive toward her street was lined with towering trees. But the deciding factor, Tiffany remembers, is that it had a certain Pacific Northwest luxury. What initially drew me to this place was the amount of natural light it received. Its pretty bright all of the time, Tiffany says. Coming from Miami where its usually sunny, the thing that scared me most about purchasing a home in Portland was that it was going to be dark and rainy seven months out of the year.

The challenge would be turning this cookie-cutter town house into a personalized haven. Tiffany was surrounded by a blank canvas. Luckily, her boyfriend, Julian Gaines, is a fine artist. With all of the art, we want to evoke emotion and really let them be the highlight of our home, she says. Being with an artist is amazing because I have endless items to choose from.

For the dining room art, Julian imagined himself being next in line on his way to heaven and seeing the person in front of him receiving his halo, she says. The table is from Lillian August, and the surrounding chairs are from Design Within Reach. The Studio Eero Aarnio Mini Pony Chair in the corner was found at Finnish Design Shop.

Tiffany couldnt touch the exterior or overhaul its interior, thanks to a homeowners association and a limited budget, but she could reimagine its white walls. She pictured a theme of timeless and cozy beauty, punctuated by details that were functional yet exciting upon a closer glance. Tiffany considered her canvas for a year, figuring that it was best to take her time on making this home feel like me. And when she was ready, she landed primarily on a black-and-white palette. Its amazing how these two colors bring a sense of balance to a space, Tiffany says. Theres also so much greenery outside that the black-and-white palette grounded my home and makes the backdrop of the outdoors feel and look even more intense.

These types of homes have exteriors that all look alike, so it was important for me to have some features that were our own and fun, Tiffany says. The accent wall is made of one-and-three-fourths inch oak slats that were nailed to the wall in one-inch gaps. The entire project was painted in Tricorn Black by Sherwin-Williams. The coffee table and floor lamp are from CB2, and the chrome Wassily side chairs were found on Chairish. The framed artwork was created by Julian and the masks are vintage.

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This Tiffany Thompson Turned Her Cookie-Cutter Town House Into a Personal Art Gallery - Architectural Digest

Ann Getty in her San Francisco home, 1977

Horst P. Horst / Conde Nast via Getty Images

Ann Getty was as beautiful as she was philanthropic. Tall, at a statuesque 5ft 9, she was a devoted benefactor of the arts and did not allow her legacy to be dictated by the man she married nor the wealth she married into. A sharp, California farm girl, she grew up driving tractors on her fathers peach and walnut farm before marrying the composer Gordon Getty, the fourth son of oil baron J Paul Getty, then the richest man in the world.

Ann, who became a globe-trotting publisher, author, interior designer and philanthropist, died in September, aged 79. Although she lived a ritzy life, adorned with extravagances like a private Boeing 727 (that the press were quick to nickname Jetty) complete with a bath and two bedrooms, she adeptly managed to resist being cordoned off as a delicate socialite. In the lavish plane, Gordon and Ann would travel to the worlds greatest music and arts festivals, a passion the couple shared.

Effervescent and brilliantly intelligent, she was the perfect hostess for Gettys sumptuous parties in San Francisco, attended by aces of the classical musical world, from Luciano Pavarotti to Plcido Domingo. It was while traversing the globe that she met George Weidenfeld, the eminent publisher, and came to save the publishing house from collapse, buying a nearly quarter-size stake in the company. The next year, she and Weidenfeld teamed up to buy the New York publishing house, Grove Press (for $2 million), which had a roster of avant-garde authors and was famed for its audacity but was in a bad way financially. Ann, while she was the president of Grove Weidenfeld, told the New York Times: Im a publisher because its a cover for my indulgence. I love to read all day. But I come from nice Puritan stock, and I grew up believing that you have to work all day, so I made reading my work.

Ann Getty with her husband, Gordon Getty

Alan Davidson / Shutterstock

When in the 1980s she hopped over the continent to New York (following the sale of Getty Oil to Texaco for $10 billion), she was wooed to the boards of the Metropolitan Museum of Art, the New York Public Library and New York University and fast-tracked to the epicentre of the grandest social circles. She had also been a benefactor for the University of California, San Francisco, as well as the San Francisco Opera amongst legions of others.

As for her and Gordon Getty, the story goes that in 1964 she was drinking with some friends in a North Beach Bar when Gordon Getty introduced himself and challenged her to match him shot for shot. She did and the rest is history. They were married that Christmas and J Paul Getty was said to be charmed by his sons choice.

Not just the arts, Ann earned a reputation as a fabulous interior designer and only the true masterpieces would do. In 1995 she founded the interior design firm, Ann Getty & Associates, and the obvious way to showcase her style was by opening up her and her husbands 1913 house designed by Willis Polk, the American architect. Veranda Magazine wrote: The couple have amassed a museum-quality collection of European antiques, Venetian paintings, French textiles and Russian chandeliers. She wrote and published a book, Ann Getty: Interior Style in 2012 which celebrated her love for English and French antiques and Chinese porcelains.

Despite long experience as a society hostess, she was shy and never quite at ease in New York favouring her life in San Francisco. Gordon would reportedly sometimes escape to a sound-proof room in their home to listen to opera, the Times says that she once described him as a perfect monk.

She is survived by her husband and their sons Peter, John and William, and six grandchildren. Ann Getty was born on March 11, 1941. She died of a heart attack on September 14, 2020, aged 79.

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Ann Getty, glamorous publisher and devoted arts patron, dies at 79 - Tatler

In June 1954, an article published in House & Home magazine read, The Japanese had some of our best ideas300 years ago. The piece highlighted three main attributes of Kyotos Katsura Imperial Villa, built in the 1620s: the open post-and-beam plan, the use of verandas for climate control, and its modularity based on tatami mats and shoji screens. The article coincided with the opening of the Japanese Exhibition House at the Museum of Modern Art (MoMA) in New York City. On the recommendation of architect Antonin Raymond, the artist Isamu Noguchi, and others, the museums architecture and design curator, Arthur Drexler, commissioned Japanese architect Junz Yoshimura to design the house as part of the museums House in the Garden series. Yoshimura was inspired by a 17th-century temple home near Kyoto named Kojo-in. He designed and built the house in Nagoya and then shipped it in 636 crates, to be installed in the museums garden, where it received thousands of visitors daily over a period of ten months. Shofuso (Pine Breeze Villa), as Yoshimura named it, was subsequently moved in 1958 to West Fairmount Park in Philadelphia, where it remains today.

Sixty-two years later, and after several months of lockdown, Shofuso has reopened with an exhibition that revisits the historical-cultural exchange between Western modernism and Japanese traditional craft and architecture. Shofuso and Modernism: The Architecture and Design of George Nakashima, Antonin and Nomi Raymond, and Junz Yoshimura honors the close friendship and community-based collaboration between Yoshimura, architect and woodworker George Nakashima, architect Antonin Raymond, and interior designer and graphic artist Nomi Pernessin Raymond.

The exhibition was co-curated by William Whitaker and Yuka Yokoyama. Whitaker is the curator and manager of the architectural archives at the University of Pennsylvania and has worked with the Raymonds and the Nakashima family for many decades. Whitakers 2006 book and exhibition Crafting a Modern World: the Architecture and Design of Antonin and Nomi Raymond highlighted the designers longtime connection with Japan and Japanese architects and craftspeople from 1917 through 1966. Yokoyama boosted her knowledge of the history of ancient and contemporary Japanese craft by working for hands-on industrial designer Sori Yanagi, a pioneer in modernist Japanese design and the son of Setsu Yanagi, founder of the Mingei movement in Japan.

Shofuso is considered an Utsushi, which Yokoyama described as an homage to spirited inspiration. In Shofuso and Modernism, Utsushis are present everywhere, from the building itself to an ikebana arrangement resembling one at the 1954 MoMA installation to the newly commissioned photography by Elizabeth Felicella. Felicellas photographs, presented through a retro slide projector alongside archival photography by Ezra Stoller, show the current working life of the Raymond Farm and the Nakashima Studio.

Shofuso was always intended to be an exhibition house and not inhabited. Nonetheless, this show has enlivened it with a careful selection of furniture, art, and textiles. Bringing these pieces into Shofusos 15-mat room seemed a natural extension of the shared experiences of the Raymonds, Yoshimura, and Nakashima, Whitaker said. A 1933 Nomi-designed chair with grass rattan covering made for the Akeboshi Tetsuma House in Tokyo is placed next to a standing lamp from the 1950s with a handmade mulberry paper shade, along with a rug bearing a graphic abstraction of a lotus field circa 1935, also by Nomi. Alongside the houses shoin (a built-in desk) by Yoshimura hangs Nomis award-winning textile Strips, Trunks, Trees, Dots from the late 1930s. It was originally exhibited with two of her other fabrics at the 1941 MoMA show Organic Design in Home Furnishings, albeit under her husbands name.

The connection between the Raymonds and their protgs Nakashima and Yoshimura goes back almost 100 years. In 1934, a young George Nakashima from Spokane, Washington, having trained as an architect at the University of Washington, Massachusetts Institute of Technology, and Fontainebleau, joined the architecture office of Antonin Raymond, who, together with Nomi, had established a practice in Tokyo in 1921 after working with Frank Lloyd Wright on the Imperial Hotel. Nakashima would soon learn through the Raymonds work and writings how vernacular and modern elements could sensibly be joined. The Raymonds evolved an approach over 18 years of working in Japan that addressed the complexity of the cultural context, connected with Japans deep craft and making traditionsall the while maintaining a connection to modernisms interest in universal solutions, Whitaker said. An exceptional example is their summer studio in Karuizawa, Japan, built in 1933. Its design drew inspiration from Le Corbusiers Maison Errzuriz in Chile, an unbuilt project from 1930, but merged details particular to Japanese traditional cottages, such as awnings and organic fiber blinds, with modern concrete constructions, such as cantilevered platforms.

Yoshimura, classically trained in Japanese culture and traditions in Tokyo, had joined the Raymonds as a student in 1928 and later as a full-time architectural designer in 1931. Nakashima learned from Yoshimura the sophisticated nature of Japanese architecture as they traveled together through Nara, Hakone, and Ine. Nakashima reminisced in his 1981 autobiography Soul of a Tree, [Yoshimura] knew so well the elegance and power of simplicity, the beauty of proper materials in building, where the error of a fraction of an inch can make the design fail absolutely. He knew these things well in both the time-honored Japanese design and in the free, modern concepts, and he passed them on to me.

Nakashima was exposed to the craftwork of rural families in one of his first projects with the Raymonds, St. Pauls Church, finished in Karuizawa in 1935. Traditional Japanese carpenters (or daiku) made use of as much of a tree as possible, Whitaker explained. Larger sections [were used] for structural elements, secondary structural elements [were made] from midsize elements, and narrow diameters were used for the legs of furnitureall from the same tree. Even bark had a place in certain projects.

In 1938, Nakashima volunteered to work on the first reinforced concrete building in India, a dormitory for the Sri Aurobindo Ashram in Pondicherry that had been commissioned to the Raymond office. Nomi maintained strong and deep interests in the spiritual basis of work, Whitaker said. Her connections to theosophy and other perspectives that explored the universality of human experience led her to an early interest in Aurobindo in the mid-1920s. Nakashima was also driven toward this mystical approach and embedded it in his life and work. To my mind, this is where Georges work as a woodworker beginsbeginning out of the wellspring of spiritual devotion, Whitaker asserted.

The Raymonds eventually moved their practice to the United States and in 1939 settled on an 18th-century farm of Quaker origin in New Hope, Pennsylvania (currently run by their granddaughter Charlotte). Yoshimura joined them for a year until war hostilities steered him back to Japan. Ironically, this was when Nakashima made the reverse move and decided to settle back in Seattle, where he began his woodworking practice. Shortly after, Nakashima and his family faced dehumanizing hatred of their Japanese ancestry and were forced to undergo imprisonment at the Minidoka concentration camp in Idaho. Guards were ordered to shoot whoever got close to the fence, Mira Nakashima, Georges daughter, recalled. Georges learning from skilled carpenters in Karuizawa and his karma yoga, hands-on work in the ashram at Pondicherry would prove fortuitous for this time. At Minidoka, Nakashima met Gentaro Hikogawa, a daiku from whom he learned woodworking. Such an opportunity would have been unthinkable within the stratified society in Japan.

In the exhibit at Shofuso, a contorted bitterbrush sculpture by Nakashima mounted on a cedar base sits atop a low table. Nakashimas use of bitterbrush has always fascinated me, Whitaker said. Something so humble as gathering wood in the midst of the Idaho desert, at a time of great personal distress and the inhumanity of war, cleaning it up to reveal the beauty and complexity of its growth over timeand to find a way to allow people to touch that, in an everyday wayseems magical to me.

Thanks to Nomis persistent requests, Nakashima was released from the camp with his wife, Marion, and his daughter Mira (leaving his parents and siblings behind) to the Raymonds New Hope farm in May 1943 on the condition that he not practice architecture. The Milk House table that supports the bitterbrush sculpture in the exhibition is a prototype Nakashima built in a small building on the farm that he adapted as his workshop. Some of his earliest 1940s pieces in the show, like the Straight Chair prototype, the Windsor-like Arm Chair, and the Grass-Seated Chair he designed for MoMA director Ren dHarnoncourt, have a heaviness and an earthbound quality that a lot of furniture did not have in the 1940s, design historian Derek Ostergard said in a recently premiered documentary directed by John Terry Nakashima.

The legacy of the Raymonds, the Nakashimas, and Yoshimura is genuine and palpable through this insightful showa coming together of friends and longtime art and design enthusiasts. An original film accompanying the show produced by Greenhouse Media and directed by Philadelphia-based artists Nadia Hironaka and Matthew Suib debuted on October 9 and gives even more information about the shows participants.

Natalia Torija Nieto is an architecture and design writer trained in modern art, design, and material culture at Pratt Institute in Brooklyn, New York. She is currently working on a book on the architectural work of George Nakashima.

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Shofuso and Modernism revisits a major mid-century East-West cultural exchange - The Architect's Newspaper

The pictured design from Mary Norris Interiors won in the Outdoor Spaces.

The Interior Design Society (IDS) gathered virtually to honor winners of the 2020 Designer of the Year competition on Oct. 8.

The Designer of the Year competition demonstrates our commitment to recognize the outstanding work of our members nationwide says Jenny Cano, IDS executive director. This year we received a record number of entries, our award-winners consider it a prestigious honor.

The virtual gala, available to view in full at this link, also honored two individuals that received the 2020 Outstanding Leadership Award, Beth Clark of Portland, Ore. and Audrey Clawson of Charlotte, N.C.

The winners of the Designer of the Year competition are:

Space Designs:

Singular Areas:

Specialty Awards

Impact Awards

Adelaide Addie Elliott is the web editor for Casual Living, Furniture Today and Designers Today. Before being promoted to web editor in May 2019, Adelaide worked as Furniture Todays editorial intern for a year. Get in touch with her on Twitter at @AElliott_Writes or by email at aelliott@designerstoday.com.

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Interior Design Society taps Designer of the Year winners in virtual ceremony - http://www.designerstoday.com

Design your passion into the career of your choice!

Were you always the artsy one? The one who (mentally) rearranged every room as soon as you walked into it? The go-to setup committee for every event and celebration?

And then it came time to plan a career. And you dreamed of finding the perfect choice that would allow you to:

Utilize your innate creativity and talents

Work well with your inborn people skills

Hold down a job while completing the coursework

Was that too much to ask for?

ICA, The Institute for Career Advancement, was founded with one overarching goal: that of enabling talented young men and women to fulfill their career dreams at an affordable price, in a timeframe that worked well with the busy lifestyle of todays generation.

The renowned ICA Interior Design Course was created just for you the creative, artistically-inclined soul who wants to channel their inborn gifts so they can profit and live off their talents. This course offers you the ability to turn pro and become a professional interior designer in just 12 months. With separate classes for men and women, and sessions held on evenings or weekends, this course was designed for busy creatives like YOU.

To ensure the very highest standards of education, course instructors are licensed and professional interior designers whose real-life experience in the field brings their lessons to life. The course covers the basics of design style, with an emphasis on aesthetics that doesnt compromise on functionality. Also included are the drafting software and the important technicalities like code compliance and presentation skills, so that you are fully prepared to deal with every job you may encounter.

Why stifle your inner creativity when you channel into a lucrative career? With an over 85% job placement success rate, and a number of graduates who opened their own interior design firms upon completing the course, the ICA Interior Design Course is the option of choice for aspiring interior designers.

Design your passions so that they form the groundwork for your future career success!

Next cohort begins October 25 20. THIS may be YOUR opportunity.

Call 718-506-0912 to register or to learn more.

Read more:
Design your passion into the career of your choice! - Yeshiva World News

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Instruction

Read more here:
Port of Portland shares first look of new main terminal design on PDX's 80th anniversary - KPTV.com