...to establish an elegant alternative for urban dwellers. Made up of 23 luxurious town homes and flats, the development has the familiar feeling of tradition with modern-day conveniences.

(The) magazine called on renowned Atlanta interior designer Dan Carithers to oversee the home's interiors. A walk through the home is a visual feast of design finery, with everything from floors to ceiling provided by vendors like Stone Age Designs and Hickory Chair. Carithers' own furniture line by Sherrill Furniture is on display throughout the home

• Fabric, fabric, fabric: Carithers uses repetition of fabrics on linens, upholstery and walls.
• Seats for all sizes: Little ones like luxury, too. Throughout the home, child-size chairs were sprinkled among traditionally sized pieces.
• Button-tuft this: Carithers' use of button-tufted pieces gives the home an instant dose of comfort and glamour.

i’m a sucker for a zig zag line (i’m always lusting after a full-sized version of this rug) and these new towels at williams sonoma home are calling me. i really love the persimmon/pumpkin combination (very fall) but the blues are perfectly summery as well. click here to check them out ($36 each).

ps: penelope green at the nytimes wrote a great article/at home with piece with faythe levine of handmade nation. it’s always inspiring to read about people like faythe in big mainstream news. click here to check it out.

 
for the past few weeks we’ve been exploring the major design hubs in australia. but as with anywhere, there are those incredibly talented artists and designers who are able to make a name for themselves from off the beaten track. today’s final regional roundup: australia covers everywhere in between. and while these features have been focusing on the contemporary design scene, aboriginal art - a history that covers 40,000 years - continues to make it’s mark on australia, and is something i still hope to explore (talk about patterns! . . . luckily, one of the best collections is at the kluge-ruhe aboriginal art collection at my beloved university of virginia, of all places). but that’s the beauty of these roundups - they’re a starting point to discover a place, begin a conversation and in a world that is constantly changing and each can be revisited. it’s been nearly three months since i started on this piece - which features over 40 designers - and it’s still only brushing the surface. so please continue the dialogue in the comments, sharing your new discoveries, favorite aussie designers, inspiration and observations. in case you missed any, you can find all the posts here. and to view this full post (and many more designers) just click here. [an incredible thank you to everyone who participated!!!] -anne

[aboriginal painting by roslyn ann kemp, above]

Magic Jelly

1. Where are you from? Where do you live now? 
Born & bred right here in Adelaide, South Australia.

2. Describe your work 
Most important to me is to communicate & connect.  I’ve just started a project called The Paper Chase, trading art for paper, it’s all about collaboration & communication.  I try to make my work as accessible as possible.  I like to use low-tech equipment (Gocco for instance) & commonplace materials, & to lavish care & attention on the forgotten, overlooked & discarded.  I tend to work on a small scale, firstly, because I’m a finicky fuss-budget obsessed with detail, but also because I want my work to be intimate & personal rather than to shout at you from across the room.  I hope a little bit of wit & levity creeps in there somewhere too.

3. How is your work influenced by where you live?
I often trawl the local secondhand markets for bits & pieces to use in my work, & take lots of photos, particularly of signage & architecture.  In fact, I’m combining my interest in architecture & ephemera at the moment by building a house out of paper, loosely based on a lovely row of late-Victorian terrace houses on the seafront near where I live.

4. Where do you go in Australia when you want to feel inspired? 
Anywhere that’s out of the house!  Every spring I start feeling restless & want to take a trip to Sydney.

5. How would you describe the Australian design scene? 
I really can’t say as I don’t feel that I’m a part of it - I’m a total hermit!  It’s a small market, that’s for sure - especially in Adelaide - & I tend to sell more internationally & do more commissions for overseas clients.  I think the Australian scene is growing though.

6. If you could go anywhere where would you go? 
I’m planning a visit to the US in a few months’ time to take a road trip along the West Coast.  Now, if you have a time machine handy, where I’d really like to go is back to the mid-20th century so I can go wild amassing huge quantities of ephemera & toys, & taking lots of photos.

Click here for more work by Karena and visit the Magic Jelly Etsy shop here.

Bison Home

1. Where are you from? Where do you live now?
I am From Grenfell NSW (population 2000 ). My family came on the Sirius…the first Fleet of White Settlers/Convicts who came to Australia in 1788. I currently live in Canberra and my studio is in a rural location (Pialligo) surrounded by plant nurseries and vineyards.

2. Describe your work
My work…best described as a ceramics designer. I am drawn to simple, classic forms and I produce a large range (140 profiles and 30 colours) of dinnerware and decorator pieces. I’m a former archaeologist and ancient historian who became tired of excavating broken pots in Syria … so I taught myself how to make them instead! We create forms which reflect the relationship between beauty…and practicality. I am fortunate to have a wonderful team of craftspeople who support me in crafting our Fine Australian Stoneware Collections.

3. How is your work influenced by where you live?
As a person who was training to be an academic… I was captivated by the evolution of design in Classical History…and the amazingly poignant social contexts behind ceramic vessels. To unearth a piece of pottery…over 2000 years old with a fingerprint in it sends chills up your spine. I also went to School in Malmo Sweden and the colours and subtlety of Scandinavian seasons and design…obviously filter through my palette and shapes.

4. Where do you go in Australia when you want to feel inspired?
I absolutely love The Great Ocean Road in Victoria. Crusing along the stark coastline in a car or just spending time at our family Beachhouse near Portsea. Simple, unpretentious…and better still…uncomplicated.

5. How would you describe the Australian design scene?
Australia is changing rapidly in terms of global visibility and credibility. I always find it ironic though that within our own country people find it hard to conceptualize that viable design and manufacture can occur outside of Sydney and Melbourne. People look somewhat bemused when you tell them your studio is in Canberra (Our capital is better known for the Greenhouse gasses which come out of the Parliament Buildings!) That being said I see numerous whimsical and elegant works from talented artists/designers emerging…particularly working with textiles.

6. If you could go anywhere where would you go? If I could travel anywhere and spend time it would be south America…Belize in particular. The fusion of Jungle (with panthers) Mayan Pyramids and Amish/Mennonite settlers….sounds so disparate you’d have to get inspiration!

Click here for more from Bison Home.

CLICK HERE FOR THE REST OF THE POST

today’s in the kitchen with is a special recipe that i was lucky enough to have land in my inbox this week. brooklyn based food photographer jessika creedon sent over these gorgeous photographs of a picnic she attended in prospect park and i was blown away by the special presentation of the food. rather than using plates or napkins, the hosts decided to use natural “containers” like lemons and avocados. top that off with jessika’s incredible photos and i was sold. so today the group behind the special picnic, sidedish, was kind enough to share one of their delicious picnic recipes with us- a summery chilled avocado soup. i could live off of avocados so this is one that’s definitely going into my regular repertoire. i just wanted to thank jessika (whose website can be viewed right here, and her flickr page right here) for sharing these photos, and to sidedish for sharing this incredible (and incredibly easy to make) recipe. CLICK HERE for the full recipe (and more photos from the picnic) or just click “read more” below.

about sidedish: sidedish is an ongoing experiment in staging uniquely engaging food experiences. at sidedish events, a rotating list of diners enjoys a full five course meal with an unrepeated, custom-made menu. sidedish dinners pivot around food, but go much farther, with each event exploring a particular theme. renee baumann and keren weiner, two alumni from the french culinary institute, are the heads and hands behind sidedish (with much organizational assistance from andrea montejo). photos and past menus from sidedish events can be seen at sidedish’s facebook page right here.

{foglie iron bed by tuscan hills}

{the cocoon hammock, by henry hall designs}

maybe i'll just go for both? :o) which would you choose?
hope you have a rejuvenating weekend!

Hall: starburst pendant from Vaughan, area rug from The Rug Company, barstools from McGuire

So when I was flipping through the latest California Homes magazine, I had one of those very moments. The funny thing is, I was just thinking about finding some photos by this very person to put in a post. And there she was, in print, right in front of me!

Kitchen: lava stone table from Sue Fisher King, chairs from McGuire, pendants from Vaughan

Master Bedroom: lamp from Visual Comfort, nightstand from De Sousa Hughes, pillow fabric from Fortuny.

As you can see from these photos by the oh-so-talented David Duncan Livingston, Eugenia has quite a knack for putting it all together. From the Master Bedroom window of this Belvedere, CA house, there is a spectacular view of the San Francisco Bay. Kind of a nice location for a whole house remodel I think!

Guest Bedroom: Headboard fabric from Waverly, side table from Ironies, Plaid fabric from Osborne and Little, Italian Etching from Coup d'Etat in San Francisco

Do you ever happen upon people you once knew in the media? And if so, do you get a bit of a thrill when learning about their accomplishments? I usually end up having a private smile and thinking: "that's so cool!". I am thinking perhaps a note is in order!

Congratulations Eugenia! I am always happy to see you in print!

I've recently become enamored with a designer whose work is no longer featured on the pages of shelter magazines. I read or hear very little about him these days, which probably adds to the mystique. I'm sure many of you are familiar with this designer, although to me his work is quite new. (Back in his heyday in the 1980s and 90s, I was preoccupied with homework and school activities, preventing me from focusing too terribly much on the design world.) Of course, the fact that he died almost 13 years ago is part of the reason why this designer's work is no longer at the forefront of our design consciousness, and it's really a shame because this designer- Richard Lowell Neas- created rooms that were stylish, sophisticated, beautiful, elegant, and timeless.

I first became familiar with Neas' name when I found out that he was responsible for Brunschwig & Fils' "Bibliothèque" wallpaper- one of my all-time favorite wallpaper designs. As Neas was an accomplished muralist and trompe l'oeil artist, it's no surprise that he would design such a charming print. Then I learned that Neas gradually made his way into a career as a decorator. And what decorating he did!

I've tried to collect a few images of his work, and in some ways it surprises me that I'm so taken with these very traditional rooms. While I am a traditionalist at heart, I do like to mix in some modern pieces- it's a bit like a design checks and balances system. I think that what has drawn me to his work is the fact that Neas created rooms that were completely livable. His New York projects seem to capture the spark that is so evocative of that city: urbane, sophisticated, and cosmopolitan. Yet there's nothing cold or stiff about these rooms. Neas imbued his projects with a softness and warmth that was so inviting. Perhaps it was the collection of unique and striking furniture and objets. Or maybe it was the mix of prints and patterns that was so pleasing to the eye. I actually believe it was a combination of all of the above.

I think Neas described the success of his rooms perfectly when he quoted his friend Annette de la Renta, "some of the most wonderful rooms are ones that seem as though all the objects were inherited from relatives with different styles and tastes- yet everything fits together magically." And this, to me, is the magic formula- and one that makes Neas' work so appealing.


An image of Neas' tiny Manhattan apartment. Note the trompe l'oeil swagged curtain at the top of the mirror. I just love this room.




Two photos of a Manhattan apartment that Neas designed around 1990.




I believe this dining room and bedroom were part of Neas' home in Charente, France. Neas certainly created environments that were appropriate for their surroundings.


A close-up shot of the "Bibliothèque" wallpaper.


Nina Campbell used "Bibliothèque" in her home.

Image at top: Richard Lowell Neas with a chicken at his home in France. (This image and those of his French home courtesy of House Beautiful, 2001. Images of the Manhattan project from HG, September 1990.)

Neas/de la Renta quote from the New York Times, "Home Design; Objects of Much Affection" by Carol Vogel, October 21, 1984.