Collection by Karen Gearhart-Jensen
The 12-foot kitchen island in polished Carrara marble has a waterfall edge and an integrated apron sink made from the same stone slab.
The 12-foot kitchen island in polished Carrara marble has a waterfall edge and an integrated apron sink made from the same stone slab.
Floating brass shelves fabricated by local sculptor Gilad Ben-Artzi contrast the steel wall.
Floating brass shelves fabricated by local sculptor Gilad Ben-Artzi contrast the steel wall.
The second-floor bathroom's colorful Tex tiles from Mutina sport an array of different textures for a unique tactile experience.
The second-floor bathroom's colorful Tex tiles from Mutina sport an array of different textures for a unique tactile experience.
The appliances have been installed, and the
The appliances have been installed, and the
The contrast between bright colors of petal-like pattern on the Lune curtain by Pia Holm for Almedahls was quite stunning. The fabric was slightly transparent, allowing some light to shine through. This design was part of the new "Plant a Seed of Form and Function" collection, which gleans inspiration from botanical silhouettes (and modernist cliche sayings, apparently). While the company indicates that this is meant for public settings, I think it would suit residential applications just fine.
The contrast between bright colors of petal-like pattern on the Lune curtain by Pia Holm for Almedahls was quite stunning. The fabric was slightly transparent, allowing some light to shine through. This design was part of the new "Plant a Seed of Form and Function" collection, which gleans inspiration from botanical silhouettes (and modernist cliche sayings, apparently). While the company indicates that this is meant for public settings, I think it would suit residential applications just fine.
"My travels through Spain, Portugal, and Mexico combined with my love of Morocco and studies of Islamic geometric art were the inspirations behind my patterns," says Schatz. The Alcala design, shown here, is made from combinations of natural marbles just like the rest of his works.
"My travels through Spain, Portugal, and Mexico combined with my love of Morocco and studies of Islamic geometric art were the inspirations behind my patterns," says Schatz. The Alcala design, shown here, is made from combinations of natural marbles just like the rest of his works.
We featured this pattern in our makeover of a small space on The Nate Berkus Show this past October.
We featured this pattern in our makeover of a small space on The Nate Berkus Show this past October.
Textile or wallpaper design. Lindsay P. Butterfield. Watercolor and pencil. UK, 1903 (V&A: E.749-1974). From V&A Pattern Series II: Garden Florals published by V&A Publishing and Abrams Books.
Textile or wallpaper design. Lindsay P. Butterfield. Watercolor and pencil. UK, 1903 (V&A: E.749-1974). From V&A Pattern Series II: Garden Florals published by V&A Publishing and Abrams Books.
Though this colorful pattern, named Lappuliisa, was designed this year by artist Maija Louekari, we'd bet it's one that's here to stay. Louekari was inspired by her grandmother's vintage crocheted potholders.
Though this colorful pattern, named Lappuliisa, was designed this year by artist Maija Louekari, we'd bet it's one that's here to stay. Louekari was inspired by her grandmother's vintage crocheted potholders.
In 1956, Alexander Girard was commissioned by Georg Jensen to design seven table settings for an exhibition in New York. The Millers used the Carolus Magnus pattern at their house in Columbus, Indiana. The motifs in these four porcelain plates represent the Pinwheel, Patera 1, Patera 2, and Hexagon designs.
In 1956, Alexander Girard was commissioned by Georg Jensen to design seven table settings for an exhibition in New York. The Millers used the Carolus Magnus pattern at their house in Columbus, Indiana. The motifs in these four porcelain plates represent the Pinwheel, Patera 1, Patera 2, and Hexagon designs.
Doll's House, furnishing fabric. Tootal, Boradhurst, Lee & Co. Printed cotton. UK, 1930 (V&A: T.438-1934). From V&A Pattern Series II: Novelty Patterns published by V&A Publishing and Abrams Books.
Doll's House, furnishing fabric. Tootal, Boradhurst, Lee & Co. Printed cotton. UK, 1930 (V&A: T.438-1934). From V&A Pattern Series II: Novelty Patterns published by V&A Publishing and Abrams Books.
JOONAS
JOONAS
This boldly colored and patterned rug stood out from the more traditional color combinations in the show.
This boldly colored and patterned rug stood out from the more traditional color combinations in the show.
Matelot, dress fabric. Calico Printers' Association. Roller-printed cotton. UK, 1934 (V&A: T.244-1987). From V&A Pattern Series II: Novelty Patterns published by V&A Publishing and Abrams Books.
Matelot, dress fabric. Calico Printers' Association. Roller-printed cotton. UK, 1934 (V&A: T.244-1987). From V&A Pattern Series II: Novelty Patterns published by V&A Publishing and Abrams Books.
Set of two kitchen tea towels, radish pattern, by Lotta Kühlhorn, Available at fromSthlm.com
Set of two kitchen tea towels, radish pattern, by Lotta Kühlhorn, Available at fromSthlm.com
Monochromatic Cloudy pattern.
Monochromatic Cloudy pattern.
A closer look.
A closer look.
Lappuliisa

Created in 2010 by designer Maija Louekari, Lappuliisa is but one of Louekari's many designs. In her other patterns, she often expresses a focus on urban and rural landscapes. "When I began an Marimekko, I knew very little about textile printing. I've learned a lot from the people at Marimekko's artwork studio over the years—especially what you can and can't do with textile print design," she says. It was when she was learning to use the technique of overlapping colors to create new shades that she developed Lappuliisa. "The design came to me after seeing old pot holders at flea markets," she recalls. "Traditional potholders can be incredibly colorful as people used leftover yarn to knit or crochet them."
Lappuliisa Created in 2010 by designer Maija Louekari, Lappuliisa is but one of Louekari's many designs. In her other patterns, she often expresses a focus on urban and rural landscapes. "When I began an Marimekko, I knew very little about textile printing. I've learned a lot from the people at Marimekko's artwork studio over the years—especially what you can and can't do with textile print design," she says. It was when she was learning to use the technique of overlapping colors to create new shades that she developed Lappuliisa. "The design came to me after seeing old pot holders at flea markets," she recalls. "Traditional potholders can be incredibly colorful as people used leftover yarn to knit or crochet them."

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