Mint green-painted ironwork and tiles connect the indoors to the outside more fluidly.

The Max-A studio is also built with a pine frame, though it has pine panelling on the ceiling, while the main house ceiling is painted a warm white.

Van Dusen began making her own clothing as a teenager after convincing her mom to buy a sewing machine she'd use to reconstruct her closet full of thrift store garments. Color was her primary muse, often favoring bright hues in unexpected combinations and graphic patterns. What she couldn't find, she created, albeit inefficiently — the only way she knew how — by assembling her own printed textiles, one element at a time.

The office houses the letter “U" as well as cameras.

Finlayson's fun tiger motif is also available as a rug.

The Skagen Settle. "This piece is a combination of two ideas around our need for a timber-framed armchair," Pedersen says. "There is an old Cape-style settle at James' family farm on the West Coast which resonated with furniture from my own family heritage from Skagen, a seaside village in Denmark. The result is a piece which references both of these places for us and has a distinct mix of our forefathers and their approach to furniture."

Wood decking extends out to the yard.

“The layout and openings allow ample flow to the exterior, and paths and decks have been developed to ‘flatten’ the sloping site enough to create generous outdoor gathering areas,” Herrin says. “These areas take into account sunlight at different times of day as well as protection from prevailing wind,” he adds. One-by-six-foot ipe planks comprise the decking, and hemlock end grain by the Oregon Lumber Company was installed indoors.

Amending Meeuwissen’s early request for an open bathroom space, the architects devised a more private chamber with an overhead skylight and walls in stone tile from Intercodam Tegels.

After - living room (Rubio monocoat floors, Chantilly lace walls, used fireplace)

On the hill behind the house, a wind-powered well brings water from a 150-foot-deep hole to the surface. That water then flows to the home as needed with gravity's helping hand.

The workstation and the cabinets are by Korben Mathis Woodworking; the desk lamp is from TaoTronics.

In addition to the aforementioned designers, catch work from artisan textiles and apparel studio Small Trade Company; textile artist Llane Alexis; handwoven apparel and textile maker Voices of Industry; and jewelry maker Liz Oppenheim. "It's a very diverse group, which we like," Chiang says. "What unifies the participants is a deep relationship with both design and material. Great craft is not complete without design."

99 by Von Tundra and Lydia Cambron $13,000 Oregon-based Von Tundra’s unit combines three different storage options—a rack, drawers, and boxes—into a multipurpose dresser.

A lofted drawing studio features a sawtooth roof with expansive skylights that frame the branches of a jacaranda tree overhead.

A workspace, bedroom, and bath comprise each of the two studios; an early riser, Lida spends most of the day painting in her space.

A garage full of cupboards can’t contain Orpilla’s toolkit.

Although Foscarini had originally estimated a production run of 2,000 Aplomb pendants per year, Crea now produces some 2,000 per month, making it one of Foscarini’s top-selling products. The fixture, which is available in six colors, including natural gray, retails starting at about $700.

Zee standing in front of her new 8 ft x 8 foot piece.

A workspace within Wenes's Antwerp house and gallery features splashes of color.

While there is "a lot of stuff around," the busy, "cluttered" studio doesn't feel sloppy. It's like a very colorful bomb went off but everything landed in a perfectly logical place.

There's a sense of organization amidst the madness. A collection of scissors hang from nails hammered into a shelf packed with books seemingly arranged in no particular order — that is, until Van Dusen hardly glances when she pulls one, The Penguin Dictionary of Curious and Interesting Geometry, within seconds of referencing it.

Inspiration crowds Alexander’s studio desk.

The catwalk running above the studio is aptly named for the household: Farley’s felines patrol their owners’ activity from this overhead perch.

Owen and Clara prepare proofs at their screenprinting station. Clara assumes the role of the chromist, separating images into individual colors and preserving the artist’s intent in the process. As printmaker, Owen physically passes the ink through the screen, one color at a time, taking great care that they are correctly registered to the overall composition.

6. Release the Pendant: Mamadou removes the pendant, using a special clamp and tapping the edges of the form with a hammer to help release the cast. It is then left to set for 7 to 12 days, depending on temperature and humidity.

10. Add the Protective Coating: Giovanni’s son Carlo Piccinelli dips the nearly finished pendant in a protective coating that repels stains and fingerprints. The Aplomb is then sent to an assembly factory in Pordenone, Italy, where it is wired.

In his detached painting studio, Dunlop considers a work in progress. The building is oriented east-west to avoid direct sunlight, and the long, narrow shape enables the artist to get some distance from his paintings as he works. An oversize front door and angled ceiling accommodate extra-large canvases; the plywood walls and floor can ably endure a beating, or, as is more likely, stray splashes of paint.

2. Prepare the Mold: Ndiaye Mamadou wipes the inside of the mold with oil—a release agent—and then seals it with several metal pins that clamp the mold in place.

The heart of Numeroventi is the artist residency.