SubscribeSign In
The owners of this home selected a geometric-patterned glass tile backsplash by Island Stone. The glass tile keeps the space bright, and the pattern adds interest.
The owners of this home selected a geometric-patterned glass tile backsplash by Island Stone. The glass tile keeps the space bright, and the pattern adds interest.
A peek inside the master bedroom, with touches of marigold yellow throughout.
A peek inside the master bedroom, with touches of marigold yellow throughout.
Pierrot, dress fabric. Calico Printers' Association. Printed cotton. UK, 1937 (V&A: T.267-1987). From V&A Pattern Series II: Novelty Patterns published by V&A Publishing and Abrams Books.
Pierrot, dress fabric. Calico Printers' Association. Printed cotton. UK, 1937 (V&A: T.267-1987). From V&A Pattern Series II: Novelty Patterns published by V&A Publishing and Abrams Books.
Benedetta's son's bedroom, which is on the second floor of the villa. The bed is her own design.
Benedetta's son's bedroom, which is on the second floor of the villa. The bed is her own design.
Master Bath Casale and Crofton’s bedroom is configured as a casual open suite, with a sliding aluminum screen as the only barrier separating an adjacent bathroom and walk-in closet. The screen’s dappled, lacelike pattern was designed by Fiyel Levent, a local artist and architect. Bischoff handed her design to a metalworker, who then carved it into aluminum with a digital laser cutter. It runs on a track in front of a partial wall covered in wallpaper by Neisha Crosland. The vanity, designed and built in the MADE studio, sits atop the legs from an antique refrigerator that Bischoff and his team found in a junkyard. Calacatta mosaic tile, another MADE leftover, lines the floor of the shower (not shown). The firm had a limited surplus, so the amount of tile available dictated the shower stall’s footprint. “We have a keen understanding of the challenges presented by integrating the new with the existing,” Bischoff says of his approach. “We took this blank canvas and tailored it to the needs that Dawn and Dave had for their home. The result is fresh and unique but retains the patina of the many parts from which it was made.”
Master Bath Casale and Crofton’s bedroom is configured as a casual open suite, with a sliding aluminum screen as the only barrier separating an adjacent bathroom and walk-in closet. The screen’s dappled, lacelike pattern was designed by Fiyel Levent, a local artist and architect. Bischoff handed her design to a metalworker, who then carved it into aluminum with a digital laser cutter. It runs on a track in front of a partial wall covered in wallpaper by Neisha Crosland. The vanity, designed and built in the MADE studio, sits atop the legs from an antique refrigerator that Bischoff and his team found in a junkyard. Calacatta mosaic tile, another MADE leftover, lines the floor of the shower (not shown). The firm had a limited surplus, so the amount of tile available dictated the shower stall’s footprint. “We have a keen understanding of the challenges presented by integrating the new with the existing,” Bischoff says of his approach. “We took this blank canvas and tailored it to the needs that Dawn and Dave had for their home. The result is fresh and unique but retains the patina of the many parts from which it was made.”
Wallpaper. Owen Jones. Block-printed paper. UK, c. 1860 (V&A: 8337). From V&A Pattern Series II: Owen Jones published by V&A Publishing and Abrams Books.
Wallpaper. Owen Jones. Block-printed paper. UK, c. 1860 (V&A: 8337). From V&A Pattern Series II: Owen Jones published by V&A Publishing and Abrams Books.
Wallpaper. Owen Jones. Block-printed paper. UK, c. 1860 (V&A: 8337). From V&A Pattern Series II: Owen Jones published by V&A Publishing and Abrams Books.
Wallpaper. Owen Jones. Block-printed paper. UK, c. 1860 (V&A: 8337). From V&A Pattern Series II: Owen Jones 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.
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.
A patterned steel frame serves as a front wall to the street, allowing for light and noise to penetrate the interior. The owners were adamant about the importance of integrating the culture and traditions of Saigon into their home, hoping their children would grow up with a knowledge of and appreciation for the city.
A patterned steel frame serves as a front wall to the street, allowing for light and noise to penetrate the interior. The owners were adamant about the importance of integrating the culture and traditions of Saigon into their home, hoping their children would grow up with a knowledge of and appreciation for the city.
Marimekko's iconic Unikko pattern celebrates its 50th anniversary this year.
Marimekko's iconic Unikko pattern celebrates its 50th anniversary this year.
Wallpaper. Owen Jones. Block-printed paper. UK, c. 1860 (V&A: 8337). From V&A Pattern Series II: Owen Jones published by V&A Publishing and Abrams Books.
Wallpaper. Owen Jones. Block-printed paper. UK, c. 1860 (V&A: 8337). From V&A Pattern Series II: Owen Jones published by V&A Publishing and Abrams Books.
Under kimono, figured twill silk with printed decoration. Japan, 1940-50 (V&A: FE.14-1987). From V&A Pattern Series II: Kimono published by V&A Publishing and Abrams Books.
Under kimono, figured twill silk with printed decoration. Japan, 1940-50 (V&A: FE.14-1987). From V&A Pattern Series II: Kimono published by V&A Publishing and Abrams Books.
Wallpaper. Owen Jones. Block-printed paper. UK, c. 1860 (V&A: 8337). From V&A Pattern Series II: Owen Jones published by V&A Publishing and Abrams Books.
Wallpaper. Owen Jones. Block-printed paper. UK, c. 1860 (V&A: 8337). From V&A Pattern Series II: Owen Jones published by V&A Publishing and Abrams Books.
Kimono, monochrome figured satin silk with stenciled and embroidered decoration. Japan, 1750-1800 (V&A: FE.8-1987). From V&A Pattern Series II: Kimono published by V&A Publishing and Abrams Books.
Kimono, monochrome figured satin silk with stenciled and embroidered decoration. Japan, 1750-1800 (V&A: FE.8-1987). From V&A Pattern Series II: Kimono 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.
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.
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.
Outer kimono, monochrome figured satin silk with tie-dyed and embroidered decoration. Japan, 1800-30 (V&A: FE.28-1984). From V&A Pattern Series II: Kimono published by V&A Publishing and Abrams Books.
Outer kimono, monochrome figured satin silk with tie-dyed and embroidered decoration. Japan, 1800-30 (V&A: FE.28-1984). From V&A Pattern Series II: Kimono published by V&A Publishing and Abrams Books.
Child's kimono, plain weave bast fiber with stenciled decoration. Okinawa, Ryukyu Islands, 1870-1910 (V&A: T.19-1963). From V&A Pattern Series II: Kimono published by V&A Publishing and Abrams Books.
Child's kimono, plain weave bast fiber with stenciled decoration. Okinawa, Ryukyu Islands, 1870-1910 (V&A: T.19-1963). From V&A Pattern Series II: Kimono published by V&A Publishing and Abrams Books.
“I’ve been designing products I could reproduce over and over,” Martin says. “I just wanted to create a simple series about the essence of creating, where there would be limited ownership for people.”
“I’ve been designing products I could reproduce over and over,” Martin says. “I just wanted to create a simple series about the essence of creating, where there would be limited ownership for people.”
Designer Jeff Martin
Designer Jeff Martin
“What I do is more reliant on the material, in a sense,” says Martin. “So the idea of experimentation, of manipulating the radius into a series of different shape and eliminating the material influence, was appealing.”
“What I do is more reliant on the material, in a sense,” says Martin. “So the idea of experimentation, of manipulating the radius into a series of different shape and eliminating the material influence, was appealing.”
The trio of oblique end tables, made of lacquered maple or walnut, come from playing around with shapes. So far, Martin has made a set of artists proofs, which will be cast in bronze and released in a limited edition of ten sets. He plans to experiment with finishes and play with the patina of a few pieces, but the oblique curves will remain.
The trio of oblique end tables, made of lacquered maple or walnut, come from playing around with shapes. So far, Martin has made a set of artists proofs, which will be cast in bronze and released in a limited edition of ten sets. He plans to experiment with finishes and play with the patina of a few pieces, but the oblique curves will remain.
Vancouver-based furniture maker Jeff Martin's new Radius series -- three abstract, Pop Art tables with a childlike geometric logic -- is a big departure.
Vancouver-based furniture maker Jeff Martin's new Radius series -- three abstract, Pop Art tables with a childlike geometric logic -- is a big departure.
April, dress fabric. Clayton Knight/Stehli Silks Corporation. Crêpe de Chine. USA, 1927 (V&A: T.87N-1930). From V&A Pattern Series II: Novelty Patterns published by V&A Publishing and Abrams Books.
April, dress fabric. Clayton Knight/Stehli Silks Corporation. Crêpe de Chine. USA, 1927 (V&A: T.87N-1930). From V&A Pattern Series II: Novelty Patterns published by V&A Publishing and Abrams Books.
Outer kimono, monochrome figured satin silk with tie-dyed and embroidered decoration. Japan, 1800-30 (V&A: FE.28-1984). From V&A Pattern Series II: Kimono published by V&A Publishing and Abrams Books.
Outer kimono, monochrome figured satin silk with tie-dyed and embroidered decoration. Japan, 1800-30 (V&A: FE.28-1984). From V&A Pattern Series II: Kimono published by V&A Publishing and Abrams Books.
Map of Paris, dress fabric. Ralph Barton/Stehli Silks Corporation. Crêpe de Chine. USA, 1927 (V&A: T.87I-1930). From V&A Pattern Series II: Novelty Patterns published by V&A Publishing and Abrams Books.
Map of Paris, dress fabric. Ralph Barton/Stehli Silks Corporation. Crêpe de Chine. USA, 1927 (V&A: T.87I-1930). From V&A Pattern Series II: Novelty Patterns published by V&A Publishing and Abrams Books.
In the Spotlight“I’m a huge proponent of lighting as architecture,” says Nix, who suggests illuminating objects instead of empty space. “Light on an object creates ambiance.” In their apartment, they’ve trained track lights from the Polish company LightArt on the Cube, as well as on the handmade cabinetry. The fixtures, which Novak-Zemplinski describes as “good quality and inexpensive in comparison to more well-known brands,” are also installed at the MoMA in New York. lightart.pl Practical DecorationOne of the secrets to living neatly in a small apartment, says Nix, is lots of storage space. To that end, the couple built big cabinets along the walls. To create a sense of visual unity throughout the eclectic but compact space, the couple hand-carved the tree pattern from the kitchen into these cabinet doors (from a template) using an electric router. It’s more than ornament: The cutouts eliminate the need for jutting cabinet pulls. biolinia.com
In the Spotlight“I’m a huge proponent of lighting as architecture,” says Nix, who suggests illuminating objects instead of empty space. “Light on an object creates ambiance.” In their apartment, they’ve trained track lights from the Polish company LightArt on the Cube, as well as on the handmade cabinetry. The fixtures, which Novak-Zemplinski describes as “good quality and inexpensive in comparison to more well-known brands,” are also installed at the MoMA in New York. lightart.pl Practical DecorationOne of the secrets to living neatly in a small apartment, says Nix, is lots of storage space. To that end, the couple built big cabinets along the walls. To create a sense of visual unity throughout the eclectic but compact space, the couple hand-carved the tree pattern from the kitchen into these cabinet doors (from a template) using an electric router. It’s more than ornament: The cutouts eliminate the need for jutting cabinet pulls. biolinia.com
Gentlemen Prefer Blondes, dress fabric. Ralph Barton/Stehli Silks Corporation. Crêpe de Chine. USA, 1927 (V&A: T.87L-1930). From V&A Pattern Series II: Novelty Patterns published by V&A Publishing and Abrams Books.
Gentlemen Prefer Blondes, dress fabric. Ralph Barton/Stehli Silks Corporation. Crêpe de Chine. USA, 1927 (V&A: T.87L-1930). From V&A Pattern Series II: Novelty Patterns published by V&A Publishing and Abrams Books.
In the kitchen, the showstopping ceiling’s herringbone pattern is echoed by the terra-cotta tiles on the floor. Architect Michael O’Sullivan, who designed the steel-and-glass kitchen cabinets, the table, and the pendant lights (made by Lava Glass), further amped up the richness of the room by specifying an onyx kitchen island. Interior designer Yvette Jay, a collaborator and classmate of O’Sullivan, kept her material palette “tight and limited. I had to restrict myself so that everything here ties in with the architecture.”
In the kitchen, the showstopping ceiling’s herringbone pattern is echoed by the terra-cotta tiles on the floor. Architect Michael O’Sullivan, who designed the steel-and-glass kitchen cabinets, the table, and the pendant lights (made by Lava Glass), further amped up the richness of the room by specifying an onyx kitchen island. Interior designer Yvette Jay, a collaborator and classmate of O’Sullivan, kept her material palette “tight and limited. I had to restrict myself so that everything here ties in with the architecture.”
The LV Series homes by Chilean-American designer Rocio Romero are simple, modern, and environmentally conscious. These homes are meant to connect their owners to the outdoors through steel load-bearing posts that create large openings for glass windows. Specific designs can be tailored to the location and lifestyle of the customers. Although flat-packed and easily shipped, the LV series requires a contractor for construction.
The LV Series homes by Chilean-American designer Rocio Romero are simple, modern, and environmentally conscious. These homes are meant to connect their owners to the outdoors through steel load-bearing posts that create large openings for glass windows. Specific designs can be tailored to the location and lifestyle of the customers. Although flat-packed and easily shipped, the LV series requires a contractor for construction.
Pro and Con(crete) For Whitlock, using concrete for the first floor was an inexpensive alternative to stone, wood, or tile. “I just poured the foundation and it gave me my finished floor,” Whitlock says. “Way simpler!”
Pro and Con(crete) For Whitlock, using concrete for the first floor was an inexpensive alternative to stone, wood, or tile. “I just poured the foundation and it gave me my finished floor,” Whitlock says. “Way simpler!”
Green Waves, kimono. Moriguchi Kunihiko. Plain weave silk with freehand paste-resist decoration. Kyoto, Japan, 1973 (V&A: FE.420-1992). From V&A Pattern Series II: Kimono published by V&A Publishing and Abrams Books.
Green Waves, kimono. Moriguchi Kunihiko. Plain weave silk with freehand paste-resist decoration. Kyoto, Japan, 1973 (V&A: FE.420-1992). From V&A Pattern Series II: Kimono published by V&A Publishing and Abrams Books.
From Greek chapter in The Grammar of Ornament, plate 57. Owen Jones. Lithograph. UK, 1856 (V&A: 49.G.53). From V&A Pattern Series II: Owen Jones published by V&A Publishing and Abrams Books.
From Greek chapter in The Grammar of Ornament, plate 57. Owen Jones. Lithograph. UK, 1856 (V&A: 49.G.53). From V&A Pattern Series II: Owen Jones published by V&A Publishing and Abrams Books.
As for the interior detailing, “In contemporary construction you have a layered approach to materials. Everything is on top of something else. We tried to avoid that.” Indeed, the house’s materials are few and hardy: polished concrete, maple, and Douglas fir, and white walls with a few bold accents of green and blue.
As for the interior detailing, “In contemporary construction you have a layered approach to materials. Everything is on top of something else. We tried to avoid that.” Indeed, the house’s materials are few and hardy: polished concrete, maple, and Douglas fir, and white walls with a few bold accents of green and blue.
From Plans, Elevations, Sections and Details of the Alhambra, plate 29. Owen Jones. Lithograph. UK, 1845 (V&A: 110.P.37). From V&A Pattern Series II: Owen Jones published by V&A Publishing and Abrams Books.
From Plans, Elevations, Sections and Details of the Alhambra, plate 29. Owen Jones. Lithograph. UK, 1845 (V&A: 110.P.37). From V&A Pattern Series II: Owen Jones published by V&A Publishing and Abrams Books.
A series of classic cameras.
A series of classic cameras.

5,568 more photos