Made with a satin base weave, the Fourtis textile features a two-color construction and a black warp that works best for an earthy palette.
Author: Lila Allen
Studio INI's Urban Imprint installation at the A/D/O design center will invite visitors to push back—quite literally—on reality.
Metropolis speaks with Andrew Zobler, CEO of hospitality-focused company Sydell Group, on the industry's growing regard for investing in history.
To Realize Her Art's Vibrant Hues, Janet Echelman Often Collaborates with Lighting Engineers at Arup
The partnership between the artist and the firm goes back more than a decade. Together, they aim to predict the behavior of light in relation to materials, weather, humidity, existing daylighting, and other factors.
The restaurant's designers, Asfour Guzy Architects, tailored a specific room for making pasta and showing-off the craft to passerby outside.
At this winter’s Maison&Objet, the trade show held in the City of Light twice a year, a certain Californian-French hybrid of sunny and casual-cool abounded.
The curators of The Rise of Everyday Design emphasize that the movement did not peter out in the early 20th century as commonly understood, but projected a legacy well into the 1960s.
Lyndon Neri and Rossana Hu’s Shanghai-based atelier has generated a prolific output of design ranging from hospitality and retail interiors to cultural architecture and product.
Metropolis dives in with Maison et Objet’s 2019 Designer of the Year, discussing his work and his goals for the Parisian fair.
The restaurant, located in northern Bogotá, fluidly connects its interiors and exteriors with glass, concrete, and wood.
Renegades: Bruce Goff and the American School of Architecture at Bizzell presents a fascinating chapter of American architectural education.
The 60-seat Harlan+Holden Glasshouse Café includes custom seating by the designers for Wiener GTV Design, bespoke stone floors, and lighting by Louis Poulsen and Rubn.
Bitters helped define an expressive, even carnal side of modern Californian clayware; this Heath collection echoes his raw and dramatic sculpted works.
The eclectic motor-lodge-turned-boutique-resort, scheduled to open next month, takes its cues from Joni Mitchell, Serge Gainsbourg, and Pérez Prado.
With its rich material palette and crafty millwork, the Bryant is an exercise in humble luxury and takes cues from its historic neighbors.
Pacific Standard Time, whose interiors are by New York–based firm Parts and Labor Design, is awash in a palette of terrazzo, textural glazed tile, leather, and wood galore.
The Italian designer teamed up with Glas Italia to produce the low-profile table, which uses extra-light 12-millimeter-thick glass.
With a passion for environmental graphics, designer Joe Lawton has built a practice dubbed Media Objectives (M-O) within the architecture firm Valerio Dewalt Train Associates (VDTA).
The architects worked around the landmark’s many historical elements—some beautiful (plaster ceilings, looping corbels), some odd (the lobby’s red-and-yellow terrazzo floors).