The Female Design Council Announces 2025 Grant Winner

As for Jones, she’s already dreaming up plans to put her funding to use. “I’m leaning into opportunities that emphasize cultural storytelling, particularly through my current residential and commercial interior projects,” she shares. “Receiving the 2025 FDC Grant presented by 1stDibs and NICOLEHOLLIS has enabled me to expand my business with greater intention and pursue new creative opportunities.”

The designer often draws on introspection and meaning throughout her process, creating what she calls “dialogic space.” “My practice approaches the interior as a living narrative, crafting spaces that feel like extensions of the self or even the subconscious,” Jones says. “I love playing with the contrast between the subtle and the bold, curating moments that linger.” Up next, she’s planning to explore industrial design and create published work that examines design and identity, with a focus on underrepresented voices.

“Randall’s work at Floret Studio immediately impressed me due to her design aesthetic and understanding of scale,” says Hollis. “For someone early in their career, there is a remarkable maturity in her design thinking.” The admiration goes both ways. “I’m deeply grateful for the opportunity to be mentored by Nicole Hollis—she has carved out a tremendous path in the industry, and I’m honored to have the opportunity to learn more intimately about her approach to the business of design,” shares Jones. “Mentorship fosters growth, and gaining perspective from those who’ve walked the path is invaluable to this next chapter of my journey.”

Pratt President Emeritus Thomas F. Schutte Dies At 89

Despite his busy career, Schutte always found time for other pursuits. A champion of civic engagement, he founded the Myrtle Avenue Brooklyn Partnership and established initiatives like the Center for Equity and Inclusion and the Design Incubator for Sustainable Innovation. He also had a playful side with his love of dogs, being appointed to the American Kennel Club’s Museum of the Dog Board of Directors, and even serving as the emcee with Food Network’s Chopped host Ted Allen to kick off the LEGENDS gala honoring David Easton.

Bronet concludes, “His incredible passion for education, dedication to innovation, and care for and commitment to the Pratt community, Clinton Hill, Brooklyn, and New York City are a tremendous legacy that will continue to resonate for years to come, inspiring all of us at Pratt as we work together to forge the future of the Institute he loved so much.”

He is survived by his wife of 66 years, Tess Lansing Schutte; sons Douglas and David; grandchildren and great-grandchildren; and sister, Caroline Chandler.

Honoring The Legacy Of Thomas F. Schutte 

Heller Introduces Fully Regenerative, Microplastic-Free Furniture

With Earth Day around the corner, Heller announced its latest initiative to help protect the planet—marking a big stride in sustainable design. As of April, 2025, most Heller furniture is being designed to disappear after use, becoming nutrient dense soil. And this isn’t the work of sorcery—it’s pure science.

Using patented enzyme technology made by Worry Free Plastics, Heller’s furniture and select accessories are now fully biodegradable, leaving no trace of microplastics. The cutting-edge technology ensures that Heller furniture maintains its signature performance standards, withstanding the elements indoors and out, while only breaking down in anaerobic environments like landfills.

“We started development about two years ago,” shares John Edelman, Heller president and CEO. “We had to develop a formula for each item and then test it.” The technology merges an organic enzyme by Worry Free Plastics with Heller’s proprietary polymer material during manufacturing, transforming the brand’s plastic into a material that microorganisms can completely consume within five years in end-of-life environments. “We are most excited to help the world be free of microplastics,” adds Edelman. “Doing well by doing good is the dream.”

As for what’s next, Heller plans to continue its efforts to better the planet, making a commitment to ensure all future designs are sustainable. “We have two super exciting new launches coming out in May,” Edelman hints, noting that these include a smart storage unit, designed by Bill Curry, and a striking stacking chair by Mario and Claudio Bellini. Needless to say the future of Heller is bright, and most certainly green.

Explore Heller’s Collection Of Regenerative Designs

6 Creatives Share How A HiP People Win Propels Careers

What do a select group of design stars and rising talents have in common? An Interior Design HiP People Award, for one, and you could be next. Don’t miss out on a chance to submit to the industry’s premiere commercial design awards program honoring top products and global creatives in the field—and potentially walk away with career-changing recognition.

Hosted by Editor-in-Chief Cindy Allen at The Mart in Chicago the night before NeoCon, this year’s HiP Awards ceremony will honor design innovation in its many forms. In need of a bit of inspiration? Look no further than last year’s winners. As the May 2, 2025, submission deadline approaches, learn why designers and manufacturers honored in the HiP People category say entering is well worth it. “Do not hesitate for a second,” says multidisciplinary designer Daniel Germani. “Show the world your magic.”

Why Winning A HiP People Award Matters—A Lot 

“The recognition has given us this amazing boost of credibility and visibility”

Germani, who won HiP Product Designer last year, says companies take notice of who gains the prestigious accolade. “The recognition has given us this amazing boost of credibility and visibility,” he shares. “It has opened so many new doors and opportunities. It changes things. For real.” Several past winners echoed this sentiment, including Jimmie Drummond III, principal and founder of his own studio. “The HiP Award was actually the first design award I won,” the HiP Hospitality Design Rising Star winner shares. “As someone who started this entrepreneurial journey 14 years ago from my college dorm room, receiving this level of industry recognition is incredibly inspiring. It reaffirms that we not only belong here but now, we have a responsibility to create real impact.”

The scale of the HiP Awards also broadens client reach, sharing a designer’s ethos near and far. “The exposure has strengthened our credibility and opened doors to conversations with like-minded clients who are equally passionate about shaping the design landscape,” Drummond adds. “The HiP Awards stand out because they celebrate not just outstanding design, but also the people and ideas driving those projects. Our work is deeply rooted in inclusivity and community, so being recognized by an award program that values these aspects is incredibly meaningful.”

“Awards like HiP help elevate conversations around sustainability, material health, and circularity in design”

Interior Design‘s HiP Awards are not only a win for those honored—they also shine on spotlight on pressing topics, such as accessibility and sustainability. Kellie Ballew, chief sustainability and innovation officer at Shaw Industries—parent company of Shaw Contract and Patcraft— earned a HiP Manufacturer for the Greater Good Award last year and points out that the recognition helped pull focus to the company’s broader mission. “The HiP Award highlights and validates Shaw’s commitment to a people-centric culture, where we are empowered and supported to continue to grow and develop our skills, and explore our passions, and bring the most sustainable flooring solutions to life,” Ballew says. “Awards like HiP help to elevate conversations around sustainability, material health and circularity in design, ensuring we are continually pushing ourselves even further to meet the ever-evolving needs of our customers—and that we continue to deliver products that help support the health & wellbeing of the planet and its people.”

2024 HiP Experiential Design Leader Meena Krenek agrees. “Beyond personal recognition, the award elevates the conversation around the power of interior design, positioning our expertise at the forefront of the industry,” says the global practice leader venues interiors at HKS Architects. “It signals to clients and peers that our work is shaping the future of design, inspiring innovation, and setting new standards for how people interact with spaces.” As for Krenek’s personal gain, she says the HiP Award “fuels” her passion to continue pushing boundaries.

“Interior Design/ the HiP program wants to celebrate up-and-coming talent”

One of the more unique aspects of Interior Design’s HiP Awards is the program’s aim to uplift rising designers and manufacturers alongside more seasoned pros. “Receiving the HiP Award was both an incredible honor and a defining moment in my career. It highlighted my individual perspective at a crucial stage in my growth as a designer,” shares 2023 HiP Rising Star Workplace winner, Alexandria Davis, designer at Corgan.

The HiP Awards give credit where due, championing designers and manufacturers at all stages of their careers asserts Andrew Kline, principal at Workshop/ADP and a 2023 winner for HiP Leader Hospitality “In the larger or more established firms, the founders are often the ones credited for the work, but Interior Design/ the HiP program wants to celebrate up-and-coming talent, and even leaders who may not typically find themselves in the spotlight,” says Kline. Importantly, he stressed the personal natural of the HiP Awards, pointing out the lifelong connections made through the program. “Cindy [Allen] and her team’s love and passion, are interested in developing and supporting talent in the industry—evident every step of the way,” he says. “Not only is that incredibly special for participants, but it also really deepens the relationship between the magazine and the winners. For me, it felt like the true start of a life-long love affair.” Cheers to that!

6 Residential Design Trends To Watch

Amidst the hustle and bustle of the Kitchen and Bath Industry Show, hosted by the National Kitchen and Bath Association (NKBA) in Las Vegas February 25-27, Interior Design Editor in Chief Cindy Allen talked industry trends with a panel of esteemed designers. Joined by Alison Damonte, principal of her namesake firm, Goil Amornvivat, principal and founder of AMMOR Architecture, and Bahar Zaeem and Shima Radfar, principals and cofounders of Toronto-based RZ Interiors, Allen offered insights into six key residential design trends. Hint: There’s no shortage of visual intrigue via kitchens, curves, and color.

Read on to discover how designers are approaching home interiors and see highlights from Interior Design‘s KBIS panel, “Tomorrow: Innovation, Resilience, and Growth.”

Explore Top Residential Design Trends

Personalizing The Impersonal

“What’s your secret sauce?” Allen asked panelists. For Damonte, color plays a large role. “I’ve always loved color and I’ve always had confidence in using color,” she shared. “I’ve gotten more confident in telling clients I think it needs to be colorful.” Whether using unexpected pops, such as pink tile grout, or creating fresh patterns with various materials, Damonte’s work leans into the element of surprise. As for Amornvivat, the key to original designs often lies in the client’s wishlist. “We like to break the code; we look for the DNA of what it’s all about,” he said, noting that the firm’s “secret power” is listening to clients. From incorporating a client’s vintage furnishings to repurposing original details from a home’s existing structure, careful listening continues to deliver results.

Connecting With Nature

When it comes to great design, natural elements offer a sense of calm, especially in urban scapes like New York or Toronto. “We do a lot of indoor-outdoor kitchens,” shared the design duo from RZ Interiors, noting that these spaces maintain their function in Toronto’s cold winters. Clear sight lines into a home’s backyard also offer a means of bringing the outdoors in as do home accents, like pool furniture placed strategically indoors.

Honoring Historic Builds

Panelists agreed refreshing historic structures is a labor of love, though RZ Interiors admittedly shared that they work mostly on new builds given client demand in Toronto. Amornvivat and Damonte, however, encounter plenty of interest in historic renovations. From prewar New York apartments with quirky details to a 1960s Berkley home, the panelists shared some of their most memorable home updates, noting the design gems that result from preserving original accents and character.

Sinuous Shapes

Curved furnishings and architectural details are all the rage, shared Allen, to which panelists enthusiastically agreed. “The investment home market is very saturated in Toronto so homeowners want something new,” said Zaeem and Radfar, noting the interest in fresh forms and curated aesthetics. Most requests to add a touch of flair center on the main floor of a home and primary bedroom, the RZ Interiors team shared. From arched doorways to sinuous sofas, there’s no shortage of visual intrigue on display in residential design.

Optimal Organization

From tiny apartments to expansive homes, organizational systems matter. “Everything is storage—clients want nothing on countertops,” agreed panelists. “They’re always looking for the cubby, looking for places to hide stuff” added Amornvivat, noting that in Manhattan, a serene home carries extra importance given the intensity of the city.

Kitchens In All Shapes And Sizes

Kitchen design remains a high priority for clients, said panelists, including homes with multiple prep areas as well as compact butler kitchens,. And no two kitchens are alike, creating a ripe canvas to showcase a touch of whimsy. “For someone in the music industry, I added personality into the kitchen with tiles that mimic the look of records,” said Damonte. The growing interest in expressive kitchens reflects the shifting role of the space in the home as prep areas invite visual intrigue and speak to each homeowner’s taste.

Giants Of Design Retreat Invites Reflection In Joshua Tree

What better place to recharge and ignite fresh ideas than in a seemingly limitless landscape, surrounded by sand and sky? With this is mind, nearly 50 designers convened in Joshua Tree National Park for Interior Design‘s Giants of Design Retreat. The three-day event, hosted March 2-4 at AutoCamp Joshua Tree in California, offered an intimate group of industry experts—including recently inducted Hall of Famers David Galullo, founder of Rapt Studio, and Adam Rolston, cofounding partner of INC Architecture & Design—the chance to connect with each other and the desert scape.

“I peek out the window and I think of all of you being here nestled in the quiet of the landscape” said Editor in Chief Cindy Allen, kicking off the first full day of programming following the previous evening’s welcome cocktails and dinner. “We’re here for the experience—we’re releasing, we’re letting go.” Leaning into the essence of the word “retreat,” this year’s event focused on restorative experiences—think: sound baths and hiking—as well as a lineup of panelists deeply committed to their craft, in and beyond the design world.

Before the morning panel discussions, attendees were challenged to stretch their imaginations with a cheeky play on four-letter words, though not the ones that likely come to mind. “Think about something differently,” Allen challenged the group, noting that her four-letter word is edit, which she said applies to her career as well as her personal life, editing away what is not needed to make room for the new. Attendees then shared their take on the exercise, offering insights into words such as “note,” “save,” “talk,” and “undo.”

Building AutoCamp Locales From The Ground Up

Up first, Michael Luft-Weissberg, associate principal at Workshop/APD, which worked on AutoCamp properties in Cape Cod and the Catskills, and Meena Krenek, global sector director, interiors at HKS Architects, which designed the Joshua Tree location, shared insights into creating the brand’s unique locales. “As a client, AutoCamp is an interesting story because they’re always trying to reinvent themselves,” said Luft-Weissberg. “We got involved with them early and saw the evolution of their brand.”

For Workshop/APD, which was breaking into the hospitality space at the time they first teamed up with AutoCamp, the brand’s site-specific destinations offered much opportunity. “These were amazing projects for us because they are residential scale and ground up construction… but they are also hotels,” he adds. “It’s an interesting hybrid.”

Ensuring each AutoCamp melds with its respective surroundings is paramount when it comes to design. One question the HKS Architects team asked when approaching the Joshua Tree site is: “How do we bring people together in this land and create curated collective community and have individual experience out there,” says Krenek. Airstreams, like those at AutoCamp Joshua Tree, were a longtime wish for the brand, though engineering each space with plumbing and privacy is no easy feat. “I do think the art of it is the sustainable element,” she adds. For the Joshua Tree locale, chairs are custom made by a local manufacturer and textiles are locally sourced, working closely with the area’s community of makers and artisans. The result? A stunning indoor-outdoor oasis that’s anything but a mirage.

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Are you interested in growing your network, taking part in new experiences, and sharing knowledge at Interior Design events? Take a look at our events page to see what’s next.

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Behind-the-Scenes of Burning Man

Musician Allen Stone Sings A Tune

Following a break for lunch, attendees were treated to a discussion with musician Allen Stone, a soul and R&B luminary who brought along his guitar. “Let’s talk about this thing we call fame or success,” said Allen, opening the conversation. From singing in a church as a kid to taking to the road to share his music, Stone said he defines success by authenticity.

“I write from a place that’s honest and real, not only in an attempt for therapy, really, in my own personal experience but knowing I’m going to be needing to bring that honesty on stage and through my life and career as often as possible,” Stone told attendees. “Finding your voice sometimes is a lifelong journey in design, you get inspired by people but how do you come out of it as an individual who has a message to say?” Allen chimed in.

Like many designers, Stone said he’s learned to detach from the music he creates, letting it live with those who experience it. “I came to realize that the music and art is not mine once it leaves my body so, in reality, I’m just a vessel,” he said, before playing one of his songs for the crowd.

Protecting the Beauty of Joshua Tree

Closing out the day’s sessions, a panel of local experts joined Allen to discuss being part of the creative community there. “Everything here changes quickly; the desert is an experience,” said Brad Wilson, managing partner at Atelier Ace. “Living here is a real process.” Part of that process is respecting, and tuning into, the ebbs and flows of the landscape. “The desert, and the continuation of the desert, is critical to our planet,” he adds, noting its ability to capture carbon dioxide.

Echoing that sentiment, Bernard Leibov, founder and director of BoxoPROJECTS, a local artist residency, as well as the cofounder and cocurator of the Joshua Treenial, left New York City behind for the quiet of Joshua Tree. “I learned it was the community around the art that was important,” Leibov said, explaining his desire to start a residency that supports art that relates to the local community and landscape.

Similar to the Burning Man installations, Joshua Tree art works also tend to center on a mix of reused objects, Wilson shared, referencing the Noah Purifoy Desert Art Museum of Assemblage Art. “I think the desert demands recycling,” he added.

Alison Carroll, co-founder of holistic skin and haircare brand Wonder Valley, shared that she moved to Joshua Tree 10 years ago since the desert expanse fueled her creative drive. “There’s a lack of things blocking sight lines here,” she said, comparing the locale to her former home in Los Angeles. “Driving in an open desert landscape really is a powerful thing.” The environment enabled Carroll and her husband to grow their brand, which started with a focus on organic virgin olive oil grown in California and expanded into the health and beauty realm.

Importantly, the desert continues to reveal itself to those who chose to stay. The conditions can be harsh and unpredictable at times, and even for those well connected, the desert can be isolating, which makes community all the more valuable. “In truth, you depend on community a lot more,” said Wilson. To that, Leibov shared a phrase he often heard from Steven Nash, who was executive director of the Palm Springs Art Museum: “The desert attracts, and then it resists.”

Editor’s note: Read more updates from the Giants of Design Retreat!

See Event Snaps from the Giants of Design Retreat

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A very special thank you to our 2025 Giants of Design Retreat partners: Mohawk Group, Mannington Commercial, HBF + HBF Textiles, Kohler Company, Williams-Sonoma, Inc. B2B, Bernhardt Design, Arktura, Craftmade, Cosentino, Shaw Contract, Armstrong / Turf Design, B+N Industries, Andreu World, Haworth, Lutron, Momentum Textiles and Wallcovering, NeoCon/THE MART, Kimball International, Tuuci, Mohawk Group, and Material Bank, which offset the estimated carbon footprint for the event.

10 Questions With… Artist And Architect Eliza Redmann

Get To Know Eliza Redmann Of Folded Poetry

Interior Design: Let’s start with the name of your studio, Folded Poetry. What do these words mean to you?

Eliza Redmann: Much like the aesthetic of my brand, the name Folded Poetry in itself is imaginative and thought provoking—it leaves much to be discovered. Does Folded Poetry mean the folding of a literal poem, or that the poetry somehow lies within the folds? Beauty lives in the questioning and pursuit of understanding, which tracks to the aesthetic of my brand where regular patterns are superimposed with a layer of geometric information which dares the mind to make sense of it. In this way both the name and aesthetic of Folded Poetry entice the mind of the beholder.

ID: I understand your recent work stems from a serious car accident that left you with a brain injury. Could you share more about how this event shifted your creative process?

ER: Prior to the car crash, my creative thinking was very much confined within the bounds of my architectural practice. I did not have a robust portfolio of art for art sake, and even during my years working as an architectural designer, I felt a lot of my creativity was left on the table. Post car crash and the resulting subdural hematoma, and after spending over a year coping with disabling chronic pain, nausea, fatigue, vision and balance issues, and perpetual overwhelm, it became clear that attempting to return to the profession of architecture was not in my best interest. I was unable to spend more than fifteen minutes at a time reading or doing other visually demanding work without feeling nauseated, hot, and overwhelmed. Having recently finished architecture graduate school with a clear picture of my life ahead, the loss of my profession was a terrible blow to my already bludgeoned morale.

Instead of resisting my new reality, I took the time necessary to grieve, and from that space of self-acceptance a new idea was born – one which beckoned me to tap into my creative potential to reinvent not only my profession, but also my health, and life trajectory. The constraint of having very limited time on the computer before becoming symptomatic drove a creative outcome – the production of a small number of modular paper shapes which, when printed and assembled by hand, yielded complex geometric compositions. My new limitations forced me to work quickly and efficiently, and made perfectionism not an option. As a self identifying “completionist”, I was able to create a large volume of designs in a relatively short amount of time, leading to the launch of my design brand.

It’s surprising even to myself how long it took me to realize that my perplexing designs were representations of my visual disturbances which resulted from my brain injury. Often when I look at regular patterns—brick walls, tile floors, striped shirts—they appear to be “swimming” or moving on their own accord. My design aesthetic provides a visual experience akin to my own, challenging viewers in the way they encounter the art just as I myself am now challenged in health and my new daily reality.

ID: How do you translate the “swimming” images you often see into sculpture and acoustical art? What materials do you gravitate to?

ER: Though short-lived, my experience in the field of architecture provided me with all of the tools necessary to translate ideas from small paper models into large-scale sculptural installations. Through my design school training I became familiar with the exploratory processes of material testing and prototyping. As I began creating larger scale sculptural installations, I produced as much as possible in-house, by myself. As demand has grown, I’ve learned that my offerings and impact can be greatly expanded by partnering with makers who already possess material-specific expertise. My architectural training allows me to understand their creation process and tailor designs to accommodate material constraints and limitations. Folded Poetry has now become larger than myself, and allows me to support fellow creators. I currently offer my modular sculpture designs at an architectural scale using acoustic felt, cast rockite, cast resin, and sheet acrylic. I’m very drawn to both wood and leather and am in the process of exploring their uses and capabilities as they pertain to Folded Poetry. 

ID: What led you to pursue architecture, initially? What are some of your earliest memories of design?

ER: I witnessed my mother creating a variety of art during my youth: beautiful floral watercolors, a ceiling mural in my brother’s bedroom, custom Christmas ornaments featuring her unique handwriting. My creativity was always valued and cherished. As I grew into adolescence, I found great satisfaction in rearranging my bedroom, which I probably did a thousand times—trying new arrangements and adjacencies to get the flow of the space just right, only to decide a couple of months later that I needed something entirely new. I made the decision to pursue architecture while I was halfway through my undergraduate degree in Political Science. I was feeling uncertain about my future career path, and during that particular semester, I was working part-time at my campus art gallery where I met many featured artists and reinvented the gallery spaces over and over with each new show. I sensed an untapped wellspring of creativity bubbling up within me during my work in that position. My gallery assistantship overlapped with an environmental politics and policy class I was enrolled in where I learned about the importance of sustainable building design as a means of combating climate change. I chose architecture because it afforded me the opportunity to pursue my creativity through design while prioritizing my values of sustainability—all while standing up to my family’s academic achievement legacy.

My earliest memory of being deeply inspired by design was at the Mayo clinic in Rochester, Minnesota—I was eight years old and I was visiting my father who was dying from cancer. There were these fabulous blown glass sculptures by Dale Chihuly suspended from the atrium ceiling. Everything in my life was changing—I could feel it happening, completely out of my control—and I cherished the moments of looking up with wonder and awe and feeling some reprieve, if only for a few moments, during his final months of life.

ID: You’ve described your art as “a child of the pandemic.” In what ways did the pandemic shape your work?

ER: When the pandemic hit, I was already pretty isolated—trapped in pain and grappling with my new identity with disability post car-crash and brain injury. Suddenly I felt some kinship with others in our collective frustration that the world had changed, and not for the better. In a way, this triggered a renaissance moment within myself. There was no going back to how the world used to be, so I focused on accepting my new reality. One day, I just began creating within my altered realm of capability, and it was leaning into my new more limited scope of capacity which yielded creative outputs which were truly unique and impactful. Instead of resisting my limitations, I chose to create a new environment of self-acceptance which allowed me to truly thrive, and finally tap deep into that wellspring of creativity which was flowing under the surface waiting to be acknowledged. I consider the early paper sculpture designs I produced during that deep-pandemic period using my ink-jet printer and an exacto-blade to be the cornerstone of my brand, and I still reference them frequently in my work.

ID: Let’s talk about one of your recent collections. What led you to collaborate with Unika Vaev on acoustic products and what do you look for in a design partnership? 

ER: During my experience working full-time as an architectural designer I found very limited options for acoustic products which were both beautiful and functioned at a high level. While creating my early paper sculptural explorations I was keenly aware that the directionally scattered surfaces of my designs had the potential to refract noise waves very effectively. My dream became pairing my Folded Poetry shapes with a noise absorptive material to bring my designs to an architectural scale through the development of a viable “acoustic art” solution unlike anything the industry has seen before. I began prototyping designs using noise absorptive materials and sharing them with my community via studio email newsletter. From there, I became connected with Unika Vaev, and together we recently launched our first collection of modular “acoustic art” titled simply Folded Poetry.

I seek design partnerships which require unique design thinking and/or innovation. I love identifying and working within parameters—be it a specific machine capability, an established sales stream for a specific product typology, or a prescribed material. I truly believe that constraint breeds creativity, and I thrive on adapting my designs to a variety of applications.

ID: Acoustics seem especially meaningful for you, given your injury. Could you share more about how you experience sound in spaces and how that impacts your work?

ER: I was unpleasantly surprised to find that, post-traumatic brain injury, the downtown repurposed rustic tobacco warehouses located in my city of Durham, North Carolina—my favorite hang-out spots filled with lasting memories—were now inaccessible to me. The reverberation and sheer audible volume which permeates the spaces was overwhelming at best and painful at worst. That loss of access to places, people, and experiences was deeply troubling, and fueled my acoustic artwork innovation and prototyping efforts. As I put my designs out into the world, they were received with such robust enthusiasm and delight. I was shocked to find myself in such abundant company in my condition—the sheer number of people who also struggle with auditory overwhelm and suffer from a loss of accessibility due to a lack of volume control prevalent in restaurants, bars, and gathering spaces of all kinds, is staggering. This discovery broadened my mission to include serving others by providing beautiful and noise-reducing art installations for the public to both enjoy and benefit from.

ID: When navigating spaces post-injury, what do you feel are some of the biggest opportunities to create more inclusive design?

ER: Common neurological conditions are largely invisible, making it nearly impossible to recognize when a person is suffering from overwhelm or overstimulation. Indeed it is often difficult to recognize when the formerly stated are arising within oneself. Designing spaces to anticipate and mitigate this unintended response is an act of inclusivity. When I think about creating accessible spaces, the word “soft” comes to mind: soft volume, soft lighting, soft surfaces. Softness evokes the warmth of infancy and is comforting, healing, and inclusive.

Managing the volume of spaces is critical and so often overlooked despite the deep impact it has on the user experience and the willingness to become a repeat visitor. Lighting is equally as important – harsh overhead lighting is sneaky in that it can easily overwhelm the sensory system without you even realizing it’s happening. Simple consideration toward tailoring lighting to the specific uses of a space has the power to make it more accessible to the broader population. Providing a variety of spatial typologies including contained and comfortable private areas where folks can step-away and either recover from overstimulation, or simply seek reprieve from distraction, is an act of inclusive design. Within the build environment more broadly, clear wayfinding using symbols, colors, and clear language is an act of kindness and inclusivity.

ID: Do you consider your work as a form of activism?

ER: My work spreads awareness for invisible disability and provides both a window into understanding the lived experience of such, and a solution for managing the symptoms thereof—I do consider this to be activism.

Part of my work is designing a life which supports my creativity. I consider walking this path of self-actualization through creative entrepreneurship over one which would provide more perceived safety and stability to be an act of cultural resistance. Accepting yourself exactly how you are and showing up to create is activism. I hope that my work inspires people to think big about their capabilities and goals—I hope that they can look at me and say, “If she can do it, why can’t I?” 

ID: What’s your dream project? If you could create anything, what would it be?

ER: I have so many dream projects—how to choose just one! A few include (but are no means limited to) creating mobiles, sculptural elements with integrated lighting, designing art for movie sets, creating inflatable stage art for bands, “assemble it yourself” sculptural wall kits geared toward broader accessibility, and last but not least, the creation of a business which empowers and uplifts others.

Mindful Updates Modernize A 1930s Brittany-Style Château

In the heart of Westchester, New York, lies a Brittany-style château so artfully built that it appears plucked from across the pond. With its brick facade, diamond lattice windows, and wood-paneled walls, this home strikes a regal cord. Designed originally by Charles Lewis Bowman, the structure caught the eye of Sam Charney, of Charney Companies, and his wife, Alexandra, who turned to Amy Courtney Design to lead an extensive renovation, taking into account their love for Scandinavian and Japanese minimalism, as well as salvaged antiques.

“Having grown up in Westchester, I’ve always admired homes with historic character, so the opportunity to reimagine a Brittany-style château with Tudor elements was genuinely exciting,” shares Courtney. “Our approach was to honor the home’s architectural history while introducing fresh, contemporary elements that let the space feel both timeless and current.” To balance old and new, Courtney gravitated toward subtle patterns and monochrome furnishings, enabling the homeowners’ impressive art collection to take center stage (think: Banksy, Shepard Fairey, Kaws, and Louise Nevelson). In areas that offered space for bolder hues, such as the powder room, the design team embraced color, opting for maximalist wallcoverings and energizing palettes. Whenever possible, original details were preserved, like the entry floor tile and wood paneling in key areas.

Reflecting the homeowners’ taste for the Japandi aesthetic, materials like light white oak are found in the kitchen and flooring. Scandinavian lighting by Poul Henningsen for Louis Poulsen also compliments more layered materials throughout, such as onyx, used in the primary bedroom and bath. “The onyx brings a serene yet striking quality that aligns beautifully with the Tudor-style rooflines, offering a sense of richness and timelessness,” Courtney says.

One of the more intricate updates centered on the windows. To preserve the craftsmanship of the original 1930s home, Courtney ensured all the windows were fitted with custom leaded glass from Rohlf’s Stained Glass, the same studio that restored the glass at St. Patrick’s Cathedral. “Each steel sash was painstakingly removed, sanded, refinished, and reglazed with this leaded glass before reinstalling them,” she said. “The wood paneling in the living room, intricate plaster ceilings, and central iron railing were meticulously brought back to retain its original charm.”

The other involved the roof, which includes 5,000 Ludowici terra-cotta tiles sourced from the Midwest—each carefully cleaned on-site before replacing cracked or broken tiles. “Additionally, we cleaned or replaced copper chimney caps and roof leaders, while repointing the entire granite façade, which had originally been quarried locally,” Courtney adds. The exterior also features an open-air patio and pool, surrounded by lush landscaping by Grain Collective. “Each step was a balance between honoring the home’s history and ensuring it endures for generations to come.”

Walk Through This Updated 1930s Brittany-Style Château

Inside Interior Design’s 2024 Best of Year Awards Ceremony

Guided by a wall of dazzling twinkle lights, designers and industry creatives made their way into BlackRock’s Hudson Yards headquarters for Interior Design‘s 19th annual Best of Year Awards ceremony on December 12. Hosted by Editor in Chief Cindy Allen within BlackRock’s expansive theater for the first time, the lively ceremony spotlighted this year’s most impressive projects, products, and student work. “Look where we are; this is amazing,” Allen gushed, kicking off the event. “We are literally in an award-winning project,” she added, noting that the office designed by NBBJ with lighting by Lutron is a previous Best of Year winner.

The awards ceremony, which followed Interior Design‘s 40th Hall of Fame gala the night before, showcased the crème de la crème of design among nearly 2,000 total submissions, about 200 of which were office projects. But first, Allen announced standout Product winners and honorees, sharing the stage with DJ Tony Flow who mirrored the crowd’s upbeat energy. From sleek surfaces to kitchen and bath accents and striking furnishings—think: an occasional table that appears carved from a block of ice—there was no shortage of innovation on display.

Industry creatives also had a say in selecting a few Product winners. This year’s People’s Choice Award featured a tie between Davis Furniture for Tile, which functions as a stool or table, and Astek for the brand’s hand-painted Resonance wall covering.

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Want to know who earned top honors in each category? See Interior Design‘s Best of Year Awards winner’s gallery.

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Then the focus shifted to student work, with four honorees and one winner. “Can you believe how beautiful the work is by these students?” Allen said, taking in the imaginative products submitted by emerging designers. Bryce Moon, a student at Savannah College of Art and Design, took home top honors for the Shmello Collection, featuring an inviting, plush armchair.

After a brief pause to connect with friends and colleagues over cocktails, attendees returned to the theater for the Best of Year Awards grand finale: Project winners. With almost 1,200 project submissions sent in from 43 countries, the design industry continues to amaze with its vast breadth of output. From greenery-filled airport terminals to destination-worthy hospitality spaces and intentional offices, the 2024 Best of Year Awards ceremony offered a look at trailblazing projects pushing the industry forward. Did we mention that this year’s Environmental Impact winner—Seattle Aquarium Ocean Pavilion by LMN Architects—features carpeting made from recycled fish nets and water bottles. In the words of Allen, “Wowza!”

Interior Design‘s Best of Year Awards ceremony concluded with a raffle drawing, thanks to Maison&Objet, gifting one lucky attendee a three-day trip to Paris to attend the show. A festive—and celebratory—evening for all.

Explore Event Snaps from Interior Design’s Best of Year Awards 

 

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A very special thank you to our Best of Year Awards partners, who played an integral role in creating the evening’s festivities: Livestream presented by Maison&Objet; Sponsors: Armac Martin, B+N Industries, Kohler, Prostoria, Shaw Contract, and Material Bank, which also offset the carbon footprint of the Best of Year Awards ceremony; Awards Trophies by 3form; Garden Installation by Garden on the Wall.

Interior Design Hosts 40th Hall of Fame Gala In Manhattan

Interior Design‘s Hall of Fame gala turned 40 last night with a celebration fit for a ruby jubilee. From dapper tuxedos to glittering gowns, nearly 900 trailblazing creatives filled The Glasshouse in Manhattan to toast to this year’s inductees, recognized for their vast and influential design contributions. “This is not the 30th but the 40th annual Hall of Fame,” Editor in Chief Cindy Allen said from the stage, opening the evening’s ceremony. And such a milestone called for an extraordinary lineup. “We appreciate and love this community coming together—we really can’t do this without you,” she asserted.

After taking in sweeping city views during the cocktail hour, guests settling into the grand ballroom were treated to a performance by cellist Phillip Sheppard and movement artist Quinten Robinson. But before the evening’s honorees stepped into the spotlight, Allen led the crowd in a surprise rendition of “Happy Birthday” to honor Hall of Famer Cheryl Durst‘s big day. Then the formal tributes began. “It’s our 40th so there’s more,” Allen added, noting Design Industries Foundation Fighting AIDS’ (DIFFA) also is celebrating 40 years and how the organization has evolved to address housing insecurity, hunger, and mental health issues.

40th Anniversary Gala Celebrates 5 Inductees + Special Tributes

In a documentary short produced for the event, David Rockwell, founder and president of Rockwell Group, shares how his family was impacted by HIV/AIDS and stresses the importance of asking: “What ways can designers give back?” Given DIFFA’s growth, it’s clear the design industry continues to answer that question with gusto. “Thanks to your dedication, DIFFA continues to create real and lasting change in the communities we serve,” said Dawn Roberson, DIFFA executive director, as she took the stage with Tom Polucci, DIFFA chairman and senior principal at HOK. “As we look ahead to 2025, we have lots of new ideas and initiatives,” she added. Hall of Fame attendees also had a chance to bid on design items in a DIFFA auction throughout the evening, supporting the group’s mission.

Next, Allen raised a glass to Hall of Famers who passed on in recent years, including a special tribute to hospitality design pioneer Jeffrey Beers. Beers’ son, Justin, joined Allen on stage to share memories about his father as archival images and footage of his storied career flashed behind them on screen. “His wit, charm, and sometimes a bit of luck got him the biggest opportunities of his life and he always delivered,” Justin Beers recalled. “His love of exploring helped me in shaping the way I see the world,” he added. “There’s really nowhere else I’d rather be than at Jeffrey Beers International continuing his legacy.” As Allen and Beers embraced, teary-eyed, she noted the importance of looking back while moving forward, creating new memories.

Documentary Shorts Capture Storied Design Careers

After a brief pause to indulge in the evening’s dishes, which included veg-heavy fare and chai cake filled with decadent yuzu cream, the 2024 Hall of Fame inductees took to the stage. First up, Allen introduced David Galullo, CEO and chief creative officer of Rapt Studio. “He has his own secret sauce,” Allen said of Galullo, noting that his career—and life—has been shaped by immense challenges, including a Leukemia diagnosis in his early twenties, which he overcame thanks to his brother’s bone marrow match.

In the documentary short, the joy Galullo finds in his work is infectious. “Rapt really was this kind of dream of mine, that we would go beyond an interior design firm,” he shares in the film. “I wanted to build an interdisciplinary team to tell a broader story across platforms.” Check, and check! From designing an interactive Tinder Los Angeles office to creating a rock wall for VF Corporation’s Denver digs, Rapt Studio continues to push boundaries. “I’m honored to stand here tonight and have the good fortune of doing something I love, something I happened to be good at, and something I think makes a few small corners of the world a bit better,” he told the crowd, which included his 90-year-old mother. “I am an architect, a designer, and a dreamer because it is simply who I am.”

Then Allen introduced the trio that makes up INC Architecture & Design, who she referred to as “really cool cats” due to their curiosity and desire to explore the nooks and crannies of every project. Adam Rolston, Drew Stuart, and Gabriel Benroth, founding partners of the studio, offer more than an example of great design though, they also demonstrate the power of friendship, Allen said. “These three have a deeply felt, lasting bond,” she asserted. The synergy between the team is what keeps INC Architecture & Design on the pulse of technology and material innovation, as is evident in the film showcasing their standout work like the 1 Hotel Brooklyn Bridge Park, which led the way for sustainable luxury builds.

Last, but certainly not least, Allen announced inductee Holly Hunt, founder of HOLLY HUNT and House of Hunt, sharing that it’s rare for a manufacturer to be honored in the Hall of Fame given the immense contributions of so many in the field. “Our next inductee represents all of you makers in the room,” said Allen, pointing out Hunt’s knack for discovering new talent, hosting elegant events, and taking risks to build her brand. From buying her first showroom in 1983 to raising three boys as a single mother, Hunt has carved a career that’s uniquely her own, shaping the industry with intentional mentorship—and great taste.

With that, a night to remember came to close. “What an amazing night; we did our fortieth right!” Allen said as the room erupted into applause. “Thank you all for being part of this design tapestry and a big thank you to our inductees.”  

Explore 2024 Hall of Fame Event Highlights

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As in years past, a portion of the Hall of Fame gala proceeds will be donated to a deserving organization: DIFFA by Design, which grants funds to organizations providing treatment, education, and assistance for people impacted by HIV/AIDS, homelessness, hunger, and mental health issues.

A very special thank you to our Hall of Fame partners, who played an integral role in creating the evening’s festivities: Diamond Sponsor, Shaw Contract; Platinum Sponsors, Kohler and Mohawk Group; Gold Sponsors Benjamin Moore, Designtex, Garden on the Wall, Haworth, HBF Textiles, Salone del Mobile. Milano, Williams-Sonoma, Inc. Business to Business; Centerpiece Sponsor, Turf; Inductee Award Sponsor, 3form; Tablecloth and Bag Sponsor, Sunbrella; Carbon Offset Sponsor, Material Bank.