Design Reads: Celebrating The Rietveld Schröder House

Dive Into The History of The Rietveld Schröder House

Van Gell and Dubois delve into the house’s history, from its inception and construction to its life through the war years and its modern-day status as a UNESCO World Heritage site. Drawing on previously unpublished photographs, drawings, designs, and letters, the authors paint a vivid picture of the house’s vibrant history and the dynamic between Rietveld and Schröder. Notably, their research highlights Schröder’s significant contributions, arguing that her creative vision was crucial to their joint projects.

The publication challenges “ingrained assumptions about the design process,” questioning the extent to which Schröder’s role has been underestimated. Van Geel, who previously published a biography of Schröder titled I love you, Rietveld, has already suggested that Schröder’s influence on the Rietveld Schröder House and Rietveld’s other designs was substantial. This new book builds upon that foundation, providing a rich source of archival documents that further illuminate her contributions.

The book’s design itself is a tribute to the house, reflecting the innovative spirit of Rietveld and Schröder’s architecture. The use of two languages—English in black and Dutch in blue—conveys the house’s national and international significance. As the artistic director of the Centraal Museum in Utrecht notes, the book aims to show the “life, the conversations, the work, the love, the tensions, the peace and quiet, and the noise” that filled the house for decades.

Schröder lived in the house from its completion in 1925 until her death in 1985. It was where she raised her children, sheltered people during World War II, and eventually lived with Rietveld. The book reveals that Schröder was not just a client but an “architecte d’intérieur,” designing interiors and furniture and actively participating in Rietveld’s architectural commissions. She also contributed to the De Stijl movement, gave lectures, and helped organize exhibitions.

Rietveld Schröder House: A Biography of the House is an essential reference for those interested in modern architecture, art history, and revolutionary design. It offers a fresh perspective on a well-known architectural icon, emphasizing the previously underestimated role of Schröder and providing a deeper understanding of the collaborative genius behind this modernist masterpiece.

A Fresh Perspective On This Modernist Icon

10 Questions With…Cadillac Design Lead Mara Kapsis

Mara Kapsis Explains Her Foray Into Textiles + Automotive Design

Interior Design: What’s your background?

Mara Kapsis: I grew up in Australia and have always had a passion for design, but it wasn’t until university that I discovered that this passion could be channeled into automotive design. The traditional career path for someone with my degree would more likely have been fashion or homeware design, which I absolutely love, but it wasn’t my final calling. My career with General Motors (GM) began as part of an internship at Holden (formerly GM Holden) in 2009 and I’ve been with the company ever since. My first role was as a color, materials, and finishes creative designer at Holden until 2012 when I moved to the U.S. to take on the role of CMF Creative. I am so happy I landed at GM; it’s the most exciting time to be in the auto industry.

ID: How about educationally?

MK: Throughout high school, I was always interested in art and design—and especially textiles. After graduating, I first completed a diploma in Studio Textile at RMIT’s School of Fashion and Textiles in Melbourne. The course focused on hands-on technical skill development, and I majored in screen print and minored in weaving. It was a creative time where I was able to explore the textile discipline, from designing and printing yardage to weaving art works. Following this, received my Bachelor of Arts in Textile Design at RMIT where I was able to go deeper into the design process and open my world to new pathways, including automotive.

ID: How did you get into textile design?

MK: My maternal and paternal grandmothers were both amazing craftspeople and my mum [still sews]—I was lucky enough to grow up surrounded by textiles through their work. I also have lots of memories of ruffling through tins of buttons and fabric remnants. My grandmothers both created beautiful embroideries, so textiles was a natural career path for me. In addition, I had a wonderful high school teacher in textiles who was instrumental in encouraging an artistic perspective. Naturally, I’ve always seen the value in textile design in storytelling when applied in interior design and fashion.

ID: How did you transition to automobile design?

MK: While studying for my bachelor’s degree, I took part in an industry project with GM that opened my eyes to automotive color, materials, and finish design. Before that, I didn’t even know it existed! I was selected for a yearlong student co-op program with GM Holden in Australia in 2009. Following this, I stayed on as a CMF Designer until 2012. After running a small business designing and printing homewares, I moved to Detroit to join the GM North American team in 2015, and started with the Chevrolet team. In some of my most recent roles, I have been CMF Lead Creative Designer at Cadillac—working on cars such as the all-electric Cadillac OPTIQ—and I am currently the CMF Design Manager for Advanced CMF and Global Exterior Color across various GM brands.

ID: What does your work encompass? What’s an average day for you?

MK: There is no such thing as an average day I suppose! Our work can be anything from researching trends, meetings with suppliers, and working with our fabrication team to build properties and concepts, to designing colors and patterns. We’re so lucky to have our days filled with beautiful samples of color, materials, and finishes. Then, we have the practical side of getting those samples ready for production by partnering with the engineering, marketing, and purchasing teams.

ID: Who are your architecture and design influences, and why? And where else do you find inspiration?

MK: I take inspiration from many sources—from textile, interiors, architecture, and colors. I love interior design and spaces, and I am inspired by designers like Kelly Wearstler, who brings together materials and finishes in such a thoughtful and artistic way. As a textile person, I adore all things Marimekko— their prints are playful yet sophisticated and their use of color combinations is always beautiful. I also admire the mid-century icons who played such an important role in the history of design, including at GM, like Eero Saarinen, Florence Knoll, Ludwig Mies van der Rohe, and Alexander Girard.

Our design team is always keeping in mind the Cadillac brand statements and our heritage cues. The team recently designed the Cadillac SOLLEI concept vehicle, pulling on Cadillac’s heritage bold colors “Manila Cream”, originally used in 1957 and 1958 Cadillacs, and staying true to today’s trends with this year’s butter yellow trend we saw across fashion, interiors, and beauty.

ID: How do you see the nexus of sustainable interior design and automotive design developing with electric vehicles?

MK: Sustainable and authentic materials are being woven into Cadillac’s design language. Electrification has allowed us to reimagine how we approach designing vehicles. We’re always seeking to use authentic materials that are expressive, bold, and artfully designed for the luxury consumer. For example, in OPTIQ, we took a unique approach to our materials and colors. The interior features a patterned fabric along the top of the door, into the instrument panel upper corner, midsection, and console sides. Woven from 100% recycled yarn, this is an example of how we are integrating sustainable materials with an artful mindset. In color, we accented door map pockets, the glove box and bins with a bold and expressive Santorini blue accent color also in a material with recycled content—ensuring a common thread through color, material, and finish. We also focused our efforts on color pairing in the OPTIQ to evoke an emotional response from a driver. As an example, navy blue leather pairs with a blue version of the textile fabric.

ID: What are the upcoming sustainable textile and material trends you see as crucial in the evolution of automotive interior design?

MK: As a CMF Designer, we focus on innovative materials and materials that are more consciously and sustainably developed. This is an essential part of our design process, and we continue to discover new ways to integrate unique and thoughtful materials. The evolution of the automotive industry is well underway in vehicles. As an example, we incorporated a decoration we call PaperWood in the all-new Cadillac OPTIQ. This material is made out of tulipwood and recycled newspaper, and was used in areas such as the cupholder. If you look closely, you can read the newspaper print. In other interiors, you’ll find an encapsulated fabric woven from 100% recycled yarn.

ID: Where will the industry be 10 years from now? What will be the capabilities of the cars you’ll be designing and the materials you’ll be using?

MK: One of the biggest areas of opportunities is what does design look like when the driver’s primary responsibility is no longer actively driving the vehicle. This is a big question our team is looking to answer as hands-free driving technology improves and becomes more readily available. What this will look like exactly is still to be determined, but I predict that eco-conscious design will continue as well as the desire for quality and beautiful colors, materials, and finishes. As an example of how we’ve taken steps toward tech-forward design in the Cadillac LYRIQ and many other Cadillac models, we offer a variety of technologies and innovations pushing the boundaries in car tech. Features like Super Cruise, a hands-free driver assistance technology, as well as pillar to pillar infotainment screens play a role in how designers approach interiors and fit with the bigger picture of the car’s interior. As these technologies progress, there is an opportunity for our design teams to take things to the next level.

ID: What’s next for you professionally? Where do you go from here?

MK: Wow, that’s a big question. In short, my hope is to stay at GM and be a part of the incredible transformation the automotive industry is undergoing. Technological advancements in materials engineering are allowing us to explore materials and finishes that would not have been possible five years ago. It’s really exciting.

10 Top Auto Designs of the Summer

With the thermometer rising on road trips and sustainability at the forefront, we studied the hottest wheels of the season, spanning an electric Rolls-Royce Spectre to a sporty Range Rover SV.

These Sleek Auto Designs Showcase Sustainability Strides

Behind the Design of the Maserati GranTurismo Luce

Debuting at Milan Design Week to the likes of David Beckham, the GranTurismo Luce is a one-off chromatic mirrored monolith engraved with a dynamic laser-etched pattern and painted in an almost absent color that makes the contours of the car blend into its surroundings.  

The interiors are made of ECONYL, a regenerated nylon yarn, resulting in a unique aesthetic metamorphosis: the monochromatic blue interior references the sea from whence the sustainable material came. The shapes of the seats are also underlined by the few graphics present and lasered with gradient backing, resulting in two contrasting techniques, inside and out: the mirror that almost hides the car and the laser that lends the Luce its personality.

Kia EV9 Says Goodbye to Leather

Kia has a long history of integrating sustainable materials into its products, starting with the use of bioplastic and sugar cane bio-fiber in the 2014 Soul EV. The South Korean manufacturing behemoth has continued this pursuit with its current range of plant-based components and use of recycled PET and discarded fishing nets in the production of its fabrics and carpets.

Kia has additionally made a firm commitment to completely phase out the use of leather in all new products and is integrating a list of 10 must-have sustainability items into all its new model lines, starting with the all-electric, three-row EV9. The all-new sustainable SUV has a range of 300 miles and can charge in 24 minutes with near-instantaneous acceleration. Finally, Kia is also continuing to invest in testing and development programs to accelerate the implementation of bio-fabrication, underscoring its dedication to advancing sustainable technologies.

Sustainability Meets Luxury in the Design of the Bentley Batur 

More than just a glimpse of Bentley’s future design, the Batur is a significant step towards the way future Bentleys will be made, using the planet-friendly materials and techniques needed for a more sustainable vision of luxury. Bentley’s Color, Materials and Finishes team turned to the exploration of the cosmos for their inspiration in creating these specifications, utilizing space-era materials and finishes to reflect the idea of a journey of exploration. New, natural alternatives to carbon fiber are now possible using high-performance composites made from flax, a sustainable super-fiber. Immensely strong and incredibly light, this material has proved suitable for use throughout the Batur, from the exterior body kit to the internal hard surfaces.  

Where leather is used, it’s sustainably sourced, thanks to a production process that uses less water and aldehyde than traditional tanning. There’s also the option to select traceable, low-CO₂ leather—something that is only possible today in the low volumes involved in coachbuilding. Sustainable, leather-like textiles made from by-products of the coffee roasting process can even be selected, as can carpets made from recycled yarn.

The Progressive Design of the Range Rover Sport SV

The new Range Rover Sport SV redefines sporting luxury, combining assertive and instinctive on-road performance with Range Rover’s progressive design. That includes uninterrupted light graphics that introduce surface LED technology to a production vehicle for the first time, providing a crisp and contemporary look at night that is vivid and consistent when viewed from any angle.

A characteristic shoulder line runs the length of the vehicle, accentuated by new lower fender details and the longest spoiler ever fitted to a Range Rover. The cockpit-like cabin sets the tone for the dynamic driving experience, providing excellent visibility while simultaneously cocooning the driver with a high, sloping center console and intuitive technologies.

Haute Couture and Art Shape the Design of the Rolls-Royce Spectre

The first electric number from the ne plus ultra of British luxury brands, the Spectre features an apparitional all-aluminum frame that is infinitely scalable and modifiable. Its design draws inspiration from haute couture, modernist sculpture, nautical design, tailoring, and contemporary art. In particular, the design takes cues from the clarity and precision of line and use of reflection in modern racing yacht styling.

For the first time on a series production Rolls-Royce, doors incorporate 4,796 softly illuminated fiber-optic stars. The ethereal, celestial theme continues with Spectre’s illuminated fascia, developed over the course of two years and more than 10,000 collective hours, that incorporates the Spectre nameplate surrounded by a cluster of over 5,500 stars. Located on the passenger side of the dashboard, the illuminations are completely invisible when the auto is not in operation, allowing the Spectre to live up to its indelible name.

Sensory Design Details Make the Lincoln Nautilus Standout

The Nautilus offers an entirely new multisensory experience that allows passengers to relax and recharge through lighting, sound, and scent. The reimagined cabin incorporates new ambient illumination along with crystal-inspired details throughout the vehicle that capture the essence of seeing sun reflected on water: the piano key shifter, instrument panel toggles, and audio knob all shimmer. Simultaneously, a symphonic orchestration with crisp, high-resolution animations on the displays creates an immersive digital sanctuary based on different moods.

Furthermore, three scent cartridges are housed in the center armrest—Mystic Forest, an earthy blend with woody, rich notes of patchouli; Ozonic Azure, a crisp mix of aromatic patchouli and traces of bright violet; and Violet Cashmere’s exotic white florals combined with more refined violet for a note of fresh linen. Drivers can then choose from three levels of scent, depending on mood, through haptic options in the center screen.

The Aston Martin DB12 Features a Clean, Contemporary Design

The latest addition to Aston Martin’s most illustrious bloodline, DB12’s interior has been completely redesigned, with clean horizontal lines emphasizing the sense of space and providing the perfect contemporary backdrop for a new state-of-the-art infotainment system with a surround sound system by Bugatti’s new British audio partner, Bowers & Wilkins.

Combining clean, contemporary design with classic craftsmanship and the finest materials, the DB12’s interior design character focuses on a driver centric cockpit. Occupants sit below the shoulder line with a high center console, allowing complete engagement with a combination of contemporary display screens and interactive analogue switches. Driver-centric controls are ergonomically placed along the cabin centerline, ensuring maximum driver connection and the bold, horizontal lines are softened with elegant cabin jewelry and distinctive trim details.

An Auto Design at One With Nature: Lexus GX

Since the first-generation GX entered the North American market in 2002, Lexus enthusiasts have praised its legendary off-road capability and its ability to tackle rough terrains. Now, the completely redesigned GX incorporates thoughtful touches at every turn.

The earth-toned interior color design is intended to complement the natural landscape just outside the vehicle’s doors. Lower, horizontal instrument panel design carries into the dash for a simplified front and passenger seat experience, providing excellent front and side visibility. Meanwhile, ergonomic measures have been implemented to help decrease load and work to aid driving posture through seat cushion, seatback bolster, and headrest improvements.

The Bugatti Mistral Auto Design Nods to Ettore Bugatti

The W16 Mistral debuts in colors inspired by the Bugatti Type 57 Roadster Grand Raid on display at the Louwman Museum in the Hague, Netherlands: a warm black with hints of truffle brown and subtle yellow accents throughout. Not only is it an homage to the iconic coachbuilt body, but also to Ettore Bugatti, who chose the black and yellow combination for many of his personal cars.

Bugatti’s advanced composite materials were paired with cutting-edge titanium and aluminum 3D-printing. Vertically stacked headlights are completely bespoke, and the famous horseshoe grille is reimagined to be both deeper and wider. Finally, the gear shifter, machined from a solid block of aluminum, features a touch of wood and an amber insert replete with Rembrandt Bugatti’s famous dancing elephant sculpture.

An Aerodynamic Design Improves Roominess in the Lamborghini Revuelto

The Revuelto is the production Lamborghini model that offers the most potential for personalization—in fact, 400 body colors are available—and all the paints used are water- rather than solvent-based. To start, the plug-in hybrid’s standard design is inspired by aerospace elements and characterized by sculpted surfaces encompassing two lines that start from the front and embrace the cabin and engine, tapering down to Lamborghini’s trademark hexagonal-shaped exhausts. The aerospace elements blend harmoniously with an animalistic muscularity starting at the front: the shark-nose section modeling of the broad monolithic carbon-fiber hood conveys a sense of power and speed.

A carbon fiber roof also plays an important aerodynamic role with a structural function that improves interior roominess. The wing profile design with a hollowed-out central part directs air to the rear air intakes, and consequently to the inverter and electric motor located on the gearbox, while the roof’s side volumes provide more headroom for both driver and passenger.

East Meets West in This New York Bathroom by Grade

2022 Best of Year Winner for Bath

Inside an undulating ground-up condominium tower in downtown Manhattan, the 4,600-square-foot apartment presented Grade with the opportunity to create a completely unique floor plate. That means interior architecture and detailing for the powder room walls and vanity and for the main bathroom’s vanity, shower, and millwork that all directly relate to the building’s exterior curves. Texture in the powder room was used to create the feeling of Middle Eastern and Mediterranean baths via mosaic tiling paired with warm stone and raw copper fixtures. The main bathroom skews more Zen, courtesy of a custom wooden Japanese soaking tub. Like with the powder room, Grade selected a large marble block for its fully carved double vanity and sinks. The stone, which had to be craned into the residence due to its size and weight, was selected for its beautiful imperfections (areas are visibly permeated by iron) and juxtaposition with the airier aesthetic of the millwork and tub.

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Grade New York: thomas hickey; edward yedid; erik malavé; danielle legault

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This Office by Pophouse is Designed for a Hybrid Workforce

2022 Best of Year Winner for Creative Office

This 30,000-square-foot workplace for the Rocket Mortgage marketing team in Detroit was conceived by Pophouse to deliver world-class strategic solutions for the mortgage-lending giant. But communication and connection became even more important than initially imagined as the project was halted by the pandemic. Allowing for different work styles with a hybrid team presence became top-of-mind for the designers. The team quickly shifted layouts, materiality, paths of travel, signage, and wayfinding to accommodate for an unknown future with both safety and wellness at the project’s forefront. Historic marketplaces, often open-air structures supported by arches that co­nn­ect the structure and, inherently, the community, were an integral architectural reference. Now, they’re reflected within each entry point, light fixture, and custom millwork detail to visually promote community within the Rocket Mortgage staffers.

Pophouse: anna okerhjelm; chrissy fehan; sophia grdina; savannah raus-wuth; brandon bartel; nicole pelton; makyle welke; anthony morasso

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A Winding, Metal Staircase Nods to Dyson’s Legacy at the Brand’s Singapore Office

2022 Best of Year Winner for Extra Large Corporate Office

The century-old St James Power Station was Singapore’s first municipal electrical provider. Its legacy of innovation continues into a new era now that Dyson has reinvented the national monument into dramatic global headquarters by M Moser Associates. At its heart is the stunning four-story former Turbine Hall. Inspired by the quadrangles of academic campuses, the 140,000-square-foot space serves as a circulation hub connecting all departments, an inner employee sanctum embracing nature, and a community space. Concrete flooring and blackened metal link to the past, while technical materials like polycarbonate, metal mesh, and mirrored cladding are more of the moment. A focal metal staircase references both the existing complex and Dyson’s heritage in the form of a turbine that also resembles the silhouette of a drill bit.

M Moser Associates: kahn yoon; addy walcott; kevin hubbard; veronica vijayanti; bhavna singhal; anisha kumar; simon paddison; sung lee; ivan mak; andrea carrion; julia tan; amanda tan; anthony ong; samuel tsang.

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The Top 5 Car Designs of 2022

From coupes with disappearing roofs to concepts with electrical architecture, Interior Design highlights the year in wheels

Behind the Car Design of the Maserati MC20 Cielo

The Cielo offers a perfect mix of sportiness and luxury, courtesy of a specification unique to the segment: the innovative retractable glass roof. The model is equipped with a state-of-the-art electrochromic smart glass window that can instantly be transformed from clear to opaque at the touch of a button on the central screen, courtesy of Polymer-Dispersed Liquid Crystal (PDLC) technology. The roof is also best-in-class in terms of thermal insulation and of opening and closing speed—just 12 seconds.

The butterfly door provides much easier access into and out of the cabin, as well as showing off the carbon fiber cockpit and the completely unmasked front wheel.

From an aesthetic perspective, the launch version features an exclusive new three-layer metallic color known as Acquamarina, as part of the Maserati Fuoriserie customization program. It’s a color that interacts with light, revealing itself in a surprising way. The base is a pastel grey inspired by racing, reminiscent of the MC20’s sporty DNA, accompanied by an iridescent aquamarine mica that enlivens the hue.

A Closer Look at the Bentley Batur

Bentley is previewing a new design language with their new Batur coupe created by director of design Andreas Mindt, which showcases a new DNA that will ultimately guide the design of Bentley’s future range of Battery Electric Vehicles (BEVs). This collection of just 18 series examples of the Batur is the latest project by Bentley’s in-house bespoke and coachbuilding division, Mulliner—the oldest coachbuilder in the world with over 250 years of experience. An endless array of options includes parts crafted in titanium, sustainable natural fiber composites, and even 3-D printed 18K gold.

Inside the Rolls-Royce Phantom Series II

The exterior is finished in a classic Rolls-Royce two-tone colorway with black over Monteverde green highlighting a bold, hand-applied Peony Pink coachline. And the coachline set against the darker colors draws inspiration from the interior color design.

Upon opening the coach doors, one encounters an interior suite of Scivaro gray offset by a vibrant color pop from large swatches in Peony Pink. The Obsydian Ayous open-pore wood and signature Canadel paneling present a contemporary yet warm look and feel. Finally, the gallery in this special commission features a world first with a unique embroidery design finished in Scivaro Grey with a Peony Pink thread.

The Cadillic Celestiq Hints at the Future of Car Design

The Cadillac Celestiq is a handcrafted, all-electric vehicle serving as the flagship for the brand’s future, but it’s built on legacy. Its prescient design, cutting-edge technology, and personalized luxury are all rooted in Cadillac’s history of building seminal vehicles such as the 1933 V16 Aerodynamic Coupe and the 1957 Eldorado Brougham.

And with 115 3-D printed parts, the on-demand custom production vehicle demonstrates GM’s broadest use of the industry-changing manufacturing process. The Celestiq develops the innovation as well: its seat belt adjustable guide loop is the first safety-related 3-D printed part in GM’s history.

It’s Electric: Introducing the Lincoln Star Concept 

More than half of Lincoln’s global volume is expected to be all-electric vehicles by mid-decade as the brand moves toward a fully electrified portfolio. Using the area no longer occupied by a gas engine, a front trunk will allow for both increased storage and expanding the feeling of spaciousness inside. With electro-chromatic glass that changes from transparent to opaque, the feature can also be instantly recognizable, allowing light in when the vehicle is in motion and darkening to hide stored valuables when parked. Under the front trunk, illuminated first-row floors flow uninterrupted into the interior, creating an airy, open cabin.

Three rejuvenation moods built around the body’s natural circadian rhythm of morning, day, and evening stand to join a proprietary new Lincoln Embrace sequence that harmonizes audio, scenting, and lighting throughout the cabin. A symphonic orchestration with crisp, high-resolution animations on the displays creates an immersive digital sanctuary. For starters, the Coastal Morning option uses gentle, oceanic sounds, a fragrance of sea mist and the soft, warm glow of the sun with dynamic lighting throughout to replicate a stroll on the beach at sunrise. Mindful Vitality is meant to reenergize the senses, with invigorating, upbeat audio, dynamic abstract artwork, soft, glowing lighting, and a flowery fragrance throughout. Finally, Evening Chill mirrors dusk using a calming night soundtrack coordinated with night sky video and an evergreen fragrance.

10 Questions With… Pete Trentacoste of Ephemeral Tattoo

Have you always wanted a tattoo but are afraid of commitment? Ephemeral Tattoo is for you—but its site-specific locations by designer Pete Trentacoste are meant for everyone. The first and only tattoo that’s made-to-fade in about 9 to 15 months, Ephemeral features tattoo artists working in the same way as traditional parlors but with ink made of medical grade, bioabsorbable, and biocompatible polymers with pigments that are routinely used in foods, cosmetics, and other products. 

The ink, which becomes small enough overtime to be removed by the body, was developed by Ephemeral co-founders Dr. Vandan Shah and Dr. Brennal Pierre over the past six years. The team has, sometimes personally, tested over 50 ink formulations. Additionally, Ephemeral has initiated an IRB approved clinical trial to scientifically validate the safety and efficacy of the ink backed by a team of chemical engineer PhDs.

The temporary tattoo innovator now counts five locations where its whimsical raison d’être is belied by the underlying seriousness of its design program. Trentacoste, Ephemeral’s head of studio design and experience, began translating the founders’ vision with the Brooklyn studio followed by locations in San Francisco, Los Angeles, Atlanta, and Houston. Each time, Trentacoste was challenged to create spaces that introduce an entirely new concept to consumers, putting those both familiar with tattooing and completely new to body art at ease. 

The team also challenged themselves to give each studio its own look and feel that fits in with the community around it, often paying homage to the location’s original purpose. In Brooklyn, this meant creating a studio with calming, monochromatic designs and soft colors as customers met the brand and concept for the very first time. In Los Angeles, the team took over an old auto body shop. There, brightly colored plastic screens, taken from a car wash, offer privacy between tattooing stations whereas semi-transparent walls serve the same function in the Brooklyn locale. In San Francisco, the team took inspiration from the Bay Area’s creative wave of the 1960s and ‘70s by pairing hand-drawn imagery with locally sourced wood. Most recently, in Atlanta, the team referenced the city’s storied nightclub scene with dark walls and contrasting red and blue elements.

Here, Trentacoste talks broadly about the permanence of design for a passing fancy, the giant disco ball custom-made for the brand’s Los Angeles studio, and the just-opened Houston space.

Interior Design: What’s your background?

Pete Trentacoste: I grew up on Long Island to Sicilian Immigrant parents. I escaped to the city as often as possible and moved to Chelsea in 2001.

ID: What’s your design background?

PT: Before I joined the Ephemeral team in June 2021, I was the environment design director at Casper, where I oversaw the design and development of the customer experience at their stores and third-party retailers like Target. My focus here was bringing the brand to life through activations that created joyful customer experiences and ‘made bedtime cool again.’ Outside of Ephemeral, I run a small design firm called All Day Breakfast that I launched in April 2015. The firm works on residential and commercial interior projects for clients such as Sies Marjan and Alexis Bittar. I’ve also worked in visual merchandising for major brands including Jack Spade and Diesel.

ID: Tell us about Ephemeral as a business, what’s its proposition?

PT: Launched in 2021, Ephemeral offers the same artistry and self-expression as traditional tattoos without the lifelong commitment. It opens the art of tattooing to the 60 million American adults who have considered a tattoo but are ultimately held back by the idea of its permanence—as well as those with permanent ink looking to try a new means of playing with body art.

ID: How does design tie into its business purpose? 

PT: Before opening our first studio in Brooklyn, we spent a lot of time talking to people about their tattoo experiences. We spoke to artists, studio employees, people who have tattoos, and people who don’t. We wanted to understand what the traditional tattoo shop experience looked like and design something that would create the best experience for both the artists and our guests. An Ephemeral tattoo is the first tattoo for many of our guests, which is a significant consideration in how we designed the studios. We want the customers to feel at ease as soon as they walk in, which may be by using certain calming color palettes or seeing a massive see-saw at the entrance. We want them to come in, look around, and feel at ease.

ID: How is the design same or different for each location?

PT: It’s important to us that each studio is unique. Our company is about self-expression and individuality, and the idea of having all our studios look the same just didn’t feel right. We want the studio to be a part of the neighborhood, so I often spend some time in each location before developing the design. I want to get a feel for the people that make up the community, what do they like to do, where do they eat, where do they hang out? It helps me create a concept that will feel right in that city. I also like to look at the history of the buildings we’re in. The Los Angeles studio was an old auto body shop, so there are a lot of references to that in the design.

ID: What’s next for you?

PT: Well, we plan to open a bunch more studios, so I’ll be busy designing those. I’m not sure what will be next, but I love working on designs that force me to think about the guest journey, the pain points, and the opportunities for improvement. At Casper, it was about rethinking the mattress buying experience; at Ephemeral, it’s about the tattoo experience, so maybe next, it’s the DMV or the post office?

Hermès Moves to a New Maison by RDAI’s Denis Montel in New York 

While physically just around the corner from its old iteration, the design of the new Hermès flagship on New York’s Upper East Side spans time. The ambitious fusion of three existing buildings was led by Denis Montel of Parisian architecture agency RDAI, the firm that has defined Hermés architecture since it was founded by Rena Dumas in 1972. Its central structure, completed in 1921 in the Federalist style as an outpost of the Bank of New York, anchors the southwest corner of its block. The adjacent buildings, former townhouses (one on Madison, the other on 63rd Street), meet in an L-shape encasing the bank.

The 20,250-square-foot store “is a union of New York dynamism and Parisian elegance,” Hermès CEO Axel Dumas says. The interiors take inspiration from New York’s Art Deco past and from the earliest Manhattan skyscrapers for a contrast of strict, angular geometry and more voluptuous, curved manifestations. 

The ground floor houses, on one side, salons for fashion jewelry, silk goods, and perfume and beauty, and on the other, men’s silk, leather goods and equestrian collections. The staircase leads to the second-floor men’s store with squared, dark-toned seating and blond wood display cabinetry arranged on a patterned herringbone wood floor that extends to the home collections area.

Ascending to the third floor, the curved walls of the women’s area host a large globe paying homage to the sun, both in its concentric circular geometry and its mimicking of natural light. This area flows into the space housing jewelry and watches, organized into alcoves for enhanced privacy. On this floor, in addition to women’s leather goods, is a masterfully crafted curved glass cupola that draws in natural light. 

The primary inspiration for the roof garden by Brooklyn-based landscape designer Miranda Brooks was a bas-relief designed from ink drawings by the French artist François Houtin. A cast-iron cavalryman, relocated from the previous New York boutique and recalling a similar figure atop the Hermès flagship store on Rue du Faubourg Saint-Honoré in Paris, resides in the garden.

10 Questions With… Hollywood Director Adam McKay and Designer Alison Koch

Adam McKay, the “Saturday Night Live” head writer turned Academy Award–nominated director (“Anchorman,” “Talledega Nights,” “Step Brothers,” “Other Guys,” “Big Short,” “Don’t Look Up”) turned climate activist, had only a passing knowledge of design. “I’m a casual fan but recently I worked on a script with an architect as one of the main characters,” he explains. What he did know was that he wanted something both sustainable and comfortable for the headquarters of his Hyperobject Industries production company, which is fresh off the success of its HBO hit “Winning Time: The Rise of the Lakers Dynasty.” So America’s foremost political and cultural satirist enlisted longtime collaborator, Outfit Home founder Alison Koch, to transform the offices of the old RCA record press building in Hollywood. 

It’s now part of Hollywood Media District, a 1920’s area largely owned by the Victor Talking Machine Co. and then by RCA in the ‘30’s and beyond. In addition manufacturing and distribution, there were several recording studios at the complex, many of which are still operating in the neighborhood today. “Our building was part of the massive city block-sized plant where records were pressed, assembled, and distributed,” Koch explains. “The record press was in the building next door and our space was used to store the records before they were packaged and shipped out. The two structures were connected by a doorway that passed through what is now our outdoor egress corridor.”

Everything needed to either be restored, replaced, or built, “from the HVAC, to the masonry, to the concrete slab, to the roof,” Koch says. “Along with Wolcott Architecture, we kept the original concrete floors and raw wood-bow truss ceiling and left hits of the original brick throughout.” 

Sustainability was extremely important in the build out. “We chose Vedical Group to advise on everything from salvaging/recycling during demolition to efficiency in all our mechanical systems,” Koch says. “With their help we were able to build with reduced energy and water usage in mind, install solar, and design with environmentally friendly finish materials (Fireclay tiles, Paperstone counters). We added EV charging for employees and guests. We also eliminated water bottles with Zip Water taps in the kitchen.” Now, the space is a Hollywood wonderland where each office has a slightly different feel, with deep warm rusts, curry and olive-green fabrics on the custom sofas and handsome plaids and herringbones in varying shades for the guest chairs. 

In a dual interview, McKay and Koch give Interior Design the exclusive tell-all about how the project came about, vintage voting booths, the allure of “All The President’s Men,” and the relationship between cinema and design.

Interior Design: What’s your own background with architecture and design?

Adam McKay: I’m a casual fan but recently I worked on a script with an architect as one of the main characters, so I did a bit of a medium depth dive. I’m really interested in where design and architecture are headed with renewable energy and integrating nature into design in a way that is highly functional and visually compelling. The idea of living bioluminescent moss inside a home as insulation both for heat and coolness got me super excited.

ID: How did this project come about?

Alison Koch: I’d worked with Adam on a few projects previously. When Hyperobject decided they needed a new office, we were brought on.

ID: What are the similarities—and/or differences—in the cinematic and design processes?

AM: They’re very similar. Making movies is all about the interaction between the practical and the creative. Whether it’s budget limitations, scheduling, weather, or sunlight we constantly live with real world restrictions while trying make something that doesn’t feel practical at all.

ID: What are your favorite parts of the project?

AK: It’s the unexpected elements hidden throughout the office. Hyperobject wanted an entry facade that didn’t directly relate to the company. After a few hilarious ideas (wig shop, record store, post office), we landed on creating custom voting booths for the reception. They are not only a nod to political responsibility, but also an interactive focal point for all guests who enter the building. We recreated four vintage voting booths in walnut. Each booth has its own writing table, ribbed glass window trimmed in brass, privacy curtain and vintage sconce. For added authenticity, we collected old voting machines and political pamphlets for each booth. The best surprise lies in the end booth, which has a back wall pocket. Beyond is a small room with a custom inset Mirmir photo booth, which brings in a modern twist to the overall design.

The screening room at the back of the building is also a favorite. The main hall ends in a 21-foot-wide bookcase flanked by walls of solid fluted oak paneling. Concealed within the paneling is an inconspicuous door that opens into a full state-of-the-art screening room clad in tones of deep blue linen and velvet textiles.

ID: What’s the all-time best designed office in a movie?

AM: Easy. “All the President’s Men.” That Washington Post office looked incredible. A whole generation of journalists became journalists because they wanted to someday be in that exact newsroom. 

ID: Who was the most visually design savvy director in history?

AM: For me it’s Wong Kar-wai. “In The Mood for Love” alone puts him high on any list. But all his films are visual design feasts. The really interesting thing is that his editor William Chang, was his production designer! You never think of those two disciplines being so connected. Pace, rhythm, story, color, and texture…Maybe it should be tried again. It worked so well for Wong Kar-wai.

ID: What do you have up next?

AK: We recently relocated our offices so getting settled in our new space is a top priority. We are also currently working on interiors for a new media company in Santa Monica and two residences in the Bay Area.