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Palette: Zen Room

Thomas Yang

Tian Den - Media


Standard Materials: Yame Kozo Hadaura Paper,
Bamboo String, Cherry, White Stone Ceramic
Dimensions: 10"L x 12"W x 37"H
Lead Time: 16-18 weeks

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Monotype Bronze Diptych

Standard Materials: Monofilament, Cotton, Linen and Kid Mohair
Dimensions: 32"L x 32"W x 25"H
Lead Time: In-Stock

 
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Unfurl Pendant Pair

Standard Materials: Oil-Rubbed Bronze and White Wispy Glass
Dimensions: 54"L x 16.2"W x 36"H
Lead Time: 14- 16weeks

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CLOVER SIDE TABLE

Standard Materials: Cork
Dimensions: 14.5″ W x 14.5″ D x 16″ H
Lead Time: 12 - 14 weeks

 
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Wiggle Vase

Standard Materials: Ceramic
Dimensions: 7.25”Ø x 10”H
Lead Time: 10 - 12 weeks

 
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BOW CHAIR

Standard Materials: Oak, COM available
Dimensions: 35.5”W x 32”D x 32”H
Lead Time: 20-24 weeks

 
 

 

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More Of

Inspire serenity with the selections below…

Repeat/ Arc Side Table

Note the layered Red Oak arc detail.

Roebuck Bench

Standout joinery and rounded legs are bringing us peace. 

Slanted Armchair No.1

Cut from a single slab of Indian Onyx. We're feeling enlightened.

 

 

In Detail: Giant Waffle By Hiroko Takeda

Thomas Yang

Hiroko Takeda’s textiles, particularly those in the Giant Waffle series, achieve a spellbinding and painterly quality through structured weaving. The artist plays with volume, color, and movement utilizing organic and synthetic fibers, animal fibers, metallic yarn, plastics, amongst others in these ongoing explorations of dimensionality. There’s striking variation within this collection, as in the ethereal falls of monofilament seen in Neptune or the vibrating grid of Gathering, both at right. We love the customizations in size and colorway we can tailor to any interior palette.

Monotype

Standard Materials: Monofilament, Cotton, Linen and Kid Mohair
Dimensions: 23″H x 34″W
Lead Time: 16-22 weeks

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Neptune

Standard Materials: Brass, Glass and Wood
Dimensions: 64" H x 42" L
Lead Time: In-Stock

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Gathering

Standard Materials: Silk, Wool, Kid mohair, Cotton
Dimensions: 45" H x 55" W
Lead Time: 16 - 22 weeks

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AVAILABLE NOW

Lucky you, in-stock Hiroko Takeda wall hangings from her Soft Metal series below...

 Apollo Study II

Mimicking the reflective qualities of polished brass.

Night

Dark linen, hemp, and metallic thread for a moodier moment.

Apollo Study

Small but mighty iridescent. 

Spec Sheet: Cabinet of Memories by Thomas Yang Studio

Thomas Yang

To Thomas Yang, craft and care are synonymous terms. This deeply felt philosophy, alongside a reverence for material and everyday use, informs his fine-tuned practice. In the tradition of sashimono, a Japanese style of wood joinery, the designer utilizes both simple and complex joints in lieu of nails. Intrinsically a cultural homage, Cabinet of Memories is also an externalized reminiscence. Within his take on a traditional East-Asian cabinet, is a devotion to daily objects evidenced by drawers and doors of unexpected and varying sizes as well as splines to display beloved texts. 

Echoes of Yang’s childhood lingered in the cabinet’s construction, “My family home was filled with Ming dynasty cabinets with different lacquers, door handles, hinges, and drawers. Creating this cabinet was about materializing the essence of nostalgia through secret drawers, in musing on the drawers my parents kept their valuables in. I imbued my book spline design on the cabinet as an ode to those authors and artists who inspire me and who I am always returning to. It’s built with the hope it will become nostalgic for those who have it in their life: everchanging, a space to hold pre-existing artifacts.”


Notes

Standard Materials: Cherry, Maple, Hide Glue, Stainless Steel Hinges, Sterling Silver Fish Knob
Dimensions: 26″L x 14″W x 31″H
Lead Time: 16 -18 weeks

 
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More from Yang’s Jia-Ciasa (meaning home in Taiwanese and Northern Italian dialects) collection below…

Ama Chair

A petite interpretation of the designer’s inimitable Ama (gma). 

Tian Den Light (Media)

Hand-sewn paper shades redolent of, and named for, Taiwanese sky lanterns. 

Casa Busetti

Alone, or as a set, the most stylish hook in your Jia-Ciasa. 

Spec Sheet: LABYRINTH GARDEN by M.Pei Studio

Thomas Yang

The creative mind of Maggie Pei is much like that of Labyrinth Garden: a complex network of exquisite connections. Its ceramic tiles, reminiscent of an ethereal dreamscape, are hand-drawn by Pei who conceptualized this piece in a series of four wall-mounted cabinets meant to capture the designer’s subconscious while reflecting the fragmented nature of memory. Their utilitarian use, to hold and conceal, further deepens the finely crafted allegory. 

Pei foresees a shifting emotional landscape in the furniture world, “I feel a lot of optimism about the future of design. We are entering an era in which the function of beauty and sentimental value are getting more and more attention and appreciation. There’s a realization of how we as human beings share a collective memory, a shared flow of emotions and empathy. Expressing personal sentiments through creative works is no longer perceived as selfish. Instead, these creations are being regarded as bridges, transcending individual boundaries to foster resonance and connection among people on a universal level.”


Notes

Standard Materials: Hand-drawn tiles, Maple, Brass hardware
Dimensions: 14"W x 8"D x 21"H
Lead Time: 10 -12 weeks

 
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More Of 

The lyrical visuals continue below:

Songless Theater

Inked dyed oak and hidden interior curtains (noirish swoon).

Apothecary Floor Lamp 

Inspired by the grids of ancient Chinese apothecary cabinets.

Pillow House

We’re moving in. 

Palette: Compare and Contrast

Thomas Yang

Sula Chair

Standard Materials: Shown in Oak, COM
Dimensions: 33"W x 40"D x 34"H
Lead Time: 22-26 weeks

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Clover Coffee Table

Standard Materials: Cork
Dimensions: 32"L x 32"W x 15"H
Lead Time: 14-16 weeks

 
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Kana Chair

Standard Materials: Ash, Mohair and COM available
Dimensions: 24"H x 19"D x 28"W
Lead Time: 22- 24weeks

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Hammered Metal Stool

Standard Materials: Mohair, Hammered metal
Dimensions: 20″ D x 19″ H x 17″ SH
Lead Time: 14 - 16 weeks

 
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Movement Dining Table

Standard Materials: Ebonized Oak, Stone
Dimensions: 60”Ø x 30”H
Lead Time: 16 - 18 weeks

 
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Colony_KANA-CHAIR_VonnegutKraft

More Of

Not everything needs to be tonal! These pieces prove that sharp contrast can bring form into focus…

Boe Lounge

A black stained ash frame supports sculptural upholstery.

Jot Cabinet

Contrasting oak and walnut inlays create a graphic composition. 

 

Pyramid Table XL

An angular hourglass table with endlessly customizable stone configurations.

 

 

Spec Sheet: Trio Swivel Chair by Ember Studio

Thomas Yang

It’s her near decade of experience as an interior designer that informs Ember Studio founder Steph Betesh’s furniture practice. As one of Colony’s designers in residence this year, her Trio Swivel is a standout in a warm yet sleek collection accompanied by the designer’s handmade ceramic vases and candleholders. When you’re as steeped in her projects as she is, you start to notice holes in the market. For instance, Steph wanted more COM swivel chair options, so she designed this one. The Trio features three distinct surfaces, the seat, frame, and side panel, allowing for multiple fabric selections. Why choose one when you can have three? 

Steph approaches furniture design with an enduring curiosity, “I am always looking for inspiration in the world around me. Being aware and making connections between the less obvious often leads to new ideas. When I sit down and try to sketch a new piece, I usually am looking at all different types of inspiration that may seem unrelated but when you change the scale, form or material, it can spark a novel idea. I usually sift back through photos I've taken or things I've saved and try to define why I was drawn to that. Sometimes the ideas come easily and other times they need to be worked and reworked several times before they come to fruition.”


Notes

Standard Materials: COM Fabric
Dimensions: 34"W x 31"D x 31"H
Lead Time: 8 -10 weeks

 
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More Of 

As the Trio Swivel proves, more is more! Additional Ember Studio selections below...

Remnant Side Table

Upcycling in action, we love to see it. 

Duo Side Table

Lacquer and matte is a marriage we believe in, with customizable colors to boot.

Rift Sconce - Porcelain

Let the soft glow in with the Rift. 

Spec Sheet: Maelen Cabinet by Alara Alkan Studio

Thomas Yang

It’s the power of transformation that strikes designer Alara Alkan when she’s immersed in nature; the Designer’s Residency alum looks to the tides, sun, and wind and their abilities to shift and exist in new forms for design inspo. That reverence is eminent in her debut collection for Colony, with its deft manipulation of raw material honoring the intrinsic qualities of the wood in metamorphosis. Be it the sand-blasted Douglas Fir comprising her Maelen Cabinet or the tapered White Oak columns of her Madra Floor lamp, Alkan's work exudes a visual lightness and tactile intrigue. 

Speaking to her process and influences for this collection, Alkan notes, “I view all my works as fragments of one big, ongoing story, where my pieces are often linked or related in terms of their ideas, materials, and aesthetics, across time. I’m inspired by Venezuelan artist Carlos Cruz-Diez and many others that are part of the kinetic arts movement. The play between stillness and motion just by the appearance of a line really drives how I approach form and texture. His work helps me understand motion, transition and space.” 


Notes

Standard Materials: Douglas Fir
Dimensions: 38"W x 20"D x 32"H
Lead Time: 12 -14 weeks

 
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More Of 

The visual feast continues below: 

Madra Table Lamp

Madra’s unique slanted skirt shade captivates both off and aglow.

Maelen Etagere

Sculptural, balanced, and replete with possibilities of use.

Madra Floor Lamp

Though the fluted details fade gracefully, the elegance never will. 

Passages: Start of Summer

Thomas Yang

SUMMER
Robin Coste Lewis

Last summer, two discrete young snakes left their skin  on my small porch, two mornings in a row. Being

postmodern now, I pretended as if I did not see them, nor understand what I knew to be circling

inside me. Instead, every hour I told my son to stop with his incessant back-chat. I peeled

a banana. And cursed God—His arrogance, His gall—to still expect our devotion

after creating love. And mosquitoes. I showed my son the papery dead skins so he could

know, too, what it feels like when something shows up at your door—twice—telling you what you already know.

 

____________________

 
 
Marmar Studio Clog Lounger

More Of

Clover Side Table

Standard Materials: Cork
Dimensions: 14.5″L x 14.5″W x 16″H
Lead Time: 12-14 weeks

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Dual Crux Sconce

Standard Materials: Machined Brass, Blown Glass
Dimensions: 8.5"L x 184.25"W x 15.75"H 
Lead Time: 16-18 weeks

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Cascade Dining Table

Standard Materials: Oak
Dimensions: 80"L x 38"W x 30"H 
Lead Time: 22-26 weeks

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Meet Our Residents Part II: Alara Alkan Studio, Thomas Yang Studio

Thomas Yang

The second year of Colony's Designer's Residency culminates this week on June 13th at 6PM, please join us then as we introduce the design world to four talent-packed, emerging studios. We caught up with Alara Alkan and Thomas Yang, the second half of this year's cohort, and founders of Alara Alkan Studio and Thomas Yang Studio, for a chat ahead of their  launch of their collections. 

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ALARA ALKAN STUDIO

Alara Alkan is a New York-based designer, maker, and founder of Alara Alkan Studio. As a first generation Turkish-American, material curiosity drives her exploration of objects as manifested memories; she draws inspiration from the transformative nature of tides, wind and sunlight. Alkan teaches and guest lectures at RISD, Pratt, and Parsons.

Alara, how do you approach creating a new piece of furniture?

A: In my designs, I have continuously worked to develop pieces that do not steal attention from the material itself, rather ensuring that materiality always prevails. By highlighting the inherent qualities of each material, natural beauty and texture, I approach each piece with a neverending curiosity.

Describe the moment this collection came into focus for you.

A: My brain loves to play with what it loves, and I have a great love for tangible materials. My practice is a form of play from which comes a material in an altered/other state of itself that is refreshing and new. I believe playing with material states/forms is another way to keep them alive. I view all my works as fragments of one big, ongoing story, where my pieces are often linked or related in terms of their ideas, materials, and aesthetics, across time.

Describe both your personal and design styles.

A: There is both comfort and curiosity in bringing the force of nature into someone's home. It is not something we often come across or think about. I want my objects to carry these qualities wherever they go. They bring something within them that is inherent to their nature, as do the objects I collect and bring into my own home; they resonate with my own nature. Being a designer was never actually my intention. Looking back at how fascinated I’ve always been by objects, how things are made, materiality, colors and texture, it is no surprise that I have been a collector of things for their unique qualities. In my practice now, what fascinates me the most is pushing those qualities further in different materials.

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THOMAS YANG STUDIO

Thomas Yang is a Taiwanese and Northern-Italian designer, with a background in industrial and object design. Derived from culture and memory, his exploration of hand-making methods emphasizes a philosophy of care and reverence for material and daily use. 

Thomas, what was your vision for this collection/for your studio?

T: Jia-Ciasa means home in Taiwanese and Northern Italian dialects. When I began working on this collection, I wanted to create a body of work that felt familiar, yet unorthodox. Comfortable, yet alive.The collection came from a philosophy of objects I call beautifully ordinary. This philosophy is not based on the associated brands/names to the object, but on its ability to transcend time. To be used. To be cared for and loved, so much so that it is repaired and maintained year after year. The collection, and my ever-learning studio practice endeavors to create objects that will one day become beautifully ordinary.

What was the design process like for this collection?

T: My process is two-fold, first comes personal introspection into my practice, the objects I make and why I make them. Second, a collection of knowledge from others, the material, and the tool. I often ask people of other professions for critique and knowledge. An engineer may point out nuanced details, an actor may share how they animate an object, and crafts people share their knowledge of material and tradition. The design process for my Jia-Ciasa collection was difficult. My practice requires consideration of care and thought that is intrinsically tied to time as I hand-make every piece of each object, and so my process is uncertain. I draw, formfind, and attempt to move around the idea of this object.I listen to the material, challenge my understanding of it, and try to hold true to the ideologies of my personal design philosophy.

What or who were your influences? 

T: To tell my story through design and craft, I needed to learn from the experts of care, love, and empathy. I have been influenced by those I love and who love me in return. My mom, dad, and sister. My grandparents. My partner. I am Influenced by the makers who have shown me ways of knowing, Sori Yanagi, an expert in folk craft, along with other Eastern Asian Americans that came before me: George Nakashima, Ruth Asawa, and Isamu Noguchi. I am also inspired by different ways of seeing: Agnes Martin, Rachel Carson, Victor Papanek, and Seamus Heaney.

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Meet Our Residents Part I: Ember Studio, M.Pei Studio

Thomas Yang

The second year of Colony's Designer's Residency culminates next month on June 13th at 6PM, please join us then as we introduce the design world to four talent-packed, emerging studios. We caught up with Maggie Pei and Stephanie Betesh, one half of this year's cohort, and founders of M. Pei and Ember Studios, for a chat ahead of the launch of their collections. 

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M.PEI STUDIO

Maggie Pei is the founder of M.Pei Studio. Her practice is rooted in a deep appreciation for objects, their narratives, histories, and the manner in which they come alive. Pei's furniture aims to transcend object and become subject, capturing the forgotten sensations of a moment on the threshold where past converges with the present, where the lucid co-exist with the hidden.

Maggie, what was the design process like for this collection? What or who were your influences?

M: The design process for this collection started with collaging, making collages from paper, from different materials, from found pieces of objects. Life felt a bit more like a collage to me last fall. I moved to  this city, both familiar and new to me and was bombarded with mixed cultures in this huge melting pot, carrying things from the past, discovering something new, or rediscovering things that have been put to the back of my head. The surroundings that I was experiencing clashed with my habits from the past, to become an influence I could not escape.

Describe your collection and/or studio in 3 words.

M: Mystical, Sentimental, and Poetic. 

How do you approach creating a new piece of furniture?

M: I view creating and living as a whole. I try to not overthink about what a collection or new pieces need to be instead focusing on the state of mind at the moment and revealing what they are supposed to be. New pieces, along with past and future creations, stories, and memories all work together to weave this ongoing narrative of the tale I am crafting.  If my previous works could be likened to prose pieces that could be compiled into an anthology, then I envision this collection as a short novel. I hope that it will articulate a more defined storyline and facilitate increased interaction among the characters.

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EMBER STUDIO

Steph Betesh is the founder of Ember Studio. She holds a B.S. in Interior Design from the University of Texas at Austin School of Architecture alongside a near decade of experience working on both residential and commercial projects. As a spatial designer, Steph's work implements a holistic approach emphasizing the harmonious relationship between the individual object and its environment to encourage moments of human connection.

Steph, what was your vision for this collection/for your studio?

S: My vision for this collection was to create a group of approachable and livable objects for thoughtfully curated spaces. I wanted the pieces to invite you in while using an eclectic mix of materials to create interest and add layers of depth to the space where the piece resides. My vision is a holistic approach creating considered spaces and objects with a unique charm and individuality.

What do you see as the future of design? 

S: The future of design relies on the process and the story behind what is created. The errors, trials, references, and inspirations create a conversation that makes the work authentic. That being said, the space or object should also be able to stand on its own, but the thoughtful foundation inherently makes it more interesting and honest.

What does the design world need more and/or less of? 

S: Less mass production. More opportunities for independent designers like Colony's residency program. When I first read about it I was so impressed because nothing else like it exists within the design world. I have felt so supported and encouraged throughout the duration of the residency, and a big part of that had to do with the academic, collaborative and conversational nature of the program. Having worked for design firms with many late nights and tight deadlines, I can say that process was oftentimes put on the back burner which inevitably hindered creativity and didn't allow time for collaborative conversations. Design can be its best when everyone in the room can comfortably express their opinion, have the space to agree/disagree, and the time to work through it to make it the best it can be.

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