Menu Close

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

 
INQUIRE

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

INQUIRE

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

INQUIRE

Cascade Dining Table

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

INQUIRE

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. 

RSVP HERE

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.

INQUIRE

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.

INQUIRE

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. 

RSVP HERE

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.

INQUIRE

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.

INQUIRE
The deadline to RSVP for this event has passed.

Spec Sheet: Quadrant Quilt by Meg Callahan

Thomas Yang

Meg Callahan is doing the good work. Her newest quilts, Juno Circle,  Marrow, and Quadrant (featured here) are composed entirely of repurposed materials and mark a shift in her approach to making wherein the construction is dictated by the material at hand. Like many of us, Meg aspired to reduce her eco footprint and turned to the immensity of available deadstock, offcut, vintage, and scrap fabrics.

Says Meg, “This practice of working with scraps or byproducts of other production is the root of many quilting practices and traditions, but funnily enough new territory for me and more difficult than I imagined. Each patchwork pattern is attuned to the size, color, quantity and shape of the scraps as I received them. I am interested in shifting towards working with offcuts as a way to develop non-homogeneous production processes and developing alternative material sourcing practices.”

The designs/patterns of these three quilts are available for commission, but fabrics will change depending on availability of deadstock/scrap.


Notes

Standard Materials: Cotton, Linen
Dimensions: 93"L x 91.25"W
Lead Time: a one-off piece 

INQUIRE

More Of 

Keep the pattern party going with the pieces below: 

Juno Circle Quilt


On your bed or wall alike, this new piece inspires zen.

Gambit Coffee Table


An alluring juxtaposition of Crema and Rosa Marble.

Single Tier Ruffle Side Table


BZIPPY’s Drippy Palladium glaze is giving idyllic rural.

In Detail: Hardware

Thomas Yang

The devil isn’t in the details here at Colony, it’s in the hardware. When our designers conceptualize a new piece, they are always finding new ways to ingrain unexpected flourishes. These subtle aesthetic inclusions can accent meticulously handcrafted hardwood or simply bolster the unique personality of the work. Be it an ellipse of bronze anchoring the feet of Grain’s 19th century inspired hanging cabinet, the brass detailing of an SSS Atelier dining chair, or the  custom brass pulls of Vonnegut/Kraft’s travertine-topped credenza, there are no shortage of glimmers on our showroom floor.

Off-Grid Cabinet

Standard Materials: American walnut, Bronze hardware, Aluminum French Cleath
Dimensions: 30”W x 10.375”D x 44”H
Lead Time: 14-16 weeks

INQUIRE

Aperture Table Lamp

Standard Materials: Brass, Glass and Wood
Dimensions: 17.75”L x 11.5”W x 27.25”H
Lead Time: 16-18 weeks

INQUIRE

Phaedra Horizontal

Standard Materials: Finished Brass, Clear Glass Prisms
Dimensions: 33” x 9.4” x 5.1”H
Lead Time: 14 – 16 weeks

INQUIRE

 Kamp Dining Chair

Standard Materials: White Oak, Brass, and COM Seat Height: 16”
Dimensions: 20” L x 20” W x 31” H
Lead Time: 8-10 weeks

INQUIRE

Bombora Credenza

Standard Materials: Oak, Travertine and Brass
Dimensions: 84”W x 21”D x 30”H
Lead Time: 20 - 22 weeks

INQUIRE

More Of

Don't miss the enviable hardware on some Colony favs below:

Bend/Arc Desk

Brass details on the desk of our dreams.

Brass X4

Machined brass and freely rotating arms—what more could we ask for in a pendant?

Black and White Lounge Chair

She's all angles and accents. 

Spec Sheet: EAE Daybed by Erickson Aesthetics

Thomas Yang

If you ask us, a daybed is always a sleek inclusion. The inviting ribbed cushion and leather bolster of the EAE Daybed proves this principle, enticing you to laze in unadulterated style. In this flagship piece of Erickson Aesthetic’s Tube and Dowel Frame series, patina’d hardware compliments hardwood, circular to oval legs and tapered corners set in a slender metal frame. Now that’s what we call Becky with the good hair-on-hide. 

Founder and designer Ben Erickson looked to some iconic design forebears, “The piece was initially inspired by ancient Egyptian beds, with the intent to create something even more minimal than the ubiquitous Mies van der Rohe Barcelona Couch. The gray and white brindle hair-on-hide versions with black bolster pillow in particular, are my play on the Corbusier cow print Chaise lounge.”


Notes

Standard Materials: Wood, Brass, Leather COL Available
Dimensions: 84"L x 31"W x 16"H
Lead Time: 16-20 weeks

INQUIRE

More Of

The options for lounging are limitless…

Crescent Lounge

A study in balance.

Chaise Lounger

Wood frame meets circular arm in a divine intersection. 

Cloud Sofa

Peep the hand-hammered metal legs. 

Spec Sheet: Fort Credenza by SSS Atelier

Thomas Yang

For many of us, first forays into design might be traced back to the construction of our beloved childhood forts and the particular pride and delight of building with one's own hands. For SSS Atelier founder and designer, Sarah Sherman Samuel, those days of youthful dynamism have manifested in the Fort Credenza, inspired by the structural design of her own early creations. This hyper linear piece provides a generous 8 full feet of storage, and can be customized to accommodate the specifics of your space.


Notes

Standard Materials: Oak, Ebonized Oak, Walnut
Dimensions: 4101"L x 18"W x 22.5"H
Lead Time: 16-18 weeks

INQUIRE

Life/Design

Top off your new credenza with our coffee table book recs below…

What We Keep

We would be remiss not to include the forthcoming pride of our Colony joy.

Faith Ringgold: American People

Her retrospective at the New Museum blew us away.

______is a breakfast food

Compelling as an art object and pragmatic for breakfast connoisseurs.

Spec Sheet: Arc/Shift Coffee Table By KWH

Thomas Yang

The Arc/Shift Coffee Table is a piece with magnetism. Its layered top rises out of an underbelly of expertly crafted contours to betray an otherwise monolithic presence. A staple of the Arc series, the table features solid, Bleached Ash of the hardwearing KWH caliber we can be sure of. Custom dimensions and finishes are available (we’d love to see this beauty in Black Walnut!).


Notes

Standard Materials: Bleached Ash
Tearsheet download
Table: 48"W x 72"L x 17"H

INQUIRE

More Of

More coffee tables to hold your copy of What We Keep come May…

Mr. C Table

Stunning white oak Noguchi-inspired legs.

Ledge Coffee Table

It's the double bullnose top for us.

Radial Coffee Table

The more KWH the better.

Colony Classics: Dish Side Table by Grain

Thomas Yang

Grain has always been forward-thinking, be it in their commitment to environmentalism or in their progressive design. In 2012, they launched the Dish series, a collection distinguished by striking sloped underbellies, like that of the Dish Side Table. These sculptural tables are not only milled to avoid warping and cracking over time, but also double as stools. Co-founder Chelsea Minola recalls, ““Our first Dish tables were inspired by a collection of hand-carved stools that I inherited from my grandparents. The original tables have a great sculptural presence but warped and cracked over time. Our idea was to take inspiration from the basic dished-out top but to make them in a way that allows for more stability as well as providing a more useful flat surface.” 

For her partner James, the tables are more about the fabrication process itself, “Traditionally, if you are going to make a wood dish or bowl you would use a lathe, but that process is quite limiting in terms of scale.” They utilize a robotic milling arm in its stead, allowing them to refine massive cuts of lumber to smooth distinction.


Notes

Standard Materials:  FSC Certified Ash, Blackened Ash, Douglas Fir, Walnut
Dimensions: 18 ø x 16"H
Lead Time: 12-14 weeks 

INQUIRE

Life/Design

See below for more eye-catching Grain selections: 

Clover Side Table

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

INQUIRE

Circlet Single Sconce 

Standard Materials: Solid Cork
Dimensions: 8"L x 6"W x 7"H
Lead Time: 10-12 weeks

INQUIRE

Drift Side Table

Standard Materials: FSC Ash, Cast Glass,Brass
Dimensions: 18"L x 18"W x 17"H
Lead Time: 12-14 weeks

INQUIRE