Marta
3021 Rowena Ave
Los Angeles, CA 90039
Join us to celebrate the launch of Jean Lin’s first book, What We Keep at Marta amongst Rites of Spring, a group exhibition of works by twenty-two artists across eighteen practices. A wonderful backdrop to celebrate the west coast launch of the book, the show nods to the transformational power of the season and rebirth.
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.
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.
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.
Working from a rich foundation of curation, design education, and collaborative design development, our second annual residency culminates on June 13th as we introduce the next generation of Colony designers. Following our intensive eight month incubator, we're proud to launch four nascent studios into not only Colony's collection but also the independent design world.
Alara Alkan Studio
Ember Studio
M.Pei Studio
Thomas Yang Studio
Join us to celebrate the future of design.
The Designers' Residency Opening Reception
Thursday, June 13
6:00 -9:00 PM
196 West Broadway
Entrance on Varick
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.
Standard Materials: Cotton, Linen
Dimensions: 93"L x 91.25"W
Lead Time: a one-off piece
Keep the pattern party going with the pieces below:
Even in my wayward youth, I loved to write. I loved how, if I bent my brain just so, the words came together on the page and danced. I loved how, in heartbreak I could frantically scribe my revenge and somehow feel a little less devastated. Even then, I found power in the freedom, the creativity and the precision of thought that words allowed me.
As childhood dreams tend to do, my dream of someday writing a book faded into the background. I discovered new loves, and loved them voraciously. Design felt foreign and urgent at first, but over the years it has become my most fluent language. As an adult, I've settled comfortably into my role in this world: Finding and sharing the substance behind beauty beyond what is most readily prescribed.
It was just then, comfortable with my path narrow before me, that the opportunity came to write this book. My editor Shawna Mullen and my publisher Abrams handed me this unbelievable imperative to explore the precision of thought that I could achieve through both words and design, my childhood love and my life's work.
In the process of writing What We Keep, I have had to, over and over, ask myself what is important enough to share. Beauty and substance are just the beginning. Community, skill, diversity, authenticity, vulnerability, compassion, courage, family. This book is my small contribution to these big conversations, using the language I know best.
What We Keep officially launches Tuesday, May 14. We are hosting a celebratory launch at Colony and I would be honored for you to join us. I will be joined in conversation by Asad Syrkett, editor in chief of Elle Decor (who wrote the foreword in the book) at 5 PM, with a public reception to follow. A few spots have opened up for our talk, and I've included the RSVP details below.
Thank you, as always, for reading.
Jean Lin
Join us to celebrate the launch of Jean Lin’s first book, What We Keep. Asad Syrkett, Editor in Chief of Elle Decor, joins Jean in conversation about the book, design media, and the intersection of words, images and objects.
May 14, 2024
Colony
196 West Broadway
New York, NY
5:00 - 6:00 pm conversation
6:00 - 9:00 pm public reception
My hope is that this book is a testament that the stories of what we keep, and why we keep them, are worth telling. Because it’s in the telling, and retelling, that we can find ourselves and one another in a universal understanding: The beautiful life is not only to be pursued alone, but also uncovered together as a collective.
Join us to celebrate the launch of Jean Lin’s first book, What We Keep. Asad Syrkett, Editor in Chief of Elle Decor, joins Jean in conversation about the book, design media, and the intersection of words, images and objects.
May 14, 2024
Colony
196 West Broadway
New York, NY
5:00 - 6:00 pm conversation (sold out)
6:00 - 9:00 pm public reception (RSVP below)
We're taking the book on the road! Jean will be visiting six cities in the coming months. Local friends and co-hosts will join her at some of the stops. Come for a drink and a book!
5/24/24 - TORONTO
Swipe Design - 401 Richmond Street W, Suite B04
RSVP
5/30/24 - AUSTIN
First Light Books - 4300 Speedway
RSVP
6/6/24 - LA
Marta - 3021 Rowena Ave
RSVP
6/20/24 - MIAMI
Books & Books - 265 Aragon Ave
RSVP
6/27/24 - NASHVILLE
The Green Ray - 3237 B Gallatin Pike
RSVP
9/19/24 - PORTLAND, OR
Spartan Shop - 60 E 42nd Street SUITE 1201
RSVP INFO TO FOLLOW
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.
Standard Materials: American walnut, Bronze hardware, Aluminum French Cleath
Dimensions: 30”W x 10.375”D x 44”H
Lead Time: 14-16 weeks
Standard Materials: Brass, Glass and Wood
Dimensions: 17.75”L x 11.5”W x 27.25”H
Lead Time: 16-18 weeks
Standard Materials: Finished Brass, Clear Glass Prisms
Dimensions: 33” x 9.4” x 5.1”H
Lead Time: 14 – 16 weeks
Standard Materials: White Oak, Brass, and COM Seat Height: 16”
Dimensions: 20” L x 20” W x 31” H
Lead Time: 8-10 weeks
Standard Materials: Oak, Travertine and Brass
Dimensions: 84”W x 21”D x 30”H
Lead Time: 20 - 22 weeks
Don't miss the enviable hardware on some Colony favs below:
My first book, What We Keep will be published on May 14 (available now for preorder). I can hardly wait for you all to see it. In the meantime, I'm so thrilled to share some behind the scenes content with you here. Excerpts, b-roll images, video clips from my interviews with contributors, will hopefully give you a sense of what went into writing, styling and photographing this book, as well as a little peek into its pages.
My professional path has always been informed closely by my personal passions, so I called upon my Taiwanese heritage to structure the book in five sections, each named after one of the Traditional Chinese elements: Wood, Fire, Earth, Metal and Water. Much like the elements, the sections of the book are distinct in style and sentiment, yet deepened by their kinship to one another. Here is a preview and behind the scenes look at Section 4: Metal.
Brooke and I shot 52+ projects at an unheard of clip for this book. It felt like a super power to be able to walk into a new space and find the beautiful shots, angles and frames. It wasn't always easy and we alternated being tired and having energy so the other could lead when necessary.
“The small collections we do keep when moving has forced us to edit out possessions, and are the treasured exceptions. A mid-century Danish wall unit from my childhood home came from my grandmother’s bedroom, so it holds sentimental value for me. I think it was even in my family’s house when they first emigrated from Germany in the 1950s. When we moved here, my friend Fabi used it in her LA apartment for a few years, and when she moved to San Francisco, she asked to buy it from me. I did sell it to her, but we have an agreement that if I want it back, she’ll sell it back to me.
“When you buy or inherit pieces of quality, they last,” continues Allyson. And the beauty of Allyson’s arrangement with her friend Fabi is good advice for all collectors: “Do we expect any of that stuff back? No, but we know it isn’t gone forever.”
Julius adds, “This was the rhythm we were in, editing down our pieces to only what we needed with each move. But that was all amplified when we bought this house.”
And what of this house? You see, Allyson, a consumer- trend forecaster, and Julius, a director and cinematographer, own a house designed by preeminent modernist architect Richard Neutra—an architect’s architect whose works are on historic-preservation lists, celebrated as Southern Californian icons. When a Neutra home comes on the market, architecture aficionados of the Southern California ilk—read, Hollywood—come knocking.
“We are so, so lucky,” says Julius of how they came to own a piece of architectural history. A friend and colleague, and the previous owner of the house, had toured Julius through just as he and Allyson were starting on their search to buy a place. “The feeling of walking onto the property and down to the house, it was incredible. There was a feeling of peace, and I knew that this was our dream house.”
We are thrilled to welcome BZIPPY to the Colony family! We have long admired artist and founder Bari Ziperstein, who opened her studio in 2008 and her collection pushes the boundaries of what ceramics can achieve in both scale and form. The colorful, and seemingly endless glaze and finish options add a lovely pop to our new gallery floor.
Working tirelessly to develop engineering methods that challenge conventional notions of slab construction, BZIPPY devises creative solutions to both formal designs and technical concerns. The studio's architecturally scaled ceramic vases, vessels, lamps and furniture bring a sense of innovative playfulness to the Colony collection.
RSVP here to see the BZIPPY pieces in person at the opening reception of our new space on April 25 from 6-9 PM.
Double Tier Cloud Side Table
Single Tier Ruffle Side Table
Tall Scallop Vase
Tall Twisted Castle Side Table
Circle Top Small 6 Vase
Variations occur throughout the handmade process; final products may vary slightly from images of listed dimensions. The tension between uniformity and character is inherent to the BZIPPY fabrication process.
All products can be made to order in any color from the glaze palette.
Glazes are indoor/outdoor safe.
10-12 week lead time for made to order.
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.”
Standard Materials: Wood, Brass, Leather COL Available
Dimensions: 84"L x 31"W x 16"H
Lead Time: 16-20 weeks
The options for lounging are limitless…
