Menu Close

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

Notes from the Curator: Shop Our "Objet"

jeanlin

Before the move, I had no idea what kind of foot traffic we would see in our new space, but I did know that it felt like a wasted opportunity if we didn't offer smaller items that people could purchase on the spot. Accessories, table top...Objet.

In our own design practice we love mixing contemporary work with vintage pieces, the latter of which bring texture, an element of surprise, authenticity and history into a project. I have always thought that showcasing a collection of vintage works, carefully curated, would add untold aesthetic delight to our gallery floor.

Sourcing these vintage and antique finds has been inspiring and eye-opening. Eschewing themes or resale values, I've been following my gut, acquiring pieces that are undeniably beautiful, whimsical, unique and/or useful. This collection of Objet is a little peek inside my own aesthetic brain -- one I haven't readily put on full display. This collection rounds out the contemporary works at Colony for which I am professionally known, and showcases my personal tastes -- slightly more risky, nostalgic, folksy, unapologetically pretty.

On our site, shopping the "Objet" tab under "In Stock" is our first real attempt at e-commerce. If you visit the gallery, you will come to understand my fully realized vision of our contemporary masterpieces mixed with these vintage curiosities. I hope these Objet find their way into your hearts, your projects and your homes just as they did mine. 

Kindly,
Jean Lin

More Of...

Some more favorite treasures. Check back often.

Handmade Jewelry Box

Standard Materials: Koa and Maple Wood
Dimensions: 10”D x 20”W x 13”H
Lead Time: In-Stock

PURCHASE

Fish Jewelry Box

Standard Materials: Cherry and Maple Wood
Dimensions: 7”D x 16.5”W x 13”H
Lead Time: In-Stock

PURCHASE

Leaf Bowls

Standard Materials: Metal
Dimensions: 10"L x 4"W x 2"H
Lead Time: In-Stock

PURCHASE

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

This Thursday: What We Keep in LA

jeanlin

WHAT WE KEEP: LA
JUNE 6, 2024
6:00 - 8:00 PM

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 deadline to RSVP for this event has passed.

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.

You're Invited: The Designer's Residency 2024

Madeleine Parsons

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 

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.

Notes from the curator: What We Keep

jeanlin

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 

The deadline to RSVP for this event has passed.
The deadline to RSVP for this event has passed.

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.

You're Invited: What We Keep Book Launch

jeanlin

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)

The deadline to RSVP for this event has passed.

If you can't make it to NYC...

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

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.