Cocktail Table by Erickson Aesthetics
Wood Totem Sconce by Allied Maker
SHY 15 by Bec Brittain
The Source Dining Table by A Space
Fruit Doves by Flat Vernacular
Night by Hiroko Takeda
Precipice in Denali by Flat Vernacular
Found II Side Table No. 3 by A Space
Shy Sconce by Bec Brittain
Tripod Floor Lamp by KWH Furniture
Nocturne Credenza 2 by Vonnegut/Kraft
Helix Hanging by Bec Brittain
Pojagi Drapes by Meg Callahan
Ame Natural by Studio Paolo Ferrari
EAE Lounge Chair by Erickson Aesthetics
Project:
40 Bleecker by Colony
Project Partners:
Glass Anton Mini by Volker Haug Studio
Brick Quilt and Bedding by Area Home
Antwerp Cabinet by DeMuro Das
Ceramics by Anne Weber Callahan
Instructions on Not Giving Up
Ada Limón - 1976-
More than the fuchsia funnels breaking out
of the crabapple tree, more than the neighbor’s
almost obscene display of cherry limbs shoving
their cotton candy-colored blossoms to the slate
sky of Spring rains, it’s the greening of the trees
that really gets to me. When all the shock of white
and taffy, the world’s baubles and trinkets, leave
the pavement strewn with the confetti of aftermath,
the leaves come. Patient, plodding, a green skin
growing over whatever winter did to us, a return
to the strange idea of continuous living despite
the mess of us, the hurt, the empty. Fine then,
I’ll take it, the tree seems to say, a new slick leaf
unfurling like a fist to an open palm, I’ll take it all.
of the crabapple tree, more than the neighbor’s
almost obscene display of cherry limbs shoving
their cotton candy-colored blossoms to the slate
sky of Spring rains, it’s the greening of the trees
that really gets to me. When all the shock of white
and taffy, the world’s baubles and trinkets, leave
the pavement strewn with the confetti of aftermath,
the leaves come. Patient, plodding, a green skin
growing over whatever winter did to us, a return
to the strange idea of continuous living despite
the mess of us, the hurt, the empty. Fine then,
I’ll take it, the tree seems to say, a new slick leaf
unfurling like a fist to an open palm, I’ll take it all.
Chaise Lounger by Moving Mountains
Moss by Hiroko Takeda
Sculpture by Phaedo
Perennial by Flat Vernacular
Bound Hand Mirror V2 by Grain
Molten Sconce by Allied Maker
Kiroitori by Hiroko Takeda
Wormhole Table by Erickson Aesthetics
Split Leg Layered Low Table by Studio Paolo Ferrari
Karla Quilt by Meg Callahan
Standing Mirror by KWH
FKA Themis Pendant by Bec Brittain
Found Side Table No.1 by A Space
Alabaster Mini Orb by Allied Maker
Project: Callicoon by General Assembly
Photography: Matthew Williams
Nina Cho is an artist and designer, currently based in Detroit. Nina was born in the United States and raised in Korea, where she studied woodworking and furniture design at Korea’s art school, Hong-Ik University. She then earned an MFA in 3D Design at the Cranbrook Academy of Art.
The Maung Maung mirrors reflects Nina’s design philosophy, a minimalist approach to design. “Through practicing the beauty of the void, I can respect not only the object itself but also the negative space that object created.”
Since launching Maung Maung mirrors with Colony in 2019, Nina has been awarded the NYCxDESIGN award for best accessories collection and the American Design Honors award presented by Wanted Design and Bernhardt Design.
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A newly envisioned design program, The Conception Series works to introduce the international design market to emerging American talent. Through a series of pop-up exhibits and exclusive, limited edition collections, the Series ushers forth a new generation of designers, artists and makers into the contemporary design vernacular of today.
Working from a rich foundation of curation, exhibit design, design education and collaborative design development, Colony works with a tightly curated selection of young designers guiding them through a vigorous curriculum of product development and design entrepreneurship. Each
