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
Neptune
Standard Materials: Brass, Glass and Wood
Dimensions: 64" H x 42" L
Lead Time: In-Stock
Gathering
Standard Materials: Silk, Wool, Kid mohair, Cotton
Dimensions: 45" H x 55" W
Lead Time: 16 - 22 weeks
AVAILABLE NOW
Lucky you, in-stock Hiroko Takeda wall hangings from her Soft Metal series below...
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…
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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The lyrical visuals continue below:
Sula Chair
Standard Materials: Shown in Oak, COM
Dimensions: 33"W x 40"D x 34"H
Lead Time: 22-26 weeks
Kana Chair
Standard Materials: Ash, Mohair and COM available
Dimensions: 24"H x 19"D x 28"W
Lead Time: 22- 24weeks
Standard Materials: Mohair, Hammered metal
Dimensions: 20″ D x 19″ H x 17″ SH
Lead Time: 14 - 16 weeks
Standard Materials: Ebonized Oak, Stone
Dimensions: 60”Ø x 30”H
Lead Time: 16 - 18 weeks
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Not everything needs to be tonal! These pieces prove that sharp contrast can bring form into focus…
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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As the Trio Swivel proves, more is more! Additional Ember Studio selections below...
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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The visual feast continues below:
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.
____________________
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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
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
Fish Jewelry Box
Standard Materials: Cherry and Maple Wood
Dimensions: 7”D x 16.5”W x 13”H
Lead Time: In-Stock
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.
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.
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.