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2025-06-05 08:38:01 ·

Steel life: Grand Canal Steelworks Park in Hangzhou, China by Jiakun Architects and TLS Landscape Architecture

The transformation of Hangzhou’s old steelworks into a park is a tribute to China’s industrial past in a city of the future
The congressional hearing about Chinese AI engine DeepSeek held in the US this April has propelled Hangzhou, the heart of China’s new digital economy, to the headlines. With companies such as DeepSeek, Unitree and Alibaba – whose payment app allowed me to get on the metro without needing to buy a ticket – headquartered in Hangzhou, China’s future in AI, robotics and automation is emanating from this city. Getting off the metro in the suburban area of Gongshu, the sun was shining on an old steelworks, overgrown with vines and flowers now that it is being transformed by Jiakun Architects and TLS Landscape Architecture into the Grand Canal Steelworks Park. The unfolding trade war might help to accelerate China’s journey into an automated future, leaving the world of factories behind, yet this new public space shows an impulse to commemorate the country’s economic history, and the forces that have shaped its contemporary built environment.
Starting in Hangzhou and travelling more than 1,700km to Beijing, the Grand Canal is an engineering project built 2,500 years ago to connect the different regions of eastern China. The country’s geography means rivers flow from west to east: from higher elevations, culminating in the Himalayas, to the basin that is the country’s eastern seaboard. Historically, it was difficult to transport goods from mercantile centres in the south, including Hangzhou and Suzhou, to the political centre in Beijing up north. As a civil engineering project, the Grand Canal rivals the Great Wall, but if the Great Wall aims to protect China from the outside, the Grand Canal articulates Chinese commerce from the inside. The historic waterway has been an important conduit of economic and cultural exchange, enabling the movement of people and goods such as grain, silk, wine, salt and gravel across the country. It became a UNESCO World Heritage site in 2014.
The state‑owned enterprise collective was founded, and the physical facility of Hangzhou steelworks built, in the 1950s during the Great Leap Forward, when China strove for self‑sufficiency, and wended its way through the country’s economic trajectory: first the economic chaos of the 1960s, then the reforms and opening up in the 1980s. Steel remains an important industry today in China, home to more than half of the world’s production, but the listing of the Grand Canal enabled city leaders to move production to a new site and decommission the Hangzhou steelworks. External mandates, including entry into the World Trade Organization, the Beijing Olympics and UNESCO listings, have been instrumentalised in the country to pursue a range of internal interests, particularly economical and real estate ones.
In 2016, the factory was shut down in 150 days, in what the company describes as a ‘heroic’ effort, and the site attracted tourists of industrial ruins. In the competition brief, Hangzhou planners asked for ‘as much of the existing blast furnaces and buildings’ as possible to be preserved. When I arrived in China in 2008, Chinese cities were notorious for heritage demolition, but today urban planners and architects increasingly work to preserve historical buildings. Just like several industrial sites in Beijing and Shanghai have been transformed into major public and cultural spaces in the past decade, in the Yangtze River Delta – of which Hangzhou is a major hub – several industrial sites along the Grand Canal’s course are being given a new lease of life.
Today, the three blast furnaces of Hangzhou steelworks remain, with the silhouettes of their smokestacks easily recognisable from a distance. The project preserves as much as possible of the aesthetics of a steel mill with none of the danger or dust, ready to welcome instead new community facilities and cultural programmes in a vast and restored piece of landscape. Situated in a former working‑class district that has been gentrifying and welcoming young families, the new park is becoming a popular venue for music festivals, flower viewing in springtime and year‑round picnics – when I visited, parents were teaching their children to ride a bicycle, and students from Zhejiang University, about a kilometre from the park, were having lunch on the grass.
New programmes accommodated in the old coke oven and steel mills will include a series of exhibition halls and spaces welcoming a wide range of cultural and artistic workshops as well as events – the project’s first phase has just completed but tenant organisations have not yet moved in, and works are ongoing to the north of the park. On the day of my visit, a student art exhibition was on display near one of the furnaces, with works made from detritus from the site, including old packing containers. The rehabilitated buildings also provide a range of commercial units, where cafés, restaurants, shops, a bookshop, ice cream shop and a gym have already opened their doors to visitors.
Several structures were deemed structurally unsafe and required demolition, such as the old iron casting building. The architects proposed to partially reconstruct it on its original footprint; the much more open structure, built with reclaimed bricks, now houses a semi‑outdoor garden. Material choices evoke the site’s industrial past: weathered steel, exposed concrete and large expanses of glazing dominate the landscape. The widespread use of red, including in an elevated walkway that traverses the park – at times vaguely reminiscent of a Japanese torii gate in the space below – gives a warm and reassuring earthiness to the otherwise industrial colour palette.
Elements selected by the designers underwent sanitisation and detoxification before being reused. The landscaping includes old machinery parts and boulders; recuperated steel panels are for instance inlaid into the paving while pipes for pouring molten steel have been turned into a fountain. The train tracks that once transported material continue to run through the site, providing paths in between the new patches of vegetation, planted with local grasses as well as Japanese maples, camphors and persimmon trees. As Jiawen Chen from TLS describes it, the aesthetic feels ‘wild, but not weedy or abandoned’. The landscape architects’ inspiration came from the site itself after the steelworks’ closure, she explains, once vegetation had begun to reclaim it. Contaminated soil was replaced with clean local soil – at a depth between 0.5 and 1.5 metres, in line with Chinese regulations. The removed soil was sent to specialised facilities for purification, while severely contaminated layers were sealed with concrete. TLS proposed phytoremediationin selected areas of the site ‘as a symbolic and educational gesture’, Chen explains, but ‘the client preferred to be cautious’. From the eastern end of the park, hiking trails lead to the mountain and its Buddhist temples. The old steel mill’s grounds fade seamlessly into the hills. Standing in what it is still a construction site, a sign suggests there will soon be a rowing centre here.
While Jiakun Architects and TLS have prioritised making the site palatable as a public space, the project also brings to life a history that many are likely to have forgotten. Throughout, the park incorporates different elements of China’s economic history, including the life of the Grand Canal and the industrial era. There is, for example, a Maoist steelworker painted on the mural of one of the cafés, as well as historical photographs and drawings of the steelworks peppering the site, framed and hung on the walls. The ambition might be in part to pay homage to steelworkers, but it is hard to imagine them visiting. Gongshu, like the other suburbs of Hangzhou, has seen rapid increases in its property prices.
The steelworks were built during the Maoist era, a time of ‘battling with earth, battling with heaven, battling with humanity’, to borrow Mao’s own words. Ordinary people melted down pots and pans to surpass the UK in steel production, and industry was seen as a sharp break from a traditional Chinese way of life, in which humans aspire to live in harmony with their environment. The priorities of the government today are more conservative, seeking to create a garden city to attract engineers and their families. Hangzhou has long represented the balmy and sophisticated life of China’s south, a land of rice and fish. To the west of the city, not far from the old steelworks, are the ecologically protected Xixi wetlands, and Hangzhou’s urban planning exemplifies the Chinese principle of 天人合一, or nature and humankind as one.
Today, Hangzhou is only 45 minutes from Shanghai by high‑speed train. The two cities feel like extensions of one another, an urban region of 100 million people. The creation of the Grand Canal Steelworks Park reflects the move away from heavy industry that Chinese cities such as Hangzhou are currently making, shifting towards a supposedly cleaner knowledge‑driven economy. Yet the preservation of the steelworks epitomises the sentimental attitude towards the site’s history and acts as a reminder that today’s middle classes are the children of yesterday’s steelworkers, drinking coffee and playing with their own children in grassy lawns next to shuttered blast furnaces.
The park’s second phase is already nearing completion, and the competition for the nearby Grand Canal Museum was won by Herzog & de Meuron in 2020 – the building is under construction, and should open at the end of this year. It is a district rich in history, but the city is resolutely turned towards the future.

2025-06-02
Reuben J Brown

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AR May 2025CircularityBuy Now
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Steel life: Grand Canal Steelworks Park in Hangzhou, China by Jiakun Architects and TLS Landscape Architecture
The transformation of Hangzhou’s old steelworks into a park is a tribute to China’s industrial past in a city of the future The congressional hearing about Chinese AI engine DeepSeek held in the US this April has propelled Hangzhou, the heart of China’s new digital economy, to the headlines. With companies such as DeepSeek, Unitree and Alibaba – whose payment app allowed me to get on the metro without needing to buy a ticket – headquartered in Hangzhou, China’s future in AI, robotics and automation is emanating from this city. Getting off the metro in the suburban area of Gongshu, the sun was shining on an old steelworks, overgrown with vines and flowers now that it is being transformed by Jiakun Architects and TLS Landscape Architecture into the Grand Canal Steelworks Park. The unfolding trade war might help to accelerate China’s journey into an automated future, leaving the world of factories behind, yet this new public space shows an impulse to commemorate the country’s economic history, and the forces that have shaped its contemporary built environment. Starting in Hangzhou and travelling more than 1,700km to Beijing, the Grand Canal is an engineering project built 2,500 years ago to connect the different regions of eastern China. The country’s geography means rivers flow from west to east: from higher elevations, culminating in the Himalayas, to the basin that is the country’s eastern seaboard. Historically, it was difficult to transport goods from mercantile centres in the south, including Hangzhou and Suzhou, to the political centre in Beijing up north. As a civil engineering project, the Grand Canal rivals the Great Wall, but if the Great Wall aims to protect China from the outside, the Grand Canal articulates Chinese commerce from the inside. The historic waterway has been an important conduit of economic and cultural exchange, enabling the movement of people and goods such as grain, silk, wine, salt and gravel across the country. It became a UNESCO World Heritage site in 2014. The state‑owned enterprise collective was founded, and the physical facility of Hangzhou steelworks built, in the 1950s during the Great Leap Forward, when China strove for self‑sufficiency, and wended its way through the country’s economic trajectory: first the economic chaos of the 1960s, then the reforms and opening up in the 1980s. Steel remains an important industry today in China, home to more than half of the world’s production, but the listing of the Grand Canal enabled city leaders to move production to a new site and decommission the Hangzhou steelworks. External mandates, including entry into the World Trade Organization, the Beijing Olympics and UNESCO listings, have been instrumentalised in the country to pursue a range of internal interests, particularly economical and real estate ones. In 2016, the factory was shut down in 150 days, in what the company describes as a ‘heroic’ effort, and the site attracted tourists of industrial ruins. In the competition brief, Hangzhou planners asked for ‘as much of the existing blast furnaces and buildings’ as possible to be preserved. When I arrived in China in 2008, Chinese cities were notorious for heritage demolition, but today urban planners and architects increasingly work to preserve historical buildings. Just like several industrial sites in Beijing and Shanghai have been transformed into major public and cultural spaces in the past decade, in the Yangtze River Delta – of which Hangzhou is a major hub – several industrial sites along the Grand Canal’s course are being given a new lease of life. Today, the three blast furnaces of Hangzhou steelworks remain, with the silhouettes of their smokestacks easily recognisable from a distance. The project preserves as much as possible of the aesthetics of a steel mill with none of the danger or dust, ready to welcome instead new community facilities and cultural programmes in a vast and restored piece of landscape. Situated in a former working‑class district that has been gentrifying and welcoming young families, the new park is becoming a popular venue for music festivals, flower viewing in springtime and year‑round picnics – when I visited, parents were teaching their children to ride a bicycle, and students from Zhejiang University, about a kilometre from the park, were having lunch on the grass. New programmes accommodated in the old coke oven and steel mills will include a series of exhibition halls and spaces welcoming a wide range of cultural and artistic workshops as well as events – the project’s first phase has just completed but tenant organisations have not yet moved in, and works are ongoing to the north of the park. On the day of my visit, a student art exhibition was on display near one of the furnaces, with works made from detritus from the site, including old packing containers. The rehabilitated buildings also provide a range of commercial units, where cafés, restaurants, shops, a bookshop, ice cream shop and a gym have already opened their doors to visitors. Several structures were deemed structurally unsafe and required demolition, such as the old iron casting building. The architects proposed to partially reconstruct it on its original footprint; the much more open structure, built with reclaimed bricks, now houses a semi‑outdoor garden. Material choices evoke the site’s industrial past: weathered steel, exposed concrete and large expanses of glazing dominate the landscape. The widespread use of red, including in an elevated walkway that traverses the park – at times vaguely reminiscent of a Japanese torii gate in the space below – gives a warm and reassuring earthiness to the otherwise industrial colour palette. Elements selected by the designers underwent sanitisation and detoxification before being reused. The landscaping includes old machinery parts and boulders; recuperated steel panels are for instance inlaid into the paving while pipes for pouring molten steel have been turned into a fountain. The train tracks that once transported material continue to run through the site, providing paths in between the new patches of vegetation, planted with local grasses as well as Japanese maples, camphors and persimmon trees. As Jiawen Chen from TLS describes it, the aesthetic feels ‘wild, but not weedy or abandoned’. The landscape architects’ inspiration came from the site itself after the steelworks’ closure, she explains, once vegetation had begun to reclaim it. Contaminated soil was replaced with clean local soil – at a depth between 0.5 and 1.5 metres, in line with Chinese regulations. The removed soil was sent to specialised facilities for purification, while severely contaminated layers were sealed with concrete. TLS proposed phytoremediationin selected areas of the site ‘as a symbolic and educational gesture’, Chen explains, but ‘the client preferred to be cautious’. From the eastern end of the park, hiking trails lead to the mountain and its Buddhist temples. The old steel mill’s grounds fade seamlessly into the hills. Standing in what it is still a construction site, a sign suggests there will soon be a rowing centre here. While Jiakun Architects and TLS have prioritised making the site palatable as a public space, the project also brings to life a history that many are likely to have forgotten. Throughout, the park incorporates different elements of China’s economic history, including the life of the Grand Canal and the industrial era. There is, for example, a Maoist steelworker painted on the mural of one of the cafés, as well as historical photographs and drawings of the steelworks peppering the site, framed and hung on the walls. The ambition might be in part to pay homage to steelworkers, but it is hard to imagine them visiting. Gongshu, like the other suburbs of Hangzhou, has seen rapid increases in its property prices. The steelworks were built during the Maoist era, a time of ‘battling with earth, battling with heaven, battling with humanity’, to borrow Mao’s own words. Ordinary people melted down pots and pans to surpass the UK in steel production, and industry was seen as a sharp break from a traditional Chinese way of life, in which humans aspire to live in harmony with their environment. The priorities of the government today are more conservative, seeking to create a garden city to attract engineers and their families. Hangzhou has long represented the balmy and sophisticated life of China’s south, a land of rice and fish. To the west of the city, not far from the old steelworks, are the ecologically protected Xixi wetlands, and Hangzhou’s urban planning exemplifies the Chinese principle of 天人合一, or nature and humankind as one. Today, Hangzhou is only 45 minutes from Shanghai by high‑speed train. The two cities feel like extensions of one another, an urban region of 100 million people. The creation of the Grand Canal Steelworks Park reflects the move away from heavy industry that Chinese cities such as Hangzhou are currently making, shifting towards a supposedly cleaner knowledge‑driven economy. Yet the preservation of the steelworks epitomises the sentimental attitude towards the site’s history and acts as a reminder that today’s middle classes are the children of yesterday’s steelworkers, drinking coffee and playing with their own children in grassy lawns next to shuttered blast furnaces. The park’s second phase is already nearing completion, and the competition for the nearby Grand Canal Museum was won by Herzog & de Meuron in 2020 – the building is under construction, and should open at the end of this year. It is a district rich in history, but the city is resolutely turned towards the future. 2025-06-02 Reuben J Brown Share AR May 2025CircularityBuy Now #steel #life #grand #canal #steelworks

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Steel life: Grand Canal Steelworks Park in Hangzhou, China by Jiakun Architects and TLS Landscape Architecture

The transformation of Hangzhou’s old steelworks into a park is a tribute to China’s industrial past in a city of the future The congressional hearing about Chinese AI engine DeepSeek held in the US this April has propelled Hangzhou, the heart of China’s new digital economy, to the headlines. With companies such as DeepSeek, Unitree and Alibaba – whose payment app allowed me to get on the metro without needing to buy a ticket – headquartered in Hangzhou, China’s future in AI, robotics and automation is emanating from this city. Getting off the metro in the suburban area of Gongshu, the sun was shining on an old steelworks, overgrown with vines and flowers now that it is being transformed by Jiakun Architects and TLS Landscape Architecture into the Grand Canal Steelworks Park. The unfolding trade war might help to accelerate China’s journey into an automated future, leaving the world of factories behind, yet this new public space shows an impulse to commemorate the country’s economic history, and the forces that have shaped its contemporary built environment. Starting in Hangzhou and travelling more than 1,700km to Beijing, the Grand Canal is an engineering project built 2,500 years ago to connect the different regions of eastern China. The country’s geography means rivers flow from west to east: from higher elevations, culminating in the Himalayas, to the basin that is the country’s eastern seaboard. Historically, it was difficult to transport goods from mercantile centres in the south, including Hangzhou and Suzhou, to the political centre in Beijing up north. As a civil engineering project, the Grand Canal rivals the Great Wall, but if the Great Wall aims to protect China from the outside, the Grand Canal articulates Chinese commerce from the inside. The historic waterway has been an important conduit of economic and cultural exchange, enabling the movement of people and goods such as grain, silk, wine, salt and gravel across the country. It became a UNESCO World Heritage site in 2014. The state‑owned enterprise collective was founded, and the physical facility of Hangzhou steelworks built, in the 1950s during the Great Leap Forward, when China strove for self‑sufficiency, and wended its way through the country’s economic trajectory: first the economic chaos of the 1960s, then the reforms and opening up in the 1980s. Steel remains an important industry today in China, home to more than half of the world’s production, but the listing of the Grand Canal enabled city leaders to move production to a new site and decommission the Hangzhou steelworks. External mandates, including entry into the World Trade Organization, the Beijing Olympics and UNESCO listings, have been instrumentalised in the country to pursue a range of internal interests, particularly economical and real estate ones. In 2016, the factory was shut down in 150 days, in what the company describes as a ‘heroic’ effort, and the site attracted tourists of industrial ruins. In the competition brief, Hangzhou planners asked for ‘as much of the existing blast furnaces and buildings’ as possible to be preserved. When I arrived in China in 2008, Chinese cities were notorious for heritage demolition, but today urban planners and architects increasingly work to preserve historical buildings. Just like several industrial sites in Beijing and Shanghai have been transformed into major public and cultural spaces in the past decade, in the Yangtze River Delta – of which Hangzhou is a major hub – several industrial sites along the Grand Canal’s course are being given a new lease of life. Today, the three blast furnaces of Hangzhou steelworks remain, with the silhouettes of their smokestacks easily recognisable from a distance. The project preserves as much as possible of the aesthetics of a steel mill with none of the danger or dust, ready to welcome instead new community facilities and cultural programmes in a vast and restored piece of landscape. Situated in a former working‑class district that has been gentrifying and welcoming young families, the new park is becoming a popular venue for music festivals, flower viewing in springtime and year‑round picnics – when I visited, parents were teaching their children to ride a bicycle, and students from Zhejiang University, about a kilometre from the park, were having lunch on the grass. New programmes accommodated in the old coke oven and steel mills will include a series of exhibition halls and spaces welcoming a wide range of cultural and artistic workshops as well as events – the project’s first phase has just completed but tenant organisations have not yet moved in, and works are ongoing to the north of the park. On the day of my visit, a student art exhibition was on display near one of the furnaces, with works made from detritus from the site, including old packing containers. The rehabilitated buildings also provide a range of commercial units, where cafés, restaurants, shops, a bookshop, ice cream shop and a gym have already opened their doors to visitors. Several structures were deemed structurally unsafe and required demolition, such as the old iron casting building. The architects proposed to partially reconstruct it on its original footprint; the much more open structure, built with reclaimed bricks, now houses a semi‑outdoor garden. Material choices evoke the site’s industrial past: weathered steel, exposed concrete and large expanses of glazing dominate the landscape. The widespread use of red, including in an elevated walkway that traverses the park – at times vaguely reminiscent of a Japanese torii gate in the space below – gives a warm and reassuring earthiness to the otherwise industrial colour palette. Elements selected by the designers underwent sanitisation and detoxification before being reused. The landscaping includes old machinery parts and boulders; recuperated steel panels are for instance inlaid into the paving while pipes for pouring molten steel have been turned into a fountain. The train tracks that once transported material continue to run through the site, providing paths in between the new patches of vegetation, planted with local grasses as well as Japanese maples, camphors and persimmon trees. As Jiawen Chen from TLS describes it, the aesthetic feels ‘wild, but not weedy or abandoned’. The landscape architects’ inspiration came from the site itself after the steelworks’ closure, she explains, once vegetation had begun to reclaim it. Contaminated soil was replaced with clean local soil – at a depth between 0.5 and 1.5 metres, in line with Chinese regulations. The removed soil was sent to specialised facilities for purification, while severely contaminated layers were sealed with concrete. TLS proposed phytoremediation (using plants to detoxify soil) in selected areas of the site ‘as a symbolic and educational gesture’, Chen explains, but ‘the client preferred to be cautious’. From the eastern end of the park, hiking trails lead to the mountain and its Buddhist temples. The old steel mill’s grounds fade seamlessly into the hills. Standing in what it is still a construction site, a sign suggests there will soon be a rowing centre here. While Jiakun Architects and TLS have prioritised making the site palatable as a public space, the project also brings to life a history that many are likely to have forgotten. Throughout, the park incorporates different elements of China’s economic history, including the life of the Grand Canal and the industrial era. There is, for example, a Maoist steelworker painted on the mural of one of the cafés, as well as historical photographs and drawings of the steelworks peppering the site, framed and hung on the walls. The ambition might be in part to pay homage to steelworkers, but it is hard to imagine them visiting. Gongshu, like the other suburbs of Hangzhou, has seen rapid increases in its property prices. The steelworks were built during the Maoist era, a time of ‘battling with earth, battling with heaven, battling with humanity’, to borrow Mao’s own words. Ordinary people melted down pots and pans to surpass the UK in steel production, and industry was seen as a sharp break from a traditional Chinese way of life, in which humans aspire to live in harmony with their environment. The priorities of the government today are more conservative, seeking to create a garden city to attract engineers and their families. Hangzhou has long represented the balmy and sophisticated life of China’s south, a land of rice and fish. To the west of the city, not far from the old steelworks, are the ecologically protected Xixi wetlands, and Hangzhou’s urban planning exemplifies the Chinese principle of 天人合一, or nature and humankind as one. Today, Hangzhou is only 45 minutes from Shanghai by high‑speed train. The two cities feel like extensions of one another, an urban region of 100 million people. The creation of the Grand Canal Steelworks Park reflects the move away from heavy industry that Chinese cities such as Hangzhou are currently making, shifting towards a supposedly cleaner knowledge‑driven economy. Yet the preservation of the steelworks epitomises the sentimental attitude towards the site’s history and acts as a reminder that today’s middle classes are the children of yesterday’s steelworkers, drinking coffee and playing with their own children in grassy lawns next to shuttered blast furnaces. The park’s second phase is already nearing completion, and the competition for the nearby Grand Canal Museum was won by Herzog & de Meuron in 2020 – the building is under construction, and should open at the end of this year. It is a district rich in history, but the city is resolutely turned towards the future. 2025-06-02 Reuben J Brown Share AR May 2025CircularityBuy Now

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Design Milk Compartió un vínculo

2025-06-05 08:08:13 ·

15 Inspiring Designers From Shelter’s Showcase by Afternoon Light

The inaugural edition of Shelter – a design fair on the occasion of NYCxDESIGN 2025, organized by the online collectible design platform Afternoon Light – was held on the third floor of Chelsea’s historic Starrett-Lehigh building. The 1930s-era daylit factory is an architectural relic from a time when industrial spaces of the same typology prioritized creative wellness through a structural-utilitarian-aesthetic unity. Its physicality provided an idyllic backdrop for the show’s eclectic, experimental design, which, when coupled with an expansive floorplate, promoted a sense of community among participants.
More than 100 brands and makers across furniture, lighting, and product design converged on the bazaar of sorts to mingle with other trade professionals and media in what proved to be a creative convivance – something critical for in-person events looking to wrest audience attention and social currency back from the digital realm. Designers embraced the building’s ribbon-windowed, sun-drenched interior with some choosing to unfurl product-filled landscapes in lieu of walled booths while others opted for scene-building by erecting immersive sets. Aptly themed “Mart Nouveau,” Shelter’s successful launch has already positioned itself as a purveyor of taste and a collector of oddities in the best possible way.
“We wanted to reference the industry-event tradition while also signaling that our activation is something entirely new… with a little aesthetic flair, too,” shares fair co-founder Minya Quirk. “Art Nouveau as a movement was about breaking from historical styles and creating something modern and forward-thinking, which we tempered by leaning into the larger concept of ‘shelter’ – protection, cover, the comfort of a hug.”
Far from an exhaustive list, continue reading for a glimpse at 15 enchanting designers and the beguiling pieces that captured our attention at this year’s event.

Matter.Made
Matter.Made’s creative director and founder Jamie Gray launches the Delphi Pendant with star-like tubular detailing for a design that sparks great joy upon inspection. The versatile lighting collection is constructed of cast and machine brass paired with fluted glass in an homage to Greek columns. What’s more, the proprietary brass chain unlocks many use cases through customization as a pendant, sconce, and chandelier.

N. Shook
Reconfigurable, streamlined, and conceived as an architectural system. The Ledoux Prêt perforated shelving units, which revolve around a central spine, are satisfyingly thick with a lightness of form from their carefully calculated perforations. The cabinet doors swing on visible wooden hinges in an honest approach articulating their fully wooden joinery.

Avram Rusu Studio
Spring melds with summer in Psychogeography, a collaboration between Avram Rusu, Token, and Wallpaper Objects. The peachy-pink, biophilic glass orbs are whimsical by design suspended in space as they toe the line between sea creature and weeping botanicals. The sleek, bulbous forms and slightly organic folds pepper the collection with visual interest while enhancing their glow.

Riffmade
Riffmade’s Veil Curtain Desk is contemporary in appearance all the while deeply rooted in the domestic tradition that favors a slower pace. It supports a dynamic, modern work-life rhythm by hiding professional work stations behind a textile curtain and allowing users to create boundaries for the sake of their personal time.

Jackrabbit Studio for Roll & Hill
The Checa Stools commemorate Jackrabbit Studio’s first collection with New York-based, artisan manufacturer Roll & Hill. Each of the three options find themselves grounded in warmth, made even more inviting by Brett Miller’s inimitable round form-making, here inspired by the surface tension of water droplets.

Ford Bostwick
Finding furniture and lighting by way of architecture, designer Ford Bostwick takes the edge off rigid material forms with his indulgence in light and color. Lucy, the sculptural luminaire, can be stacked vertically or built out horizontally to create near-infinite linear combinations with her modules. She can be configured as a tower, room divider, wall feature, wall-mounted sconce, or ceiling-suspended pendant for a variety of programmatic needs.

Yamazaki Home
Smart brands like Yamazaki Home are approaching pet products with the same level of scrutiny and attention to detail as they would when designing goods for their human counterparts. The Tilted Pet Food Bowls elevate – quite literally – the dining experience for domesticated animals while creating a beautiful design object that doesn’t feel out of place in the contemporary home.

Fort Standard Hardware
Hardware bridges the gap between architecture and decorative objects, but few function with excellence at both. Fort Standard successfully expands into architectural hardware with beautiful home solutions through their Concave Collection. The slightly oversized handles boast a visual and physical weight that is hard to ignore. And, they are available in a variety of dimensions to accommodate a wide range of applications.

M.Pei StudioMaggie Pei presented her Portico Console Table and Wall Hanging Mirror as M. Pei Studio within a capsule showcase for Colony – a community of independent furniture, lighting, textile, and objects designers brought together by curator Jean Lin. Pei’s portico is monumental, meant for entryways that command passersby to gaze at and inspire a moment of personal reflection.

A Space Studio
Marble is arguably one of the trade’s most venerable building materials and A Space Studio takes a ‘waste not, want not’ approach to their use of it. The studio’s Slanted Armchair No. 1 is seductive, cut from a single sheet of Indian Onyx and leaning into its angular architecture.

Michiko Sakano Studio
Brooklyn-based, multi-hyphenate maker Michiko Sakano is all about duality. Her practice is an amalgam of art and design while her work blends utility with aesthetics. This current collection on view, Stacks, builds on previous explorations of jewelry. Here, rigid glass bangles of varying thicknesses and opacities are caught in tension as they melt into the layers below. It explores an inherent contrast between softness and structure, the negotiation between tradition and experimentation, and exemplifies Sakano’s skills as a fabricator when they meet her creative impulses.

John Wells Heavy Metal & FDK Junior
In a shared exhibition space, the natural patination of John Wells’ ES-07 Sconces complemented the iridescence found on Fernando Kabigting’s wall sconce from his collection 01 Capsule: Rooted in Nature. The two share a propensity for narrative driven design with contrasting approaches to storytelling through material finish and edgework. Wells’ sconces comprise stacked, terraced plates backed by LED strip lighting that echo elements of Art Deco design, while Kabigting looks to nature pulling inspiration from capillary waves caused by a droplet of water or the crinkled edge of crisp leaves.

Heako Studio
A good lede can make or break a story with its power to pull readers in. The same goes for objects with compelling visual contrast, which commands an audience. Soul-born artist Hea Ko knows how to craft a strong design narrative as demonstrated by the Himalaya Lunar Lamp. With this piece Ko creates a vignette distilling the serene yet powerful juxtaposition of the moon in dialogue with the snow-capped peaks of the Himalayas – and bridging the natural with the celestial.

Garnier Pingree
Good collage is esoteric, expressive, and sometimes elusive, relying on chance for the perfect amalgamation of media. Marie Garnier and Asa Pingree, the duo behind Garnier Pingree, present the Claude Mirror I – a collage of simple shapes, a primary color, and superimposed textures – above their ‘A’ chair in a delightful display of materiality and wit. The seat offers a variety of ways to engage with comfort and even a little humor while settling in to relax.
#inspiring #designers #shelters #showcase #afternoon

15 Inspiring Designers From Shelter’s Showcase by Afternoon Light
The inaugural edition of Shelter – a design fair on the occasion of NYCxDESIGN 2025, organized by the online collectible design platform Afternoon Light – was held on the third floor of Chelsea’s historic Starrett-Lehigh building. The 1930s-era daylit factory is an architectural relic from a time when industrial spaces of the same typology prioritized creative wellness through a structural-utilitarian-aesthetic unity. Its physicality provided an idyllic backdrop for the show’s eclectic, experimental design, which, when coupled with an expansive floorplate, promoted a sense of community among participants. More than 100 brands and makers across furniture, lighting, and product design converged on the bazaar of sorts to mingle with other trade professionals and media in what proved to be a creative convivance – something critical for in-person events looking to wrest audience attention and social currency back from the digital realm. Designers embraced the building’s ribbon-windowed, sun-drenched interior with some choosing to unfurl product-filled landscapes in lieu of walled booths while others opted for scene-building by erecting immersive sets. Aptly themed “Mart Nouveau,” Shelter’s successful launch has already positioned itself as a purveyor of taste and a collector of oddities in the best possible way. “We wanted to reference the industry-event tradition while also signaling that our activation is something entirely new… with a little aesthetic flair, too,” shares fair co-founder Minya Quirk. “Art Nouveau as a movement was about breaking from historical styles and creating something modern and forward-thinking, which we tempered by leaning into the larger concept of ‘shelter’ – protection, cover, the comfort of a hug.” Far from an exhaustive list, continue reading for a glimpse at 15 enchanting designers and the beguiling pieces that captured our attention at this year’s event. Matter.Made Matter.Made’s creative director and founder Jamie Gray launches the Delphi Pendant with star-like tubular detailing for a design that sparks great joy upon inspection. The versatile lighting collection is constructed of cast and machine brass paired with fluted glass in an homage to Greek columns. What’s more, the proprietary brass chain unlocks many use cases through customization as a pendant, sconce, and chandelier. N. Shook Reconfigurable, streamlined, and conceived as an architectural system. The Ledoux Prêt perforated shelving units, which revolve around a central spine, are satisfyingly thick with a lightness of form from their carefully calculated perforations. The cabinet doors swing on visible wooden hinges in an honest approach articulating their fully wooden joinery. Avram Rusu Studio Spring melds with summer in Psychogeography, a collaboration between Avram Rusu, Token, and Wallpaper Objects. The peachy-pink, biophilic glass orbs are whimsical by design suspended in space as they toe the line between sea creature and weeping botanicals. The sleek, bulbous forms and slightly organic folds pepper the collection with visual interest while enhancing their glow. Riffmade Riffmade’s Veil Curtain Desk is contemporary in appearance all the while deeply rooted in the domestic tradition that favors a slower pace. It supports a dynamic, modern work-life rhythm by hiding professional work stations behind a textile curtain and allowing users to create boundaries for the sake of their personal time. Jackrabbit Studio for Roll & Hill The Checa Stools commemorate Jackrabbit Studio’s first collection with New York-based, artisan manufacturer Roll & Hill. Each of the three options find themselves grounded in warmth, made even more inviting by Brett Miller’s inimitable round form-making, here inspired by the surface tension of water droplets. Ford Bostwick Finding furniture and lighting by way of architecture, designer Ford Bostwick takes the edge off rigid material forms with his indulgence in light and color. Lucy, the sculptural luminaire, can be stacked vertically or built out horizontally to create near-infinite linear combinations with her modules. She can be configured as a tower, room divider, wall feature, wall-mounted sconce, or ceiling-suspended pendant for a variety of programmatic needs. Yamazaki Home Smart brands like Yamazaki Home are approaching pet products with the same level of scrutiny and attention to detail as they would when designing goods for their human counterparts. The Tilted Pet Food Bowls elevate – quite literally – the dining experience for domesticated animals while creating a beautiful design object that doesn’t feel out of place in the contemporary home. Fort Standard Hardware Hardware bridges the gap between architecture and decorative objects, but few function with excellence at both. Fort Standard successfully expands into architectural hardware with beautiful home solutions through their Concave Collection. The slightly oversized handles boast a visual and physical weight that is hard to ignore. And, they are available in a variety of dimensions to accommodate a wide range of applications. M.Pei StudioMaggie Pei presented her Portico Console Table and Wall Hanging Mirror as M. Pei Studio within a capsule showcase for Colony – a community of independent furniture, lighting, textile, and objects designers brought together by curator Jean Lin. Pei’s portico is monumental, meant for entryways that command passersby to gaze at and inspire a moment of personal reflection. A Space Studio Marble is arguably one of the trade’s most venerable building materials and A Space Studio takes a ‘waste not, want not’ approach to their use of it. The studio’s Slanted Armchair No. 1 is seductive, cut from a single sheet of Indian Onyx and leaning into its angular architecture. Michiko Sakano Studio Brooklyn-based, multi-hyphenate maker Michiko Sakano is all about duality. Her practice is an amalgam of art and design while her work blends utility with aesthetics. This current collection on view, Stacks, builds on previous explorations of jewelry. Here, rigid glass bangles of varying thicknesses and opacities are caught in tension as they melt into the layers below. It explores an inherent contrast between softness and structure, the negotiation between tradition and experimentation, and exemplifies Sakano’s skills as a fabricator when they meet her creative impulses. John Wells Heavy Metal & FDK Junior In a shared exhibition space, the natural patination of John Wells’ ES-07 Sconces complemented the iridescence found on Fernando Kabigting’s wall sconce from his collection 01 Capsule: Rooted in Nature. The two share a propensity for narrative driven design with contrasting approaches to storytelling through material finish and edgework. Wells’ sconces comprise stacked, terraced plates backed by LED strip lighting that echo elements of Art Deco design, while Kabigting looks to nature pulling inspiration from capillary waves caused by a droplet of water or the crinkled edge of crisp leaves. Heako Studio A good lede can make or break a story with its power to pull readers in. The same goes for objects with compelling visual contrast, which commands an audience. Soul-born artist Hea Ko knows how to craft a strong design narrative as demonstrated by the Himalaya Lunar Lamp. With this piece Ko creates a vignette distilling the serene yet powerful juxtaposition of the moon in dialogue with the snow-capped peaks of the Himalayas – and bridging the natural with the celestial. Garnier Pingree Good collage is esoteric, expressive, and sometimes elusive, relying on chance for the perfect amalgamation of media. Marie Garnier and Asa Pingree, the duo behind Garnier Pingree, present the Claude Mirror I – a collage of simple shapes, a primary color, and superimposed textures – above their ‘A’ chair in a delightful display of materiality and wit. The seat offers a variety of ways to engage with comfort and even a little humor while settling in to relax. #inspiring #designers #shelters #showcase #afternoon

DESIGN-MILK.COM

15 Inspiring Designers From Shelter’s Showcase by Afternoon Light

The inaugural edition of Shelter – a design fair on the occasion of NYCxDESIGN 2025, organized by the online collectible design platform Afternoon Light – was held on the third floor of Chelsea’s historic Starrett-Lehigh building. The 1930s-era daylit factory is an architectural relic from a time when industrial spaces of the same typology prioritized creative wellness through a structural-utilitarian-aesthetic unity. Its physicality provided an idyllic backdrop for the show’s eclectic, experimental design, which, when coupled with an expansive floorplate, promoted a sense of community among participants. More than 100 brands and makers across furniture, lighting, and product design converged on the bazaar of sorts to mingle with other trade professionals and media in what proved to be a creative convivance – something critical for in-person events looking to wrest audience attention and social currency back from the digital realm. Designers embraced the building’s ribbon-windowed, sun-drenched interior with some choosing to unfurl product-filled landscapes in lieu of walled booths while others opted for scene-building by erecting immersive sets. Aptly themed “Mart Nouveau,” Shelter’s successful launch has already positioned itself as a purveyor of taste and a collector of oddities in the best possible way. “We wanted to reference the industry-event tradition while also signaling that our activation is something entirely new… with a little aesthetic flair, too,” shares fair co-founder Minya Quirk. “Art Nouveau as a movement was about breaking from historical styles and creating something modern and forward-thinking, which we tempered by leaning into the larger concept of ‘shelter’ – protection, cover, the comfort of a hug.” Far from an exhaustive list, continue reading for a glimpse at 15 enchanting designers and the beguiling pieces that captured our attention at this year’s event. Matter.Made Matter.Made’s creative director and founder Jamie Gray launches the Delphi Pendant with star-like tubular detailing for a design that sparks great joy upon inspection. The versatile lighting collection is constructed of cast and machine brass paired with fluted glass in an homage to Greek columns. What’s more, the proprietary brass chain unlocks many use cases through customization as a pendant, sconce, and chandelier. N. Shook Reconfigurable, streamlined, and conceived as an architectural system. The Ledoux Prêt perforated shelving units, which revolve around a central spine, are satisfyingly thick with a lightness of form from their carefully calculated perforations. The cabinet doors swing on visible wooden hinges in an honest approach articulating their fully wooden joinery. Avram Rusu Studio Spring melds with summer in Psychogeography, a collaboration between Avram Rusu, Token, and Wallpaper Objects. The peachy-pink, biophilic glass orbs are whimsical by design suspended in space as they toe the line between sea creature and weeping botanicals. The sleek, bulbous forms and slightly organic folds pepper the collection with visual interest while enhancing their glow. Riffmade Riffmade’s Veil Curtain Desk is contemporary in appearance all the while deeply rooted in the domestic tradition that favors a slower pace. It supports a dynamic, modern work-life rhythm by hiding professional work stations behind a textile curtain and allowing users to create boundaries for the sake of their personal time. Jackrabbit Studio for Roll & Hill The Checa Stools commemorate Jackrabbit Studio’s first collection with New York-based, artisan manufacturer Roll & Hill. Each of the three options find themselves grounded in warmth, made even more inviting by Brett Miller’s inimitable round form-making, here inspired by the surface tension of water droplets. Ford Bostwick Finding furniture and lighting by way of architecture, designer Ford Bostwick takes the edge off rigid material forms with his indulgence in light and color. Lucy, the sculptural luminaire, can be stacked vertically or built out horizontally to create near-infinite linear combinations with her modules. She can be configured as a tower, room divider, wall feature, wall-mounted sconce, or ceiling-suspended pendant for a variety of programmatic needs. Yamazaki Home Smart brands like Yamazaki Home are approaching pet products with the same level of scrutiny and attention to detail as they would when designing goods for their human counterparts. The Tilted Pet Food Bowls elevate – quite literally – the dining experience for domesticated animals while creating a beautiful design object that doesn’t feel out of place in the contemporary home. Fort Standard Hardware Hardware bridges the gap between architecture and decorative objects, but few function with excellence at both. Fort Standard successfully expands into architectural hardware with beautiful home solutions through their Concave Collection. The slightly oversized handles boast a visual and physical weight that is hard to ignore. And, they are available in a variety of dimensions to accommodate a wide range of applications. M.Pei Studio (as curated by Colony) Maggie Pei presented her Portico Console Table and Wall Hanging Mirror as M. Pei Studio within a capsule showcase for Colony – a community of independent furniture, lighting, textile, and objects designers brought together by curator Jean Lin. Pei’s portico is monumental, meant for entryways that command passersby to gaze at and inspire a moment of personal reflection. A Space Studio Marble is arguably one of the trade’s most venerable building materials and A Space Studio takes a ‘waste not, want not’ approach to their use of it. The studio’s Slanted Armchair No. 1 is seductive, cut from a single sheet of Indian Onyx and leaning into its angular architecture. Michiko Sakano Studio Brooklyn-based, multi-hyphenate maker Michiko Sakano is all about duality. Her practice is an amalgam of art and design while her work blends utility with aesthetics. This current collection on view, Stacks, builds on previous explorations of jewelry. Here, rigid glass bangles of varying thicknesses and opacities are caught in tension as they melt into the layers below. It explores an inherent contrast between softness and structure, the negotiation between tradition and experimentation, and exemplifies Sakano’s skills as a fabricator when they meet her creative impulses. John Wells Heavy Metal & FDK Junior In a shared exhibition space, the natural patination of John Wells’ ES-07 Sconces complemented the iridescence found on Fernando Kabigting’s wall sconce from his collection 01 Capsule: Rooted in Nature. The two share a propensity for narrative driven design with contrasting approaches to storytelling through material finish and edgework. Wells’ sconces comprise stacked, terraced plates backed by LED strip lighting that echo elements of Art Deco design, while Kabigting looks to nature pulling inspiration from capillary waves caused by a droplet of water or the crinkled edge of crisp leaves. Heako Studio A good lede can make or break a story with its power to pull readers in. The same goes for objects with compelling visual contrast, which commands an audience. Soul-born artist Hea Ko knows how to craft a strong design narrative as demonstrated by the Himalaya Lunar Lamp. With this piece Ko creates a vignette distilling the serene yet powerful juxtaposition of the moon in dialogue with the snow-capped peaks of the Himalayas – and bridging the natural with the celestial. Garnier Pingree Good collage is esoteric, expressive, and sometimes elusive, relying on chance for the perfect amalgamation of media. Marie Garnier and Asa Pingree, the duo behind Garnier Pingree, present the Claude Mirror I – a collage of simple shapes, a primary color, and superimposed textures – above their ‘A’ chair in a delightful display of materiality and wit. The seat offers a variety of ways to engage with comfort and even a little humor while settling in to relax.

148

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Gizmodo Compartió un vínculo

2025-06-03 08:47:43 ·

George Romero’s Daughter Made a Gay Zombie Movie, With Her Father’s Blessing

With Queens of the Dead, Tina Romero, daughter of the legendary filmmaker George A. Romero, is set to make her first directorial outing, premiering the feature at the Tribeca Film Festival June 7. The filmmaker recently spoke to Entertainment Weekly and reflected on her father’s influence. “I am his kid. There’s no denying it. And he has influenced me greatly.” Romero said. Queens of the Dead will feature Easter eggs to honor her father’s legacy. “And this is his monster, this is his genre. I had fun doing my little Romero nods throughout the film, and we have some good ones,” she shared, including appearances by notable figures such as makeup artist and actor Tom Savini and Dawn of the Dead star Gaylen Ross. “The zombie apocalypse is such a rich sandbox to play in when it comes to social commentary. I can’t be my dad’s daughter without making an attempt at saying something with zombies,” Romero told the magazine. “I did want this to be a film in which I am paying homage to the world and the monster he created, but I’m also introducing my own voice. It’s very much not a film he would make, but it is using his vocabulary and is playing by his rules. As far as the queer element, on one hand, I just feel like the gays need a zombie film. It’s time that we get to have a big gay zombie movie.”

“I didn’t want to touch the genre unless it felt authentic to me,” Romero emphasized. Queens of the Dead revolves around a night in the queer party scene when the nightlife vibes at a warehouse drag show get interrupted by the zombie apocalypse. The inspiration came from intense conflict on social media among party promoters during her stint as a DJ. Romero recounted, “The original promoter posted this manifesto begging the question, ‘When will the queer community stop devouring its own?’ And it hit me like a bolt of lightning. I was like, ‘Oh my God! This would be how I want to explore the zombie genre in this world of queer nightlife.’” The Mandalorian baddie Katy O’Brien plays the fictionalized promoter who leads the film; Romero noted that there’s a special thanks to Tom Cruise in the credits for letting them take the time off their Mission: Impossible shoot to film the horror flick. Romero hopes the film will shine a light on the hunger for more genre films that represent an intersection of gay scream queens with that familiar flair for horror and dark comedy from her father’s roots. The legendary filmmaker didn’t get to see a completed script but mentored his daughter during the development process.

Romero shared, “He said, ‘I love it! Run with it. Go for it.’ Unfortunately, he never got to read the completed script because it took me about seven years to get this developed… but I did have this blessing.” Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.
#george #romeros #daughter #made #gay

George Romero’s Daughter Made a Gay Zombie Movie, With Her Father’s Blessing
With Queens of the Dead, Tina Romero, daughter of the legendary filmmaker George A. Romero, is set to make her first directorial outing, premiering the feature at the Tribeca Film Festival June 7. The filmmaker recently spoke to Entertainment Weekly and reflected on her father’s influence. “I am his kid. There’s no denying it. And he has influenced me greatly.” Romero said. Queens of the Dead will feature Easter eggs to honor her father’s legacy. “And this is his monster, this is his genre. I had fun doing my little Romero nods throughout the film, and we have some good ones,” she shared, including appearances by notable figures such as makeup artist and actor Tom Savini and Dawn of the Dead star Gaylen Ross. “The zombie apocalypse is such a rich sandbox to play in when it comes to social commentary. I can’t be my dad’s daughter without making an attempt at saying something with zombies,” Romero told the magazine. “I did want this to be a film in which I am paying homage to the world and the monster he created, but I’m also introducing my own voice. It’s very much not a film he would make, but it is using his vocabulary and is playing by his rules. As far as the queer element, on one hand, I just feel like the gays need a zombie film. It’s time that we get to have a big gay zombie movie.” “I didn’t want to touch the genre unless it felt authentic to me,” Romero emphasized. Queens of the Dead revolves around a night in the queer party scene when the nightlife vibes at a warehouse drag show get interrupted by the zombie apocalypse. The inspiration came from intense conflict on social media among party promoters during her stint as a DJ. Romero recounted, “The original promoter posted this manifesto begging the question, ‘When will the queer community stop devouring its own?’ And it hit me like a bolt of lightning. I was like, ‘Oh my God! This would be how I want to explore the zombie genre in this world of queer nightlife.’” The Mandalorian baddie Katy O’Brien plays the fictionalized promoter who leads the film; Romero noted that there’s a special thanks to Tom Cruise in the credits for letting them take the time off their Mission: Impossible shoot to film the horror flick. Romero hopes the film will shine a light on the hunger for more genre films that represent an intersection of gay scream queens with that familiar flair for horror and dark comedy from her father’s roots. The legendary filmmaker didn’t get to see a completed script but mentored his daughter during the development process. Romero shared, “He said, ‘I love it! Run with it. Go for it.’ Unfortunately, he never got to read the completed script because it took me about seven years to get this developed… but I did have this blessing.” Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who. #george #romeros #daughter #made #gay

GIZMODO.COM

George Romero’s Daughter Made a Gay Zombie Movie, With Her Father’s Blessing

With Queens of the Dead, Tina Romero, daughter of the legendary filmmaker George A. Romero, is set to make her first directorial outing, premiering the feature at the Tribeca Film Festival June 7. The filmmaker recently spoke to Entertainment Weekly and reflected on her father’s influence. “I am his kid. There’s no denying it. And he has influenced me greatly.” Romero said. Queens of the Dead will feature Easter eggs to honor her father’s legacy. “And this is his monster, this is his genre. I had fun doing my little Romero nods throughout the film, and we have some good ones,” she shared, including appearances by notable figures such as makeup artist and actor Tom Savini and Dawn of the Dead star Gaylen Ross. “The zombie apocalypse is such a rich sandbox to play in when it comes to social commentary. I can’t be my dad’s daughter without making an attempt at saying something with zombies,” Romero told the magazine. “I did want this to be a film in which I am paying homage to the world and the monster he created, but I’m also introducing my own voice. It’s very much not a film he would make, but it is using his vocabulary and is playing by his rules. As far as the queer element, on one hand, I just feel like the gays need a zombie film. It’s time that we get to have a big gay zombie movie.” “I didn’t want to touch the genre unless it felt authentic to me,” Romero emphasized. Queens of the Dead revolves around a night in the queer party scene when the nightlife vibes at a warehouse drag show get interrupted by the zombie apocalypse. The inspiration came from intense conflict on social media among party promoters during her stint as a DJ. Romero recounted, “The original promoter posted this manifesto begging the question, ‘When will the queer community stop devouring its own?’ And it hit me like a bolt of lightning. I was like, ‘Oh my God! This would be how I want to explore the zombie genre in this world of queer nightlife.’” The Mandalorian baddie Katy O’Brien plays the fictionalized promoter who leads the film; Romero noted that there’s a special thanks to Tom Cruise in the credits for letting them take the time off their Mission: Impossible shoot to film the horror flick. Romero hopes the film will shine a light on the hunger for more genre films that represent an intersection of gay scream queens with that familiar flair for horror and dark comedy from her father’s roots. The legendary filmmaker didn’t get to see a completed script but mentored his daughter during the development process. Romero shared, “He said, ‘I love it! Run with it. Go for it.’ Unfortunately, he never got to read the completed script because it took me about seven years to get this developed… but I did have this blessing.” Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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Paul Donald Compartió un vínculo

2025-06-03 02:09:45 ·

Exciting news in the world of indie horror! "Queens of the Dead," a groundbreaking gay zombie film crafted with the blessing of the legendary George Romero, is making waves on the festival circuit. With Katy O'Brien from "The Mandalorian" leading the cast, this film not only pays homage to Romero's iconic legacy but also boldly embraces diverse storytelling in a genre often dominated by traditional narratives. As a Shader Artist, I’m thrilled to see how visual effects can enhance the unique blend of horror and representation in films like this. It’s a powerful reminder that the undead can be more than just mindless monsters—they can also reflect societal change and acceptance. What are your thoughts on the evolution of horror films and their capacity to tell diverse stories? #HorrorMovies #LGBTQFilm #GeorgeRomero #ZombieCinema #IndieFilm

Exciting news in the world of indie horror! "Queens of the Dead," a groundbreaking gay zombie film crafted with the blessing of the legendary George Romero, is making waves on the festival circuit. With Katy O'Brien from "The Mandalorian" leading the cast, this film not only pays homage to Romero's iconic legacy but also boldly embraces diverse storytelling in a genre often dominated by traditional narratives. As a Shader Artist, I’m thrilled to see how visual effects can enhance the unique blend of horror and representation in films like this. It’s a powerful reminder that the undead can be more than just mindless monsters—they can also reflect societal change and acceptance. What are your thoughts on the evolution of horror films and their capacity to tell diverse stories? #HorrorMovies #LGBTQFilm #GeorgeRomero #ZombieCinema #IndieFilm

GIZMODO.COM

George Romero’s Daughter Made a Gay Zombie Movie, With Her Father’s Blessing

'Queens of the Dead' is hitting the festival circuit and stars Katy O'Brien ('The Mandalorian').

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Joseph James Compartió un vínculo

2025-06-02 10:47:54 ·

Attention, Mac enthusiasts and nostalgia lovers! A brilliant new creation called the pico-mac-nano has emerged from the imaginative mind of hobbyist Nick Gillard. Standing at just 62 millimeters tall (that’s a tiny 2.4 inches!), this remarkable replica of the original Macintosh not only captures the vintage aesthetic but also runs classic software like MacPaint and MacWrite! It’s a delightful homage to the past, showcasing how far technology has come while keeping the spirit of retro computing alive. What’s your favorite memory of using the original Macintosh, or do you have a retro tech project you’re working on? Let’s reminisce together!

Attention, Mac enthusiasts and nostalgia lovers! 🎉 A brilliant new creation called the pico-mac-nano has emerged from the imaginative mind of hobbyist Nick Gillard. Standing at just 62 millimeters tall (that’s a tiny 2.4 inches!), this remarkable replica of the original Macintosh not only captures the vintage aesthetic but also runs classic software like MacPaint and MacWrite! It’s a delightful homage to the past, showcasing how far technology has come while keeping the spirit of retro computing alive. 🖥️✨ What’s your favorite memory of using the original Macintosh, or do you have a retro tech project you’re working on? Let’s reminisce together!

9TO5MAC.COM

pico-mac-nano is a glorious teeny-tiny replica of the original Macintosh

Here’s a fun one for Mac nostalgia fans: a new project by hobbyist Nick Gillard has taken the idea of mini retro builds to a whole micro level. Called the pico-mac-nano, this is a working replica of the original Macintosh that stands just 62 milli

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Xbox Compartió un vínculo

2025-06-01 16:08:26 ·

Eternal Evil Hits Xbox Series X|S – Vampires Grow Stronger with Your Blood

Category: ID@XboxMay 30, 2025 Eternal Evil Hits Xbox Series X|S – Vampires Grow Stronger with Your Blood

Imad Khalil, Partner, Human Qube

Eternal Evil is a first-person survival horror game that captures the spirit of the genre’s roots. With two playable characters, limited resources, and a city on the edge of collapse, players must think fast, aim carefully, and survive the night.

In Eternal Evil, Every Mistake Fuels Your Enemy

Vampires don’t just attack – they feed. If you let them get close, they’ll grow faster, tougher and harder to kill. This survival horror FPS turns every encounter into a choice: strike first, or be bled dry.

At the core of Eternal Evil is its “feeding mechanic” – the longer a vampire is on you, the stronger it becomes. What starts as a basic fight can quickly become a deadly chase if you hesitate. You’re not just trying to survive. You’re managing your own downfall.

Every Bullet Matters

Combat is slow, deliberate, and brutal. Ammo is scarce. Headshots are everything. You won’t blast through hordes – you’ll count every round and pray you brought enough.

The game demands tight inventory management, attention to detail, and preparation. Puzzles are embedded in the environment. There are no glowing objectives or quest markers. Progress comes from observation, not hand-holding.

Two Storylines. One Outbreak.

You’ll play as two characters: detective Hank Richards, locked inside a hotel during the first wave of infection, and his ex-military ally Marcus, navigating the city from the outskirts. Each path reveals a different part of the story – and only one of them makes it to the end.

Environments shift from cramped hallways to burned-out streets and abandoned facilities. Enemy placement and pacing are designed to keep tension high throughout both campaigns.

No Shortcuts, No Hand-Holding

There are no tutorials. No mini-maps. No regenerating health. Eternal Evil respects your ability to adapt – and punishes those who don’t.

If you’re stuck on a puzzle, an optional item allows limited auto-solves – but nothing comes free. Everything in Eternal Evil has a cost.

Pure Survival Horror

Eternal Evil doesn’t chase spectacle. It builds fear through restraint. Minimalist UI. Cold, comic-style cutscenes. No noise – just tension.

This is what defined the golden age of survival horror: constant pressure, deliberate pacing, and the kind of dread that doesn’t let go. Eternal Evil is now available on Xbox Series X|S.

Eternal Evil

Axyos Games

☆☆☆☆☆
4

★★★★★

Get it now

In Eternal Evil, you'll immerse yourself in a dark, blood-soaked atmosphere filled with terrifying enemies and a gripping, mysterious storyline. Armed with a diverse arsenal of firearms, you'll experience realistic shooting mechanics as you battle evolving ghouls.

The game challenges you with intricate puzzles. As you explore diverse and immersive locations, you'll manage your inventory carefully, all within a classic survival-horror experience. The game also features a physics-based damage system, allowing for enemy dismemberment, adding to the intense and visceral horror.

Fans of traditional survival-horror gameplay—featuring tight corridors, limited resources, and a constant sense of dread—will feel right at home. The experience pays homage to the golden age of the genre with a modern edge, offering methodical combat, strategic exploration, and a deeply atmospheric world.

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The post Eternal Evil Hits Xbox Series X|S – Vampires Grow Stronger with Your Blood appeared first on Xbox Wire.
#eternal #evil #hits #xbox #series

Eternal Evil Hits Xbox Series X|S – Vampires Grow Stronger with Your Blood
Category: ID@XboxMay 30, 2025 Eternal Evil Hits Xbox Series X|S – Vampires Grow Stronger with Your Blood Imad Khalil, Partner, Human Qube Eternal Evil is a first-person survival horror game that captures the spirit of the genre’s roots. With two playable characters, limited resources, and a city on the edge of collapse, players must think fast, aim carefully, and survive the night. In Eternal Evil, Every Mistake Fuels Your Enemy Vampires don’t just attack – they feed. If you let them get close, they’ll grow faster, tougher and harder to kill. This survival horror FPS turns every encounter into a choice: strike first, or be bled dry. At the core of Eternal Evil is its “feeding mechanic” – the longer a vampire is on you, the stronger it becomes. What starts as a basic fight can quickly become a deadly chase if you hesitate. You’re not just trying to survive. You’re managing your own downfall. Every Bullet Matters Combat is slow, deliberate, and brutal. Ammo is scarce. Headshots are everything. You won’t blast through hordes – you’ll count every round and pray you brought enough. The game demands tight inventory management, attention to detail, and preparation. Puzzles are embedded in the environment. There are no glowing objectives or quest markers. Progress comes from observation, not hand-holding. Two Storylines. One Outbreak. You’ll play as two characters: detective Hank Richards, locked inside a hotel during the first wave of infection, and his ex-military ally Marcus, navigating the city from the outskirts. Each path reveals a different part of the story – and only one of them makes it to the end. Environments shift from cramped hallways to burned-out streets and abandoned facilities. Enemy placement and pacing are designed to keep tension high throughout both campaigns. No Shortcuts, No Hand-Holding There are no tutorials. No mini-maps. No regenerating health. Eternal Evil respects your ability to adapt – and punishes those who don’t. If you’re stuck on a puzzle, an optional item allows limited auto-solves – but nothing comes free. Everything in Eternal Evil has a cost. Pure Survival Horror Eternal Evil doesn’t chase spectacle. It builds fear through restraint. Minimalist UI. Cold, comic-style cutscenes. No noise – just tension. This is what defined the golden age of survival horror: constant pressure, deliberate pacing, and the kind of dread that doesn’t let go. Eternal Evil is now available on Xbox Series X|S. Eternal Evil Axyos Games ☆☆☆☆☆ 4 ★★★★★ Get it now In Eternal Evil, you'll immerse yourself in a dark, blood-soaked atmosphere filled with terrifying enemies and a gripping, mysterious storyline. Armed with a diverse arsenal of firearms, you'll experience realistic shooting mechanics as you battle evolving ghouls. The game challenges you with intricate puzzles. As you explore diverse and immersive locations, you'll manage your inventory carefully, all within a classic survival-horror experience. The game also features a physics-based damage system, allowing for enemy dismemberment, adding to the intense and visceral horror. Fans of traditional survival-horror gameplay—featuring tight corridors, limited resources, and a constant sense of dread—will feel right at home. The experience pays homage to the golden age of the genre with a modern edge, offering methodical combat, strategic exploration, and a deeply atmospheric world. Related Stories for “Eternal Evil Hits Xbox Series X|S – Vampires Grow Stronger with Your Blood” Category: Next Week on XboxNext Week on Xbox: New Games for June 2 to 6 Category: ID@XboxA Little Roguelike Fun: Cryptmaster’s Deckbuilder in the Anniversary Update Category: ID@XboxGet Connected: Indie Selects for May 2025 The post Eternal Evil Hits Xbox Series X|S – Vampires Grow Stronger with Your Blood appeared first on Xbox Wire. #eternal #evil #hits #xbox #series

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Eternal Evil Hits Xbox Series X|S – Vampires Grow Stronger with Your Blood

Category: ID@XboxMay 30, 2025 Eternal Evil Hits Xbox Series X|S – Vampires Grow Stronger with Your Blood Imad Khalil, Partner, Human Qube Eternal Evil is a first-person survival horror game that captures the spirit of the genre’s roots. With two playable characters, limited resources, and a city on the edge of collapse, players must think fast, aim carefully, and survive the night. In Eternal Evil, Every Mistake Fuels Your Enemy Vampires don’t just attack – they feed. If you let them get close, they’ll grow faster, tougher and harder to kill. This survival horror FPS turns every encounter into a choice: strike first, or be bled dry. At the core of Eternal Evil is its “feeding mechanic” – the longer a vampire is on you, the stronger it becomes. What starts as a basic fight can quickly become a deadly chase if you hesitate. You’re not just trying to survive. You’re managing your own downfall. Every Bullet Matters Combat is slow, deliberate, and brutal. Ammo is scarce. Headshots are everything. You won’t blast through hordes – you’ll count every round and pray you brought enough. The game demands tight inventory management, attention to detail, and preparation. Puzzles are embedded in the environment. There are no glowing objectives or quest markers. Progress comes from observation, not hand-holding. Two Storylines. One Outbreak. You’ll play as two characters: detective Hank Richards, locked inside a hotel during the first wave of infection, and his ex-military ally Marcus, navigating the city from the outskirts. Each path reveals a different part of the story – and only one of them makes it to the end. Environments shift from cramped hallways to burned-out streets and abandoned facilities. Enemy placement and pacing are designed to keep tension high throughout both campaigns. No Shortcuts, No Hand-Holding There are no tutorials. No mini-maps. No regenerating health. Eternal Evil respects your ability to adapt – and punishes those who don’t. If you’re stuck on a puzzle, an optional item allows limited auto-solves – but nothing comes free. Everything in Eternal Evil has a cost. Pure Survival Horror Eternal Evil doesn’t chase spectacle. It builds fear through restraint. Minimalist UI. Cold, comic-style cutscenes. No noise – just tension. This is what defined the golden age of survival horror: constant pressure, deliberate pacing, and the kind of dread that doesn’t let go. Eternal Evil is now available on Xbox Series X|S. Eternal Evil Axyos Games ☆☆☆☆☆ 4 ★★★★★ $19.99 Get it now In Eternal Evil, you'll immerse yourself in a dark, blood-soaked atmosphere filled with terrifying enemies and a gripping, mysterious storyline. Armed with a diverse arsenal of firearms, you'll experience realistic shooting mechanics as you battle evolving ghouls. The game challenges you with intricate puzzles. As you explore diverse and immersive locations, you'll manage your inventory carefully, all within a classic survival-horror experience. The game also features a physics-based damage system, allowing for enemy dismemberment, adding to the intense and visceral horror. Fans of traditional survival-horror gameplay—featuring tight corridors, limited resources, and a constant sense of dread—will feel right at home. The experience pays homage to the golden age of the genre with a modern edge, offering methodical combat, strategic exploration, and a deeply atmospheric world. Related Stories for “Eternal Evil Hits Xbox Series X|S – Vampires Grow Stronger with Your Blood” Category: Next Week on XboxNext Week on Xbox: New Games for June 2 to 6 Category: ID@XboxA Little Roguelike Fun: Cryptmaster’s Deckbuilder in the Anniversary Update Category: ID@XboxGet Connected: Indie Selects for May 2025 The post Eternal Evil Hits Xbox Series X|S – Vampires Grow Stronger with Your Blood appeared first on Xbox Wire.

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Animation World Network Compartió un vínculo

2025-05-31 09:32:33 ·

Imaginary Forces Unveils Reimagined Marvel Studios Logo

Imaginary Forces has unveiled a reimagined Marvel Studios logo alongside the premiere of Thunderbolts*. Produced under the creative direction of Tosh Kodama, the logo pays homage to Marvel Studios’ iconic comic book flip-intro imbued with the darker, edgier tone of Thunderbolts*.
“The latest Marvel Studios logo builds on the rich creative history between Imaginary Forces and Marvel Studios,” said Kodama. “Our goal was to retain the iconic essence of the comic book flip while pushing it into new visual territory within the Thunderbolts* canon.”
The sequence features thousands of comic book images from the pages of Thunderbolts*, projected onto a drifting 3D rendering of the Marvel wordmark. The camera pans in, around, and through the passageways of each letter. The logo is never fully revealed and eventually dissolves into blackness, foreshadowing of The Void, Sentry’s alter ego.
“We wanted to create something truly epic and large-scale,” added Kodama. “The sequence tells a story, albeit a subtle one, evoking the gritty, morally complex world of the Thunderbolts*. Aesthetically, it’s also a notable departure from the warm and vibrant hues of the previous logo animations, with the black slowly creeping in and overtaking everything, creating a sense of mystery and unease.”
To express The Void sonically, Imaginary Forces overlaid a haunting sound effect over Michael Giacchino’s iconic ‘Marvel Studios Fanfare,’ reflecting the character’s hollow, engulfing nature.
“Fans get jazzed the minute they hear the fanfare and they know it well,” said Kodama. “So, sonically augmenting it was a simple but highly effective choice to subvert expectations and add intrigue.”
As a long-time branding and storytelling partner, Imaginary Forces created its first Marvel logo animation for the 2002 release of Spider-Man. 10 years later, they partnered with Marvel Studios for a stereoscopic 3D reimagining that premiered before Thor: The Dark World.
“Back in 2002, no one could have predicted Marvel would grow into the expansive Marvel Cinematic Universe we know today,” concluded Kodama. “We’ve been thrilled to collaborate with Marvel on the evolving logo animations over the years. Being part of the MCU’s next chapter is always an exciting and rewarding experience.”
Source: Imaginary Forces

Journalist, antique shop owner, aspiring gemologist—L'Wren brings a diverse perspective to animation, where every frame reflects her varied passions.
#imaginary #forces #unveils #reimagined #marvel

Imaginary Forces Unveils Reimagined Marvel Studios Logo
Imaginary Forces has unveiled a reimagined Marvel Studios logo alongside the premiere of Thunderbolts*. Produced under the creative direction of Tosh Kodama, the logo pays homage to Marvel Studios’ iconic comic book flip-intro imbued with the darker, edgier tone of Thunderbolts*. “The latest Marvel Studios logo builds on the rich creative history between Imaginary Forces and Marvel Studios,” said Kodama. “Our goal was to retain the iconic essence of the comic book flip while pushing it into new visual territory within the Thunderbolts* canon.” The sequence features thousands of comic book images from the pages of Thunderbolts*, projected onto a drifting 3D rendering of the Marvel wordmark. The camera pans in, around, and through the passageways of each letter. The logo is never fully revealed and eventually dissolves into blackness, foreshadowing of The Void, Sentry’s alter ego. “We wanted to create something truly epic and large-scale,” added Kodama. “The sequence tells a story, albeit a subtle one, evoking the gritty, morally complex world of the Thunderbolts*. Aesthetically, it’s also a notable departure from the warm and vibrant hues of the previous logo animations, with the black slowly creeping in and overtaking everything, creating a sense of mystery and unease.” To express The Void sonically, Imaginary Forces overlaid a haunting sound effect over Michael Giacchino’s iconic ‘Marvel Studios Fanfare,’ reflecting the character’s hollow, engulfing nature. “Fans get jazzed the minute they hear the fanfare and they know it well,” said Kodama. “So, sonically augmenting it was a simple but highly effective choice to subvert expectations and add intrigue.” As a long-time branding and storytelling partner, Imaginary Forces created its first Marvel logo animation for the 2002 release of Spider-Man. 10 years later, they partnered with Marvel Studios for a stereoscopic 3D reimagining that premiered before Thor: The Dark World. “Back in 2002, no one could have predicted Marvel would grow into the expansive Marvel Cinematic Universe we know today,” concluded Kodama. “We’ve been thrilled to collaborate with Marvel on the evolving logo animations over the years. Being part of the MCU’s next chapter is always an exciting and rewarding experience.” Source: Imaginary Forces Journalist, antique shop owner, aspiring gemologist—L'Wren brings a diverse perspective to animation, where every frame reflects her varied passions. #imaginary #forces #unveils #reimagined #marvel

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Imaginary Forces Unveils Reimagined Marvel Studios Logo

Imaginary Forces has unveiled a reimagined Marvel Studios logo alongside the premiere of Thunderbolts*. Produced under the creative direction of Tosh Kodama, the logo pays homage to Marvel Studios’ iconic comic book flip-intro imbued with the darker, edgier tone of Thunderbolts*. “The latest Marvel Studios logo builds on the rich creative history between Imaginary Forces and Marvel Studios,” said Kodama. “Our goal was to retain the iconic essence of the comic book flip while pushing it into new visual territory within the Thunderbolts* canon.” The sequence features thousands of comic book images from the pages of Thunderbolts*, projected onto a drifting 3D rendering of the Marvel wordmark. The camera pans in, around, and through the passageways of each letter. The logo is never fully revealed and eventually dissolves into blackness, foreshadowing of The Void, Sentry’s alter ego. “We wanted to create something truly epic and large-scale,” added Kodama. “The sequence tells a story, albeit a subtle one, evoking the gritty, morally complex world of the Thunderbolts*. Aesthetically, it’s also a notable departure from the warm and vibrant hues of the previous logo animations, with the black slowly creeping in and overtaking everything, creating a sense of mystery and unease.” To express The Void sonically, Imaginary Forces overlaid a haunting sound effect over Michael Giacchino’s iconic ‘Marvel Studios Fanfare,’ reflecting the character’s hollow, engulfing nature. “Fans get jazzed the minute they hear the fanfare and they know it well,” said Kodama. “So, sonically augmenting it was a simple but highly effective choice to subvert expectations and add intrigue.” As a long-time branding and storytelling partner, Imaginary Forces created its first Marvel logo animation for the 2002 release of Spider-Man. 10 years later, they partnered with Marvel Studios for a stereoscopic 3D reimagining that premiered before Thor: The Dark World (2012). “Back in 2002, no one could have predicted Marvel would grow into the expansive Marvel Cinematic Universe we know today,” concluded Kodama. “We’ve been thrilled to collaborate with Marvel on the evolving logo animations over the years. Being part of the MCU’s next chapter is always an exciting and rewarding experience.” Source: Imaginary Forces Journalist, antique shop owner, aspiring gemologist—L'Wren brings a diverse perspective to animation, where every frame reflects her varied passions.

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Architectural Digest Compartió un vínculo

2025-05-30 14:13:41 ·

This Harlem Brownstone Takes Design Notes From Italy

Because the Verganis love color, Menino used a lot of it, carefully, so as never to overwhelm the Harlem-meets-Milan aesthetic. A deep orange paints an accent wall in the primary bedroom, color-matched by a painterly wallcovering opposite it. The sleek muted green-and-blue kitchen is Menino’s homage to Carlo Scarpa, while the jewel box guest bedroom-cum-library sports a more verdant forest hue on its bespoke Murphy bed with a desk and built-in bookcases. An ombré teal powder room with a sculptural sink is another moment of joyful experiment but the living room—decorated with a custom sectional and vintage seating around a tiered marble cocktail table by Menino—is largely neutral.A vintage kilim rug is underfoot in the serene living room where the custom Italian-made sofa gathers with a custom marble cocktail table and vintage chairs by Jorge Zalszupin and Carlos Motta in front of new bespoke steel-framed doors to the terraced garden.
The living room’s relaxed and sun-filled vibe makes it one of the most-used rooms in the house as well as the perfect space for a striking tree branch sculpture by local artist Jannette Jwahir Hawkins, says Miriam, who worked with art advisor Aurore Vullierme to source such contemporary pieces. With Miriam’s plans to grow the family’s collection over time, Menino left a few walls blank here and chose their subtle gray hue specifically to be an optimal background to future artwork.Though the brownstone is certainly a family abode, it is also a natural venue for the Verganis’ love of entertaining, whether a soiree that extends indoors and out across the garden level or an intimate gathering at the dining table with Miriam’s “unbelievable tiramisu,” as Menino describes it. Flowing, relaxing, and luxurious rooms facilitate daily life and such occasions with equal ease. “We were excited to work with someone who would understand our design vision and had a deep knowledge of our culture,” says Miriam of Menino. “But we also wanted this house to reflect our story: how we moved here at a young age and made our life in New York.”A sculpture by Jannette Jwahir Hawkins stands adjacent the existing fireplace mantel, decorated with an artwork by Faustine Badrichani and a ceramic vase by Marion Naufal.
Menino Design Studio specified Tiger Onyx for the home’s statement-making custom bar and matching wall cladding behind it.
A custom Affreschi & Affreschi wallcovering adds color and texture to the primary bedroom, where the bespoke bed wears Parachute linens. Vintage Giuseppe Scapinelli armchair.
A painting by Ernest Crichlow hangs on a Benjamin Moore orange–painted brick wall in the primary bedroom, which features an existing fireplace mantel with vases by Marion Naufal. Sculptureby Victoire d’Harcourt. Vintage Giuseppe Scapinelli armchair.
Menino Design Studio created a floating Azul Cielo marble sink for the Roman clay–clad primary bath, where the tub is by Produits Neptune with Hotbath fixtures.
The office is decorated with a desk by Hugo Besnier, chair by Cultivation Objects, pendant by Pablo Designs, and a vintage Gregori Warchavchik magazine rack. The mural-like wallpaper is by Affreschi & Affreschi, made with a custom blue. Photograph by Coreen Simpson.
#this #harlem #brownstone #takes #design

This Harlem Brownstone Takes Design Notes From Italy
Because the Verganis love color, Menino used a lot of it, carefully, so as never to overwhelm the Harlem-meets-Milan aesthetic. A deep orange paints an accent wall in the primary bedroom, color-matched by a painterly wallcovering opposite it. The sleek muted green-and-blue kitchen is Menino’s homage to Carlo Scarpa, while the jewel box guest bedroom-cum-library sports a more verdant forest hue on its bespoke Murphy bed with a desk and built-in bookcases. An ombré teal powder room with a sculptural sink is another moment of joyful experiment but the living room—decorated with a custom sectional and vintage seating around a tiered marble cocktail table by Menino—is largely neutral.A vintage kilim rug is underfoot in the serene living room where the custom Italian-made sofa gathers with a custom marble cocktail table and vintage chairs by Jorge Zalszupin and Carlos Motta in front of new bespoke steel-framed doors to the terraced garden. The living room’s relaxed and sun-filled vibe makes it one of the most-used rooms in the house as well as the perfect space for a striking tree branch sculpture by local artist Jannette Jwahir Hawkins, says Miriam, who worked with art advisor Aurore Vullierme to source such contemporary pieces. With Miriam’s plans to grow the family’s collection over time, Menino left a few walls blank here and chose their subtle gray hue specifically to be an optimal background to future artwork.Though the brownstone is certainly a family abode, it is also a natural venue for the Verganis’ love of entertaining, whether a soiree that extends indoors and out across the garden level or an intimate gathering at the dining table with Miriam’s “unbelievable tiramisu,” as Menino describes it. Flowing, relaxing, and luxurious rooms facilitate daily life and such occasions with equal ease. “We were excited to work with someone who would understand our design vision and had a deep knowledge of our culture,” says Miriam of Menino. “But we also wanted this house to reflect our story: how we moved here at a young age and made our life in New York.”A sculpture by Jannette Jwahir Hawkins stands adjacent the existing fireplace mantel, decorated with an artwork by Faustine Badrichani and a ceramic vase by Marion Naufal. Menino Design Studio specified Tiger Onyx for the home’s statement-making custom bar and matching wall cladding behind it. A custom Affreschi & Affreschi wallcovering adds color and texture to the primary bedroom, where the bespoke bed wears Parachute linens. Vintage Giuseppe Scapinelli armchair. A painting by Ernest Crichlow hangs on a Benjamin Moore orange–painted brick wall in the primary bedroom, which features an existing fireplace mantel with vases by Marion Naufal. Sculptureby Victoire d’Harcourt. Vintage Giuseppe Scapinelli armchair. Menino Design Studio created a floating Azul Cielo marble sink for the Roman clay–clad primary bath, where the tub is by Produits Neptune with Hotbath fixtures. The office is decorated with a desk by Hugo Besnier, chair by Cultivation Objects, pendant by Pablo Designs, and a vintage Gregori Warchavchik magazine rack. The mural-like wallpaper is by Affreschi & Affreschi, made with a custom blue. Photograph by Coreen Simpson. #this #harlem #brownstone #takes #design

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This Harlem Brownstone Takes Design Notes From Italy

Because the Verganis love color, Menino used a lot of it, carefully, so as never to overwhelm the Harlem-meets-Milan aesthetic. A deep orange paints an accent wall in the primary bedroom, color-matched by a painterly wallcovering opposite it. The sleek muted green-and-blue kitchen is Menino’s homage to Carlo Scarpa, while the jewel box guest bedroom-cum-library sports a more verdant forest hue on its bespoke Murphy bed with a desk and built-in bookcases. An ombré teal powder room with a sculptural sink is another moment of joyful experiment but the living room—decorated with a custom sectional and vintage seating around a tiered marble cocktail table by Menino—is largely neutral.A vintage kilim rug is underfoot in the serene living room where the custom Italian-made sofa gathers with a custom marble cocktail table and vintage chairs by Jorge Zalszupin and Carlos Motta in front of new bespoke steel-framed doors to the terraced garden. The living room’s relaxed and sun-filled vibe makes it one of the most-used rooms in the house as well as the perfect space for a striking tree branch sculpture by local artist Jannette Jwahir Hawkins, says Miriam, who worked with art advisor Aurore Vullierme to source such contemporary pieces. With Miriam’s plans to grow the family’s collection over time, Menino left a few walls blank here and chose their subtle gray hue specifically to be an optimal background to future artwork.Though the brownstone is certainly a family abode, it is also a natural venue for the Verganis’ love of entertaining, whether a soiree that extends indoors and out across the garden level or an intimate gathering at the dining table with Miriam’s “unbelievable tiramisu,” as Menino describes it. Flowing, relaxing, and luxurious rooms facilitate daily life and such occasions with equal ease. “We were excited to work with someone who would understand our design vision and had a deep knowledge of our culture,” says Miriam of Menino. “But we also wanted this house to reflect our story: how we moved here at a young age and made our life in New York.”A sculpture by Jannette Jwahir Hawkins stands adjacent the existing fireplace mantel, decorated with an artwork by Faustine Badrichani and a ceramic vase by Marion Naufal. Menino Design Studio specified Tiger Onyx for the home’s statement-making custom bar and matching wall cladding behind it. A custom Affreschi & Affreschi wallcovering adds color and texture to the primary bedroom, where the bespoke bed wears Parachute linens. Vintage Giuseppe Scapinelli armchair. A painting by Ernest Crichlow hangs on a Benjamin Moore orange–painted brick wall in the primary bedroom, which features an existing fireplace mantel with vases by Marion Naufal. Sculpture (on side table) by Victoire d’Harcourt. Vintage Giuseppe Scapinelli armchair. Menino Design Studio created a floating Azul Cielo marble sink for the Roman clay–clad primary bath, where the tub is by Produits Neptune with Hotbath fixtures. The office is decorated with a desk by Hugo Besnier, chair by Cultivation Objects, pendant by Pablo Designs, and a vintage Gregori Warchavchik magazine rack. The mural-like wallpaper is by Affreschi & Affreschi, made with a custom blue. Photograph by Coreen Simpson.

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Architectural Digest Compartió un vínculo

2025-05-29 15:39:12 ·

Rocky Mountain Region Interior Designers, Architects, and Builders to Know From the AD PRO Directory

Rocky Mountain region interior designers, architects, builders, and landscape architects have a bounty of inspiration right outside their doors. Accordingly, their work reflects the beauty of the natural world. The region’s design and construction talents have the ability to bring the surrounding landscape into projects of all types, from modern mountain homes to urban apartments and town houses. If you’re ready to start a project, these AD-approved Rocky Mountain region interior designers, architects, builders, and landscape architects should be your first call.On the listInterior DesignersAshley Scheidel Design StudioAshley Scheidel Design Studio let the natural beauty of the materials take center stage in a Denver home’s tranquil bedroom.
Photo by Jess Blackwell PhotographySustainability is a driving force in interiors by Ashley Scheidel Design Studio. The Denver-based interior architecture and design firm specializes in new construction and renovations. Whether they are helping clients reimagine their existing spaces or building new ones from scratch, Scheidel and her team focus on creating timeless environments that balance livability and easygoing elegance. The client’s personal style also drives the design, but natural materials such as warm woods and rugged stone feature prominently in the firm’s portfolio.Beaumier InteriorsIn a renovated midcentury brick ranch home in Denver, Beaumier Interiors balanced warmth and restraint through the use of soft textures, sculptural forms, and quiet tones. The resulting space feels both grounded and welcoming.
Photo by Jess BlackwellAfter earning her stripes working for several leading firms in Chicago, designer Ashley Beaumier brought her signature organic modern style to the Denver area, where she founded her eponymous firm. Beaumier Interiors crafts polished interiors, which are layered with natural materials, including striking stone, pale linens, and warm woods. The full-service firm works with clients on projects of all sizes, including large renovations and new constructions, and guides each project from start to finish, ensuring a cohesive look throughout the entire home.Elizabeth Stanley DesignCurated vintage furnishings and lighting by Elizabeth Stanley Design softens the concrete architectural rigor of this austere Austin home.
Photo by Shade DeggesFor nearly 20 years, contemporary and minimalist houses have been transformed into welcoming, character-filled homes at the hands of designer Elizabeth Stanley and her eponymous firm. The Aspen, Colorado–based studio focuses on bringing its clients’ personal style to the fore as it guides them through the design process. The resulting tranquil spaces balance functionality and aesthetics and incorporate statement furnishings, natural materials, graphic art, and rich textures.Donna Mondi Interior DesignIn a Michigan living room by Donna Mondi Interior Design, sculptural seating and a floating concrete fireplace strike a confident balance between softness and strength. Cascading fiber art adds an unexpected edge.
Photo by Dustin Halleck; Styled by Darwin FitzKnown for her ability to mix traditional and modern design into soulful spaces, designer Donna Mondi has been transforming everything from city penthouses to country estates to desert retreats for almost 25 years. With offices in Denver and Chicago, Donna Mondi Interior Design works on high-end projects across the country, including renovations, new construction, and furnishings. The firm specializes in crafting architecturally driven designs that expertly balance luxury and comfort.Dream Homes Inc.In a Denver home, Dream Homes Inc. moved and redesigned the fireplace with a chevron-patterned Italian granite surround.
Photo by David Patterson PhotographySpecializing in large-scale renovations, Denver-based Dream Homes Inc. has been transforming homes in the Rocky Mountain region and nationwide since 1999. Led by founder Joyce Clegg, the interior architecture and design firm is known for its expertly planned and personality-filled residences. Dream Homes oversees every aspect of the construction process, and also works on kitchen and bath remodels. Notably, accessibility and aging is at the forefront of its place design.Duet Design GroupIn a historic Denver neighborhood, Duet Design created a cozy family home in a 1937 Tudor. The original architecture’s charm is elevated with inherited art, classic and modern pieces, and vintage finds.
Photo by David PattersonWhether designing an updated log cabin, a historic Tudor home, or a contemporary Mexican beach retreat, Denver-based Duet Design Group has an uncanny ability to bring the beauty of a home’s natural surroundings indoors. Led by founder and principal Devon Tobin, the firm works with clients on residential projects, including renovations and new construction, as well as commercial spaces. While the firm is known for its collaborative process, clients can also expect every logistical detail to be taken care of for a stress-free experience.Jede InteriorsBeauty and functionality meet in this polished Orem, Utah, kitchen designed by Jede Interiors.
Photo by Camilia LundNeutral hues and natural materials contribute to the calming, timeless homes created by Orem, Utah–based Jede Interiors. Led by principal designer Jen Dean, the firm is known for its fresh take on traditional style, combining comfortable furnishings with vintage pieces that add patina and history. Jede Interiors works to make every space feel authentic to the clients who live in it—it services those based locally and across the country.Bowen Design StudioThe Red Rocks of Southern Utah were the inspiration for the dining area’s cabinet color, adding a playful yet sophisticated design element.
Photo by Lacey Alexander PhotographyBuilding a new home can bring a daunting number of decisions, which is where Bowen Design Studio comes in. Led by designer Hailey Brodale, the Saint George, Utah–based firm specializes in helping clients make their custom homes feel truly personal. Whether it’s devising an organic desert retreat or a dramatic mountain home, Bowen Design Studio takes a hands-on approach throughout the construction process, making sure that the end result is exactly what the client envisioned.Lund Haus StudioFor a mountain home, Lund Haus Studio incorporated thoughtful organization solutions to enhance functionality and ease of living, as well as textures and materials inspired by the raw beauty of nature.
Photo by Rebekah WestoverSalt Lake City, Utah–based Lund Haus Studio designs joyful homes that truly work. The firm focuses on functionality, adding creative storage solutions and crafting layouts optimized for family life. Principal designer and professional organizer Sam Lund draws on her background in psychology as she works with clients, helping them express their needs and visions for their homes, and the team boasts extensive experience with construction, allowing the firm to expertly manage projects from start to finish.Eider InteriorsA book-matched stone fireplace is a focal point in the living area of an Eider Interiors–designed contemporary home overlooking the Salt Lake City Valley.
Photo by Christina Zolotaia PhotographyA clients’ story is at the heart of every space that Bluffdale, Utah–based Eider Interiors creates. Led by founder and principal designer Mallory Bouchard, the residential and commercial design studio is known for its contemporary interiors that balance modern details with elements of warmth and texture. Eider Interiors works on a wide range of projects, from a modern Miami apartment to a nature-inspired desert escape to a luxurious RV.The FlairhunterHigh on the ski runs of Park City, this custom bunk room was designed by The Flairhunter to comfortably accommodate adults and/or kids. Crafted from reclaimed barn wood, it features pops of color in the bedding and accessories to add an element of freshness and fun.
Photo by Doug Burke; Styling by Jen PaulInterior design firm The Flairhunter isn’t afraid to make a statement, incorporating bold colors, unique elements, and eye-catching artwork. Founder Stephanie Hunt leads a team of ten across the firm’s outposts in Salt Lake City and Southern California, and the firm works on projects throughout the United States and globally. The Flairhunter balances custom furnishings with vintage pieces and adds energy and personality by mixing colors, patterns, and materials.DwellifyCheckered floors, butcher block countertops, and vintage finishes revived the kitchen of this 100-year-old home updated by Dwellify.
Photo by Katie Griffith PhotographyDwellify streamlines the remodeling process, letting homeowners easily choose a design that fits their personal aesthetic and budget constraints. The company’s technology helps clients visualize their future spaces, and the process also includes virtual meetings with designers and Design Boxes of physical samples. The Salt Lake City–based company works remotely with clients across the country, pairing them with a remodel coordinator and a network of carefully vetted pros to help get the job done.Studio EckströmStudio Eckström revives the living room of a 1927 Spanish Colonial Revival in Omaha.
Photo by Daniel Johnson PhotographyDesigners Mark and Mikal Eckstrom bring a sense of whimsy and fun to the interiors they create with their Omaha, Nebraska–based firm, Studio Eckström. Unique details abound in the firm’s projects, from fanciful ironwork to bold wall treatments to unexpected color palettes, and the team isn’t afraid to push clients out of their comfort zones. Studio Eckström relies on a trusted roster of artisans, gallerists, and dealers to help them make each home one of a kind.Trove HomesDrawing inspiration from the breathtaking lake views, Trove Home’s design for a Lake Quivira kitchen features a custom curved island leg—an homage to the natural, flowing beauty of the water.
Photo by Nate Sheets PhotographyWith a portfolio full of dramatic before and afters, it’s obvious that Kansas City, Kansas–based firm Trove Homes knows how to completely reinvent a home to fit its clients’ personal styles. Co-owners Jessica and Nate White lead clients through every decision, ensuring that the finished space balances livability and sophistication. Whether tackling a renovation or starting from the ground up with a new build, the firm works in an array of aesthetics, from traditional to coastal.Emily Tucker DesignEmily Tucker Design updated a historic Denver Tudor for a young family, maintaining the history of the home while giving the furnishings a more youthful feel.
Photo by David LauerBased in Boulder, Colorado, Emily Tucker Design is a full-service firm helping clients across the country create personalized and highly curated residences. Tucker and her team work in a variety of styles, from modern mountain homes to historical residences, adding unexpected touches, including bold color palettes, playful patterns, and dazzling art. The firm prides itself on designing livable spaces, so it’s no wonder it has become a go-to for families looking for stylish yet durable interiors. Emily Tucker Design works on projects of a variety of scopes, including gut renovations, full home design, and new construction.Nadia Watts Interior DesignNadia Watts Interior Design created a bold dining room in a Denver home. Katie Ridder’s Pagoda wallpaper inspired the room’s unexpected color palette.
Photo by Emily Minton RedfieldDesigner Nadia Watts founded her eponymous Denver design firm in 2009, and since then she’s become known for her artful—and often colorful—approach to interiors. The great, great granddaughter of Louis Comfort Tiffany and a former assistant to a curator at The Metropolitan Museum of Art, Watts has a special appreciation for the decorative arts and is able to give her client’s collections of art and furnishings the showcase they deserve. In addition to working with clients across the country, Watts recently launched a fabric collection with Kravet and designed a jewel-inspired space for the 2024 Kips Bay Palm Beach Showhouse.Inside StoriesA custom fireplace with walnut panels is the focal point of an Aspen home by Inside Stories. A piece by artist Trevor Kiernander is on display alongside swivel chairs by A. Rudin and a leather ottoman by Lee Industries.
Photo by Eric LuceroDenver’s Inside Stories combines the capabilities of a large design firm with the hands-on approach of a smaller studio, giving clients the best of both worlds. Led by designer Miranda Cullen, the company tackles projects of all scopes, from paint consultations to complete redesigns, as well as commercial and hospitality designs. For clients looking for white-glove service, Inside Stories has a Residential X team that handles luxury projects like new builds and full-home renovations. Cullen and her team aren’t afraid of making bold moves in their designs, which showcase a mix of styles from midcentury-modern to rustic.Kristin Dittmar DesignKristin Dittmar Design devised a warm and moody primary bathroom for a home in Aspen. Herringbone marble tile lines the floor, while the vanity showcases warm walnut accents.
Photo courtesy of Kristin Dittmar DesignEarthy elements and streamlined details blend beautifully in the work of Aspen’s Kristin Dittmar Design. The firm brings its signature mountain modern style to homes across the country, showcasing the natural beauty of each location with rugged stonework, warm wood accents, and perfectly framed views. Whether they’re designing a retreat in the Rockies or modernizing a 19th-century Victorian, Dittmar and her team are hands-on during each phase of a project, making sure that every space shows exacting attention to detail.Susannah Holmberg StudiosFor the foyer of a Chicago carriage house, Susannah Holmberg Studios used wallpaper, art, and color to create a layered entryway.
Ryan McDonald. Stylist: Kimberly SwedeliusWhether it’s in a desert retreat or a storied Tudor house, Salt Lake City’s Susannah Holmberg Studios knows how to set a mood. The firm’s stylish spaces balance beauty and livability, and showcase the client’s personality with unique color palettes, curated art, and iconic design pieces. While they specialize in full-home renovations and new construction, Holmerg and her team work on residential and commercial projects across the country, tailoring the designs to each client, as well as the geographic and architectural settings.Margarita BravoFor a whole-home project in Denver’s LoHi district, Bravo drew inspiration from her client’s adventurous spirit and love of unique design, incorporating a mix of colors, patterns, and textures to create a sophisticated and dynamic space.
Photo courtesy of Margarita BravoDesigner Margarita Bravo’s projects are as far-flung as her inspirations. Her eponymous firm is headquartered in Denver and has outposts in Miami, Montecito, Aspen, and Barcelona. Bringing in influences from European and Latin American design, Bravo masterfully mixes natural elements, streamlined furnishings, metallic accents, and delightful patterns in her projects, which range from mountain homes to beachfront condos. The designer is also behind Sorella Furniture, which she created with her sister Maria, and MB Home Collection.Ashley Campbell Interior DesignAshley Campbell Interior Design turned the lower level of a new build in Denver into a party-ready space with a wet bar and a custom concrete coffee table.
Photo by Meagan Larsen PhotographyDenver designer Ashley Campbell puts a contemporary twist on mountain style, contrasting natural elements with streamlined furnishings, a crisp black-and-white palette, and minimalist lighting and fireplaces. These sophisticated spaces serve as striking backdrops for her clients’ collections of art and artifacts, and Campbell balances contemporary elements with plenty of texture to bring in a sense of warmth. The firm uses the latest technology to realize its designs, giving clients the full picture of the team’s creative vision.ArchitectsCharles Cunniffe Architects & InteriorsIn the great room of an Aspen, Colorado, home, Charles Cunniffe Architects perfectly framed the mountain views in a seating area.
Photo by Aaron LeitzScenic views are treated like works of art in the homes designed by Charles Cunniffe Architects & Interiors. The Aspen, Colorado–based firm has been creating residential, commercial, and institutional structures for over 40 years. They bring a dedication to sustainability and innovation to each project, incorporating innovative materials and energy-efficient systems for spaces that enhance their occupant’s well-being. A project’s context is a driving force in the creative process, and CCA expertly incorporates nature into the design.CLB ArchitectsSituated in the heart of Moonlight Basin in Big Sky, Montana, CLB Architects’ Basecamp residence rises into the dense fir and pine trees, offering a close connection to the natural environment.
Photo by Kevin ScottNature isn’t just an inspiration for the work of CLB Architects, it’s an integral part of each design. The cross-disciplinary design studio, which has offices in Jackson, Wyoming, and Bozeman, Montana, takes a site-specific approach and lets the surroundings inform each detail. The firm works on projects across the country and internationally, each rooted in context, whether it’s a ski-in, ski-out mountain retreat or an Upper East Side apartment.Forum Phi Architecture and Interior DesignBlending seamlessly with its surroundings, this home by Forum Phi Architecture + Interior Design pairs rustic textures with modern lines—capturing the spirit of the landscape through thoughtful design.
Photo by Dallas & Harris PhotographyForum Phi Architecture and Interior Design brings architecture, interior design, and land planning together under one roof, allowing the team to work collaboratively with clients on all aspects of a project. The resulting structures showcase the beauty of the natural world. With offices in Aspen, Denver, and Carbondale, the team works on residential, commercial, and institutional projects in a wide range of locations and styles, from rustic ranches to historic renovations to modern mountain retreats.CCY ArchitectsClad in stone, wood, steel, and glass, a home by CCY Architects nestles quietly within the natural surroundings of Aspen, Colorado, creating a rugged and durable contemporary interpretation of alpine architecture.
Photo by Draper WhiteThe American West and its striking landscapes inspire CCY Architects’ regional modernism. The Colorado architecture and design firm seeks to develop a deep connection to nature and community through its work—whether its residential, commercial, or institutional—and makes sustainability a priority. Cross-disciplinary collaboration is at the heart of the firm’s process, and the team immerses itself in the site, ensuring that the final design is rooted in place.Vera Iconica ArchitectureVera Iconica Architecture was inspired by the Japanese concept of ma, or “the space between,” when designing this Shooting Star sanctuary at the base of the Jackson Hole Resort. A series of small view courtyards are carved out of the massing, giving moments for pause and reflection offset with views of woods, streams, and the majestic Tetons.
Photo by Blok StudiosFor Vera Iconica Architecture, architecture and wellness go hand in hand. The firm’s evidence-based approach prioritizes the health and well-being of a client, resulting in spaces that feel restorative and connected to nature. The team finds inspiration in the landscape of the West, incorporating natural materials and sustainable building practices. With offices in Jackson, Wyoming; Denver, Colorado; and Park City, Utah, Vera Iconica Architecture designs globally, working on residential and hospitality projects from Hong Kong to South Dakota to Peru.Landscape ArchitectsStudio CampoStudio Campo devised a three-acre farm and homestead in Portland, Oregon, with stylist Emily Henderson. The property is complete with a seating area, plunge pool, raised beds, and a greenhouse workout facility.
Photo by Kaitlin GreenLandscape architecture firm Studio Campo creates outdoor spaces that enhance the ecosystem and the lives of those who enjoy them. Led by founding principal Cali Pfaff, the firm has a naturalistic style and a focus on both placemaking and biodiversity, highlighting native species in its work. Based in Denver and Oregon’s Willamette Valley, Studio Campo works on a wide range of landscape projects, including gardens, public spaces, farms, and habitats.BuildersVitruvius BuiltVitruvius Built collaborated with designer Barclay Butera on a sophisticated Deer Valley mountain retreat that blends rustic charm with modern elegance.
Photo by Cristina ZolotaiaFounded by Charles Ochello, Park City, Utah–based Vitruvius Built specializes in luxury construction, realizing even the most ambitious designs. The homes, located across the country, feature the highest quality materials and amenities such speakeasy-style golf suites, entertainment floors, and cozy bunk rooms. From a contemporary A-frame style residence to a mountain retreat made for entertaining, the homes in the firm’s portfolio showcase its ability to harness the latest technology to craft personal sanctuaries.Cadre General ContractorsEast Coast meets Colorado in this home constructed by Cadre General Contractors that blends traditional sophistication with a rich, Western aesthetic.
Photo courtesy of Cadre General ContractorsCadre General Contractors has been building custom homes in Colorado for nearly 30 years and its decades of experience shows in its extensive portfolio. The contracting firm works in a wide range of styles from traditional to contemporary, collaborating closely with architects and designers to bring the overall vision to life. Cadre prides itself on its ability to execute ambitious designs while maintaining an exacting attention to detail and quality.The Jackson Home CompanyWithin a newly constructed home by The Jackson Home Company, the expansive great room, with its vaulted ceilings, exposed steel beams, and grand stone fireplace, is framed by floor-to-ceiling windows showcasing breathtaking views of the Teton Range.
Photo by David AgnelloThe Jackson Home Company channels the rugged beauty of Jackson Hole, Wyoming, into striking mountain homes. In 2019, Brooklyn Home Company founders Bill Caleo, Lyndsay Caleo Karol, and Fitzhugh Karol expanded west to Wyoming, and since then the division has designed and built over 20 luxury single-family homes, including a 6,414-square-foot ski-in/ski-out home in Teton Village and an artful retreat nestled beside an Aspen grove. The firm prioritizes sustainability in its homes, incorporating elements like green roofs and locally sourced materials.APPLY NOWGrow your business with the AD PRO DirectoryArrowAre you looking for an interior decorator or designer to hire for your next project? Wherever you are, visit the AD PRO Directory to browse our list of AD-approved designers and find your match for a design consultation.
#rocky #mountain #region #interior #designers

Rocky Mountain Region Interior Designers, Architects, and Builders to Know From the AD PRO Directory
Rocky Mountain region interior designers, architects, builders, and landscape architects have a bounty of inspiration right outside their doors. Accordingly, their work reflects the beauty of the natural world. The region’s design and construction talents have the ability to bring the surrounding landscape into projects of all types, from modern mountain homes to urban apartments and town houses. If you’re ready to start a project, these AD-approved Rocky Mountain region interior designers, architects, builders, and landscape architects should be your first call.On the listInterior DesignersAshley Scheidel Design StudioAshley Scheidel Design Studio let the natural beauty of the materials take center stage in a Denver home’s tranquil bedroom. Photo by Jess Blackwell PhotographySustainability is a driving force in interiors by Ashley Scheidel Design Studio. The Denver-based interior architecture and design firm specializes in new construction and renovations. Whether they are helping clients reimagine their existing spaces or building new ones from scratch, Scheidel and her team focus on creating timeless environments that balance livability and easygoing elegance. The client’s personal style also drives the design, but natural materials such as warm woods and rugged stone feature prominently in the firm’s portfolio.Beaumier InteriorsIn a renovated midcentury brick ranch home in Denver, Beaumier Interiors balanced warmth and restraint through the use of soft textures, sculptural forms, and quiet tones. The resulting space feels both grounded and welcoming. Photo by Jess BlackwellAfter earning her stripes working for several leading firms in Chicago, designer Ashley Beaumier brought her signature organic modern style to the Denver area, where she founded her eponymous firm. Beaumier Interiors crafts polished interiors, which are layered with natural materials, including striking stone, pale linens, and warm woods. The full-service firm works with clients on projects of all sizes, including large renovations and new constructions, and guides each project from start to finish, ensuring a cohesive look throughout the entire home.Elizabeth Stanley DesignCurated vintage furnishings and lighting by Elizabeth Stanley Design softens the concrete architectural rigor of this austere Austin home. Photo by Shade DeggesFor nearly 20 years, contemporary and minimalist houses have been transformed into welcoming, character-filled homes at the hands of designer Elizabeth Stanley and her eponymous firm. The Aspen, Colorado–based studio focuses on bringing its clients’ personal style to the fore as it guides them through the design process. The resulting tranquil spaces balance functionality and aesthetics and incorporate statement furnishings, natural materials, graphic art, and rich textures.Donna Mondi Interior DesignIn a Michigan living room by Donna Mondi Interior Design, sculptural seating and a floating concrete fireplace strike a confident balance between softness and strength. Cascading fiber art adds an unexpected edge. Photo by Dustin Halleck; Styled by Darwin FitzKnown for her ability to mix traditional and modern design into soulful spaces, designer Donna Mondi has been transforming everything from city penthouses to country estates to desert retreats for almost 25 years. With offices in Denver and Chicago, Donna Mondi Interior Design works on high-end projects across the country, including renovations, new construction, and furnishings. The firm specializes in crafting architecturally driven designs that expertly balance luxury and comfort.Dream Homes Inc.In a Denver home, Dream Homes Inc. moved and redesigned the fireplace with a chevron-patterned Italian granite surround. Photo by David Patterson PhotographySpecializing in large-scale renovations, Denver-based Dream Homes Inc. has been transforming homes in the Rocky Mountain region and nationwide since 1999. Led by founder Joyce Clegg, the interior architecture and design firm is known for its expertly planned and personality-filled residences. Dream Homes oversees every aspect of the construction process, and also works on kitchen and bath remodels. Notably, accessibility and aging is at the forefront of its place design.Duet Design GroupIn a historic Denver neighborhood, Duet Design created a cozy family home in a 1937 Tudor. The original architecture’s charm is elevated with inherited art, classic and modern pieces, and vintage finds. Photo by David PattersonWhether designing an updated log cabin, a historic Tudor home, or a contemporary Mexican beach retreat, Denver-based Duet Design Group has an uncanny ability to bring the beauty of a home’s natural surroundings indoors. Led by founder and principal Devon Tobin, the firm works with clients on residential projects, including renovations and new construction, as well as commercial spaces. While the firm is known for its collaborative process, clients can also expect every logistical detail to be taken care of for a stress-free experience.Jede InteriorsBeauty and functionality meet in this polished Orem, Utah, kitchen designed by Jede Interiors. Photo by Camilia LundNeutral hues and natural materials contribute to the calming, timeless homes created by Orem, Utah–based Jede Interiors. Led by principal designer Jen Dean, the firm is known for its fresh take on traditional style, combining comfortable furnishings with vintage pieces that add patina and history. Jede Interiors works to make every space feel authentic to the clients who live in it—it services those based locally and across the country.Bowen Design StudioThe Red Rocks of Southern Utah were the inspiration for the dining area’s cabinet color, adding a playful yet sophisticated design element. Photo by Lacey Alexander PhotographyBuilding a new home can bring a daunting number of decisions, which is where Bowen Design Studio comes in. Led by designer Hailey Brodale, the Saint George, Utah–based firm specializes in helping clients make their custom homes feel truly personal. Whether it’s devising an organic desert retreat or a dramatic mountain home, Bowen Design Studio takes a hands-on approach throughout the construction process, making sure that the end result is exactly what the client envisioned.Lund Haus StudioFor a mountain home, Lund Haus Studio incorporated thoughtful organization solutions to enhance functionality and ease of living, as well as textures and materials inspired by the raw beauty of nature. Photo by Rebekah WestoverSalt Lake City, Utah–based Lund Haus Studio designs joyful homes that truly work. The firm focuses on functionality, adding creative storage solutions and crafting layouts optimized for family life. Principal designer and professional organizer Sam Lund draws on her background in psychology as she works with clients, helping them express their needs and visions for their homes, and the team boasts extensive experience with construction, allowing the firm to expertly manage projects from start to finish.Eider InteriorsA book-matched stone fireplace is a focal point in the living area of an Eider Interiors–designed contemporary home overlooking the Salt Lake City Valley. Photo by Christina Zolotaia PhotographyA clients’ story is at the heart of every space that Bluffdale, Utah–based Eider Interiors creates. Led by founder and principal designer Mallory Bouchard, the residential and commercial design studio is known for its contemporary interiors that balance modern details with elements of warmth and texture. Eider Interiors works on a wide range of projects, from a modern Miami apartment to a nature-inspired desert escape to a luxurious RV.The FlairhunterHigh on the ski runs of Park City, this custom bunk room was designed by The Flairhunter to comfortably accommodate adults and/or kids. Crafted from reclaimed barn wood, it features pops of color in the bedding and accessories to add an element of freshness and fun. Photo by Doug Burke; Styling by Jen PaulInterior design firm The Flairhunter isn’t afraid to make a statement, incorporating bold colors, unique elements, and eye-catching artwork. Founder Stephanie Hunt leads a team of ten across the firm’s outposts in Salt Lake City and Southern California, and the firm works on projects throughout the United States and globally. The Flairhunter balances custom furnishings with vintage pieces and adds energy and personality by mixing colors, patterns, and materials.DwellifyCheckered floors, butcher block countertops, and vintage finishes revived the kitchen of this 100-year-old home updated by Dwellify. Photo by Katie Griffith PhotographyDwellify streamlines the remodeling process, letting homeowners easily choose a design that fits their personal aesthetic and budget constraints. The company’s technology helps clients visualize their future spaces, and the process also includes virtual meetings with designers and Design Boxes of physical samples. The Salt Lake City–based company works remotely with clients across the country, pairing them with a remodel coordinator and a network of carefully vetted pros to help get the job done.Studio EckströmStudio Eckström revives the living room of a 1927 Spanish Colonial Revival in Omaha. Photo by Daniel Johnson PhotographyDesigners Mark and Mikal Eckstrom bring a sense of whimsy and fun to the interiors they create with their Omaha, Nebraska–based firm, Studio Eckström. Unique details abound in the firm’s projects, from fanciful ironwork to bold wall treatments to unexpected color palettes, and the team isn’t afraid to push clients out of their comfort zones. Studio Eckström relies on a trusted roster of artisans, gallerists, and dealers to help them make each home one of a kind.Trove HomesDrawing inspiration from the breathtaking lake views, Trove Home’s design for a Lake Quivira kitchen features a custom curved island leg—an homage to the natural, flowing beauty of the water. Photo by Nate Sheets PhotographyWith a portfolio full of dramatic before and afters, it’s obvious that Kansas City, Kansas–based firm Trove Homes knows how to completely reinvent a home to fit its clients’ personal styles. Co-owners Jessica and Nate White lead clients through every decision, ensuring that the finished space balances livability and sophistication. Whether tackling a renovation or starting from the ground up with a new build, the firm works in an array of aesthetics, from traditional to coastal.Emily Tucker DesignEmily Tucker Design updated a historic Denver Tudor for a young family, maintaining the history of the home while giving the furnishings a more youthful feel. Photo by David LauerBased in Boulder, Colorado, Emily Tucker Design is a full-service firm helping clients across the country create personalized and highly curated residences. Tucker and her team work in a variety of styles, from modern mountain homes to historical residences, adding unexpected touches, including bold color palettes, playful patterns, and dazzling art. The firm prides itself on designing livable spaces, so it’s no wonder it has become a go-to for families looking for stylish yet durable interiors. Emily Tucker Design works on projects of a variety of scopes, including gut renovations, full home design, and new construction.Nadia Watts Interior DesignNadia Watts Interior Design created a bold dining room in a Denver home. Katie Ridder’s Pagoda wallpaper inspired the room’s unexpected color palette. Photo by Emily Minton RedfieldDesigner Nadia Watts founded her eponymous Denver design firm in 2009, and since then she’s become known for her artful—and often colorful—approach to interiors. The great, great granddaughter of Louis Comfort Tiffany and a former assistant to a curator at The Metropolitan Museum of Art, Watts has a special appreciation for the decorative arts and is able to give her client’s collections of art and furnishings the showcase they deserve. In addition to working with clients across the country, Watts recently launched a fabric collection with Kravet and designed a jewel-inspired space for the 2024 Kips Bay Palm Beach Showhouse.Inside StoriesA custom fireplace with walnut panels is the focal point of an Aspen home by Inside Stories. A piece by artist Trevor Kiernander is on display alongside swivel chairs by A. Rudin and a leather ottoman by Lee Industries. Photo by Eric LuceroDenver’s Inside Stories combines the capabilities of a large design firm with the hands-on approach of a smaller studio, giving clients the best of both worlds. Led by designer Miranda Cullen, the company tackles projects of all scopes, from paint consultations to complete redesigns, as well as commercial and hospitality designs. For clients looking for white-glove service, Inside Stories has a Residential X team that handles luxury projects like new builds and full-home renovations. Cullen and her team aren’t afraid of making bold moves in their designs, which showcase a mix of styles from midcentury-modern to rustic.Kristin Dittmar DesignKristin Dittmar Design devised a warm and moody primary bathroom for a home in Aspen. Herringbone marble tile lines the floor, while the vanity showcases warm walnut accents. Photo courtesy of Kristin Dittmar DesignEarthy elements and streamlined details blend beautifully in the work of Aspen’s Kristin Dittmar Design. The firm brings its signature mountain modern style to homes across the country, showcasing the natural beauty of each location with rugged stonework, warm wood accents, and perfectly framed views. Whether they’re designing a retreat in the Rockies or modernizing a 19th-century Victorian, Dittmar and her team are hands-on during each phase of a project, making sure that every space shows exacting attention to detail.Susannah Holmberg StudiosFor the foyer of a Chicago carriage house, Susannah Holmberg Studios used wallpaper, art, and color to create a layered entryway. Ryan McDonald. Stylist: Kimberly SwedeliusWhether it’s in a desert retreat or a storied Tudor house, Salt Lake City’s Susannah Holmberg Studios knows how to set a mood. The firm’s stylish spaces balance beauty and livability, and showcase the client’s personality with unique color palettes, curated art, and iconic design pieces. While they specialize in full-home renovations and new construction, Holmerg and her team work on residential and commercial projects across the country, tailoring the designs to each client, as well as the geographic and architectural settings.Margarita BravoFor a whole-home project in Denver’s LoHi district, Bravo drew inspiration from her client’s adventurous spirit and love of unique design, incorporating a mix of colors, patterns, and textures to create a sophisticated and dynamic space. Photo courtesy of Margarita BravoDesigner Margarita Bravo’s projects are as far-flung as her inspirations. Her eponymous firm is headquartered in Denver and has outposts in Miami, Montecito, Aspen, and Barcelona. Bringing in influences from European and Latin American design, Bravo masterfully mixes natural elements, streamlined furnishings, metallic accents, and delightful patterns in her projects, which range from mountain homes to beachfront condos. The designer is also behind Sorella Furniture, which she created with her sister Maria, and MB Home Collection.Ashley Campbell Interior DesignAshley Campbell Interior Design turned the lower level of a new build in Denver into a party-ready space with a wet bar and a custom concrete coffee table. Photo by Meagan Larsen PhotographyDenver designer Ashley Campbell puts a contemporary twist on mountain style, contrasting natural elements with streamlined furnishings, a crisp black-and-white palette, and minimalist lighting and fireplaces. These sophisticated spaces serve as striking backdrops for her clients’ collections of art and artifacts, and Campbell balances contemporary elements with plenty of texture to bring in a sense of warmth. The firm uses the latest technology to realize its designs, giving clients the full picture of the team’s creative vision.ArchitectsCharles Cunniffe Architects & InteriorsIn the great room of an Aspen, Colorado, home, Charles Cunniffe Architects perfectly framed the mountain views in a seating area. Photo by Aaron LeitzScenic views are treated like works of art in the homes designed by Charles Cunniffe Architects & Interiors. The Aspen, Colorado–based firm has been creating residential, commercial, and institutional structures for over 40 years. They bring a dedication to sustainability and innovation to each project, incorporating innovative materials and energy-efficient systems for spaces that enhance their occupant’s well-being. A project’s context is a driving force in the creative process, and CCA expertly incorporates nature into the design.CLB ArchitectsSituated in the heart of Moonlight Basin in Big Sky, Montana, CLB Architects’ Basecamp residence rises into the dense fir and pine trees, offering a close connection to the natural environment. Photo by Kevin ScottNature isn’t just an inspiration for the work of CLB Architects, it’s an integral part of each design. The cross-disciplinary design studio, which has offices in Jackson, Wyoming, and Bozeman, Montana, takes a site-specific approach and lets the surroundings inform each detail. The firm works on projects across the country and internationally, each rooted in context, whether it’s a ski-in, ski-out mountain retreat or an Upper East Side apartment.Forum Phi Architecture and Interior DesignBlending seamlessly with its surroundings, this home by Forum Phi Architecture + Interior Design pairs rustic textures with modern lines—capturing the spirit of the landscape through thoughtful design. Photo by Dallas & Harris PhotographyForum Phi Architecture and Interior Design brings architecture, interior design, and land planning together under one roof, allowing the team to work collaboratively with clients on all aspects of a project. The resulting structures showcase the beauty of the natural world. With offices in Aspen, Denver, and Carbondale, the team works on residential, commercial, and institutional projects in a wide range of locations and styles, from rustic ranches to historic renovations to modern mountain retreats.CCY ArchitectsClad in stone, wood, steel, and glass, a home by CCY Architects nestles quietly within the natural surroundings of Aspen, Colorado, creating a rugged and durable contemporary interpretation of alpine architecture. Photo by Draper WhiteThe American West and its striking landscapes inspire CCY Architects’ regional modernism. The Colorado architecture and design firm seeks to develop a deep connection to nature and community through its work—whether its residential, commercial, or institutional—and makes sustainability a priority. Cross-disciplinary collaboration is at the heart of the firm’s process, and the team immerses itself in the site, ensuring that the final design is rooted in place.Vera Iconica ArchitectureVera Iconica Architecture was inspired by the Japanese concept of ma, or “the space between,” when designing this Shooting Star sanctuary at the base of the Jackson Hole Resort. A series of small view courtyards are carved out of the massing, giving moments for pause and reflection offset with views of woods, streams, and the majestic Tetons. Photo by Blok StudiosFor Vera Iconica Architecture, architecture and wellness go hand in hand. The firm’s evidence-based approach prioritizes the health and well-being of a client, resulting in spaces that feel restorative and connected to nature. The team finds inspiration in the landscape of the West, incorporating natural materials and sustainable building practices. With offices in Jackson, Wyoming; Denver, Colorado; and Park City, Utah, Vera Iconica Architecture designs globally, working on residential and hospitality projects from Hong Kong to South Dakota to Peru.Landscape ArchitectsStudio CampoStudio Campo devised a three-acre farm and homestead in Portland, Oregon, with stylist Emily Henderson. The property is complete with a seating area, plunge pool, raised beds, and a greenhouse workout facility. Photo by Kaitlin GreenLandscape architecture firm Studio Campo creates outdoor spaces that enhance the ecosystem and the lives of those who enjoy them. Led by founding principal Cali Pfaff, the firm has a naturalistic style and a focus on both placemaking and biodiversity, highlighting native species in its work. Based in Denver and Oregon’s Willamette Valley, Studio Campo works on a wide range of landscape projects, including gardens, public spaces, farms, and habitats.BuildersVitruvius BuiltVitruvius Built collaborated with designer Barclay Butera on a sophisticated Deer Valley mountain retreat that blends rustic charm with modern elegance. Photo by Cristina ZolotaiaFounded by Charles Ochello, Park City, Utah–based Vitruvius Built specializes in luxury construction, realizing even the most ambitious designs. The homes, located across the country, feature the highest quality materials and amenities such speakeasy-style golf suites, entertainment floors, and cozy bunk rooms. From a contemporary A-frame style residence to a mountain retreat made for entertaining, the homes in the firm’s portfolio showcase its ability to harness the latest technology to craft personal sanctuaries.Cadre General ContractorsEast Coast meets Colorado in this home constructed by Cadre General Contractors that blends traditional sophistication with a rich, Western aesthetic. Photo courtesy of Cadre General ContractorsCadre General Contractors has been building custom homes in Colorado for nearly 30 years and its decades of experience shows in its extensive portfolio. The contracting firm works in a wide range of styles from traditional to contemporary, collaborating closely with architects and designers to bring the overall vision to life. Cadre prides itself on its ability to execute ambitious designs while maintaining an exacting attention to detail and quality.The Jackson Home CompanyWithin a newly constructed home by The Jackson Home Company, the expansive great room, with its vaulted ceilings, exposed steel beams, and grand stone fireplace, is framed by floor-to-ceiling windows showcasing breathtaking views of the Teton Range. Photo by David AgnelloThe Jackson Home Company channels the rugged beauty of Jackson Hole, Wyoming, into striking mountain homes. In 2019, Brooklyn Home Company founders Bill Caleo, Lyndsay Caleo Karol, and Fitzhugh Karol expanded west to Wyoming, and since then the division has designed and built over 20 luxury single-family homes, including a 6,414-square-foot ski-in/ski-out home in Teton Village and an artful retreat nestled beside an Aspen grove. The firm prioritizes sustainability in its homes, incorporating elements like green roofs and locally sourced materials.APPLY NOWGrow your business with the AD PRO DirectoryArrowAre you looking for an interior decorator or designer to hire for your next project? Wherever you are, visit the AD PRO Directory to browse our list of AD-approved designers and find your match for a design consultation. #rocky #mountain #region #interior #designers

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Rocky Mountain Region Interior Designers, Architects, and Builders to Know From the AD PRO Directory

Rocky Mountain region interior designers, architects, builders, and landscape architects have a bounty of inspiration right outside their doors. Accordingly, their work reflects the beauty of the natural world. The region’s design and construction talents have the ability to bring the surrounding landscape into projects of all types, from modern mountain homes to urban apartments and town houses. If you’re ready to start a project, these AD-approved Rocky Mountain region interior designers, architects, builders, and landscape architects should be your first call.On the listInterior DesignersAshley Scheidel Design StudioAshley Scheidel Design Studio let the natural beauty of the materials take center stage in a Denver home’s tranquil bedroom. Photo by Jess Blackwell PhotographySustainability is a driving force in interiors by Ashley Scheidel Design Studio. The Denver-based interior architecture and design firm specializes in new construction and renovations. Whether they are helping clients reimagine their existing spaces or building new ones from scratch, Scheidel and her team focus on creating timeless environments that balance livability and easygoing elegance. The client’s personal style also drives the design, but natural materials such as warm woods and rugged stone feature prominently in the firm’s portfolio.Beaumier InteriorsIn a renovated midcentury brick ranch home in Denver, Beaumier Interiors balanced warmth and restraint through the use of soft textures, sculptural forms, and quiet tones. The resulting space feels both grounded and welcoming. Photo by Jess BlackwellAfter earning her stripes working for several leading firms in Chicago, designer Ashley Beaumier brought her signature organic modern style to the Denver area, where she founded her eponymous firm. Beaumier Interiors crafts polished interiors, which are layered with natural materials, including striking stone, pale linens, and warm woods. The full-service firm works with clients on projects of all sizes, including large renovations and new constructions, and guides each project from start to finish, ensuring a cohesive look throughout the entire home.Elizabeth Stanley DesignCurated vintage furnishings and lighting by Elizabeth Stanley Design softens the concrete architectural rigor of this austere Austin home. Photo by Shade DeggesFor nearly 20 years, contemporary and minimalist houses have been transformed into welcoming, character-filled homes at the hands of designer Elizabeth Stanley and her eponymous firm. The Aspen, Colorado–based studio focuses on bringing its clients’ personal style to the fore as it guides them through the design process. The resulting tranquil spaces balance functionality and aesthetics and incorporate statement furnishings, natural materials, graphic art, and rich textures.Donna Mondi Interior DesignIn a Michigan living room by Donna Mondi Interior Design, sculptural seating and a floating concrete fireplace strike a confident balance between softness and strength. Cascading fiber art adds an unexpected edge. Photo by Dustin Halleck; Styled by Darwin FitzKnown for her ability to mix traditional and modern design into soulful spaces, designer Donna Mondi has been transforming everything from city penthouses to country estates to desert retreats for almost 25 years. With offices in Denver and Chicago, Donna Mondi Interior Design works on high-end projects across the country, including renovations, new construction, and furnishings. The firm specializes in crafting architecturally driven designs that expertly balance luxury and comfort.Dream Homes Inc.In a Denver home, Dream Homes Inc. moved and redesigned the fireplace with a chevron-patterned Italian granite surround. Photo by David Patterson PhotographySpecializing in large-scale renovations, Denver-based Dream Homes Inc. has been transforming homes in the Rocky Mountain region and nationwide since 1999. Led by founder Joyce Clegg, the interior architecture and design firm is known for its expertly planned and personality-filled residences. Dream Homes oversees every aspect of the construction process, and also works on kitchen and bath remodels. Notably, accessibility and aging is at the forefront of its place design.Duet Design GroupIn a historic Denver neighborhood, Duet Design created a cozy family home in a 1937 Tudor. The original architecture’s charm is elevated with inherited art, classic and modern pieces, and vintage finds. Photo by David PattersonWhether designing an updated log cabin, a historic Tudor home, or a contemporary Mexican beach retreat, Denver-based Duet Design Group has an uncanny ability to bring the beauty of a home’s natural surroundings indoors. Led by founder and principal Devon Tobin, the firm works with clients on residential projects, including renovations and new construction, as well as commercial spaces. While the firm is known for its collaborative process, clients can also expect every logistical detail to be taken care of for a stress-free experience.Jede InteriorsBeauty and functionality meet in this polished Orem, Utah, kitchen designed by Jede Interiors. Photo by Camilia LundNeutral hues and natural materials contribute to the calming, timeless homes created by Orem, Utah–based Jede Interiors. Led by principal designer Jen Dean, the firm is known for its fresh take on traditional style, combining comfortable furnishings with vintage pieces that add patina and history. Jede Interiors works to make every space feel authentic to the clients who live in it—it services those based locally and across the country.Bowen Design StudioThe Red Rocks of Southern Utah were the inspiration for the dining area’s cabinet color, adding a playful yet sophisticated design element. Photo by Lacey Alexander PhotographyBuilding a new home can bring a daunting number of decisions, which is where Bowen Design Studio comes in. Led by designer Hailey Brodale, the Saint George, Utah–based firm specializes in helping clients make their custom homes feel truly personal. Whether it’s devising an organic desert retreat or a dramatic mountain home, Bowen Design Studio takes a hands-on approach throughout the construction process, making sure that the end result is exactly what the client envisioned.Lund Haus StudioFor a mountain home, Lund Haus Studio incorporated thoughtful organization solutions to enhance functionality and ease of living, as well as textures and materials inspired by the raw beauty of nature. Photo by Rebekah WestoverSalt Lake City, Utah–based Lund Haus Studio designs joyful homes that truly work. The firm focuses on functionality, adding creative storage solutions and crafting layouts optimized for family life. Principal designer and professional organizer Sam Lund draws on her background in psychology as she works with clients, helping them express their needs and visions for their homes, and the team boasts extensive experience with construction, allowing the firm to expertly manage projects from start to finish.Eider InteriorsA book-matched stone fireplace is a focal point in the living area of an Eider Interiors–designed contemporary home overlooking the Salt Lake City Valley. Photo by Christina Zolotaia PhotographyA clients’ story is at the heart of every space that Bluffdale, Utah–based Eider Interiors creates. Led by founder and principal designer Mallory Bouchard, the residential and commercial design studio is known for its contemporary interiors that balance modern details with elements of warmth and texture. Eider Interiors works on a wide range of projects, from a modern Miami apartment to a nature-inspired desert escape to a luxurious RV.The FlairhunterHigh on the ski runs of Park City, this custom bunk room was designed by The Flairhunter to comfortably accommodate adults and/or kids. Crafted from reclaimed barn wood, it features pops of color in the bedding and accessories to add an element of freshness and fun. Photo by Doug Burke; Styling by Jen PaulInterior design firm The Flairhunter isn’t afraid to make a statement, incorporating bold colors, unique elements, and eye-catching artwork. Founder Stephanie Hunt leads a team of ten across the firm’s outposts in Salt Lake City and Southern California, and the firm works on projects throughout the United States and globally. The Flairhunter balances custom furnishings with vintage pieces and adds energy and personality by mixing colors, patterns, and materials.DwellifyCheckered floors, butcher block countertops, and vintage finishes revived the kitchen of this 100-year-old home updated by Dwellify. Photo by Katie Griffith PhotographyDwellify streamlines the remodeling process, letting homeowners easily choose a design that fits their personal aesthetic and budget constraints. The company’s technology helps clients visualize their future spaces, and the process also includes virtual meetings with designers and Design Boxes of physical samples. The Salt Lake City–based company works remotely with clients across the country, pairing them with a remodel coordinator and a network of carefully vetted pros to help get the job done.Studio EckströmStudio Eckström revives the living room of a 1927 Spanish Colonial Revival in Omaha. Photo by Daniel Johnson PhotographyDesigners Mark and Mikal Eckstrom bring a sense of whimsy and fun to the interiors they create with their Omaha, Nebraska–based firm, Studio Eckström. Unique details abound in the firm’s projects, from fanciful ironwork to bold wall treatments to unexpected color palettes, and the team isn’t afraid to push clients out of their comfort zones. Studio Eckström relies on a trusted roster of artisans, gallerists, and dealers to help them make each home one of a kind.Trove HomesDrawing inspiration from the breathtaking lake views, Trove Home’s design for a Lake Quivira kitchen features a custom curved island leg—an homage to the natural, flowing beauty of the water. Photo by Nate Sheets PhotographyWith a portfolio full of dramatic before and afters, it’s obvious that Kansas City, Kansas–based firm Trove Homes knows how to completely reinvent a home to fit its clients’ personal styles. Co-owners Jessica and Nate White lead clients through every decision, ensuring that the finished space balances livability and sophistication. Whether tackling a renovation or starting from the ground up with a new build, the firm works in an array of aesthetics, from traditional to coastal.Emily Tucker DesignEmily Tucker Design updated a historic Denver Tudor for a young family, maintaining the history of the home while giving the furnishings a more youthful feel. Photo by David LauerBased in Boulder, Colorado, Emily Tucker Design is a full-service firm helping clients across the country create personalized and highly curated residences. Tucker and her team work in a variety of styles, from modern mountain homes to historical residences, adding unexpected touches, including bold color palettes, playful patterns, and dazzling art. The firm prides itself on designing livable spaces, so it’s no wonder it has become a go-to for families looking for stylish yet durable interiors. Emily Tucker Design works on projects of a variety of scopes, including gut renovations, full home design, and new construction.Nadia Watts Interior DesignNadia Watts Interior Design created a bold dining room in a Denver home. Katie Ridder’s Pagoda wallpaper inspired the room’s unexpected color palette. Photo by Emily Minton RedfieldDesigner Nadia Watts founded her eponymous Denver design firm in 2009, and since then she’s become known for her artful—and often colorful—approach to interiors. The great, great granddaughter of Louis Comfort Tiffany and a former assistant to a curator at The Metropolitan Museum of Art, Watts has a special appreciation for the decorative arts and is able to give her client’s collections of art and furnishings the showcase they deserve. In addition to working with clients across the country, Watts recently launched a fabric collection with Kravet and designed a jewel-inspired space for the 2024 Kips Bay Palm Beach Showhouse.Inside StoriesA custom fireplace with walnut panels is the focal point of an Aspen home by Inside Stories. A piece by artist Trevor Kiernander is on display alongside swivel chairs by A. Rudin and a leather ottoman by Lee Industries. Photo by Eric LuceroDenver’s Inside Stories combines the capabilities of a large design firm with the hands-on approach of a smaller studio, giving clients the best of both worlds. Led by designer Miranda Cullen, the company tackles projects of all scopes, from paint consultations to complete redesigns, as well as commercial and hospitality designs. For clients looking for white-glove service, Inside Stories has a Residential X team that handles luxury projects like new builds and full-home renovations. Cullen and her team aren’t afraid of making bold moves in their designs, which showcase a mix of styles from midcentury-modern to rustic.Kristin Dittmar DesignKristin Dittmar Design devised a warm and moody primary bathroom for a home in Aspen. Herringbone marble tile lines the floor, while the vanity showcases warm walnut accents. Photo courtesy of Kristin Dittmar DesignEarthy elements and streamlined details blend beautifully in the work of Aspen’s Kristin Dittmar Design. The firm brings its signature mountain modern style to homes across the country, showcasing the natural beauty of each location with rugged stonework, warm wood accents, and perfectly framed views. Whether they’re designing a retreat in the Rockies or modernizing a 19th-century Victorian, Dittmar and her team are hands-on during each phase of a project, making sure that every space shows exacting attention to detail.Susannah Holmberg StudiosFor the foyer of a Chicago carriage house, Susannah Holmberg Studios used wallpaper, art, and color to create a layered entryway. Ryan McDonald. Stylist: Kimberly SwedeliusWhether it’s in a desert retreat or a storied Tudor house, Salt Lake City’s Susannah Holmberg Studios knows how to set a mood. The firm’s stylish spaces balance beauty and livability, and showcase the client’s personality with unique color palettes, curated art, and iconic design pieces. While they specialize in full-home renovations and new construction, Holmerg and her team work on residential and commercial projects across the country, tailoring the designs to each client, as well as the geographic and architectural settings.Margarita BravoFor a whole-home project in Denver’s LoHi district, Bravo drew inspiration from her client’s adventurous spirit and love of unique design, incorporating a mix of colors, patterns, and textures to create a sophisticated and dynamic space. Photo courtesy of Margarita BravoDesigner Margarita Bravo’s projects are as far-flung as her inspirations. Her eponymous firm is headquartered in Denver and has outposts in Miami, Montecito, Aspen, and Barcelona. Bringing in influences from European and Latin American design, Bravo masterfully mixes natural elements, streamlined furnishings, metallic accents, and delightful patterns in her projects, which range from mountain homes to beachfront condos. The designer is also behind Sorella Furniture, which she created with her sister Maria, and MB Home Collection.Ashley Campbell Interior DesignAshley Campbell Interior Design turned the lower level of a new build in Denver into a party-ready space with a wet bar and a custom concrete coffee table. Photo by Meagan Larsen PhotographyDenver designer Ashley Campbell puts a contemporary twist on mountain style, contrasting natural elements with streamlined furnishings, a crisp black-and-white palette, and minimalist lighting and fireplaces. These sophisticated spaces serve as striking backdrops for her clients’ collections of art and artifacts, and Campbell balances contemporary elements with plenty of texture to bring in a sense of warmth. The firm uses the latest technology to realize its designs, giving clients the full picture of the team’s creative vision.ArchitectsCharles Cunniffe Architects & InteriorsIn the great room of an Aspen, Colorado, home, Charles Cunniffe Architects perfectly framed the mountain views in a seating area. Photo by Aaron LeitzScenic views are treated like works of art in the homes designed by Charles Cunniffe Architects & Interiors. The Aspen, Colorado–based firm has been creating residential, commercial, and institutional structures for over 40 years. They bring a dedication to sustainability and innovation to each project, incorporating innovative materials and energy-efficient systems for spaces that enhance their occupant’s well-being. A project’s context is a driving force in the creative process, and CCA expertly incorporates nature into the design.CLB ArchitectsSituated in the heart of Moonlight Basin in Big Sky, Montana, CLB Architects’ Basecamp residence rises into the dense fir and pine trees, offering a close connection to the natural environment. Photo by Kevin ScottNature isn’t just an inspiration for the work of CLB Architects, it’s an integral part of each design. The cross-disciplinary design studio, which has offices in Jackson, Wyoming, and Bozeman, Montana, takes a site-specific approach and lets the surroundings inform each detail. The firm works on projects across the country and internationally, each rooted in context, whether it’s a ski-in, ski-out mountain retreat or an Upper East Side apartment.Forum Phi Architecture and Interior DesignBlending seamlessly with its surroundings, this home by Forum Phi Architecture + Interior Design pairs rustic textures with modern lines—capturing the spirit of the landscape through thoughtful design. Photo by Dallas & Harris PhotographyForum Phi Architecture and Interior Design brings architecture, interior design, and land planning together under one roof, allowing the team to work collaboratively with clients on all aspects of a project. The resulting structures showcase the beauty of the natural world. With offices in Aspen, Denver, and Carbondale, the team works on residential, commercial, and institutional projects in a wide range of locations and styles, from rustic ranches to historic renovations to modern mountain retreats.CCY ArchitectsClad in stone, wood, steel, and glass, a home by CCY Architects nestles quietly within the natural surroundings of Aspen, Colorado, creating a rugged and durable contemporary interpretation of alpine architecture. Photo by Draper WhiteThe American West and its striking landscapes inspire CCY Architects’ regional modernism. The Colorado architecture and design firm seeks to develop a deep connection to nature and community through its work—whether its residential, commercial, or institutional—and makes sustainability a priority. Cross-disciplinary collaboration is at the heart of the firm’s process, and the team immerses itself in the site, ensuring that the final design is rooted in place.Vera Iconica ArchitectureVera Iconica Architecture was inspired by the Japanese concept of ma, or “the space between,” when designing this Shooting Star sanctuary at the base of the Jackson Hole Resort. A series of small view courtyards are carved out of the massing, giving moments for pause and reflection offset with views of woods, streams, and the majestic Tetons. Photo by Blok StudiosFor Vera Iconica Architecture, architecture and wellness go hand in hand. The firm’s evidence-based approach prioritizes the health and well-being of a client, resulting in spaces that feel restorative and connected to nature. The team finds inspiration in the landscape of the West, incorporating natural materials and sustainable building practices. With offices in Jackson, Wyoming; Denver, Colorado; and Park City, Utah, Vera Iconica Architecture designs globally, working on residential and hospitality projects from Hong Kong to South Dakota to Peru.Landscape ArchitectsStudio CampoStudio Campo devised a three-acre farm and homestead in Portland, Oregon, with stylist Emily Henderson. The property is complete with a seating area, plunge pool, raised beds, and a greenhouse workout facility. Photo by Kaitlin GreenLandscape architecture firm Studio Campo creates outdoor spaces that enhance the ecosystem and the lives of those who enjoy them. Led by founding principal Cali Pfaff, the firm has a naturalistic style and a focus on both placemaking and biodiversity, highlighting native species in its work. Based in Denver and Oregon’s Willamette Valley, Studio Campo works on a wide range of landscape projects, including gardens, public spaces, farms, and habitats.BuildersVitruvius BuiltVitruvius Built collaborated with designer Barclay Butera on a sophisticated Deer Valley mountain retreat that blends rustic charm with modern elegance. Photo by Cristina ZolotaiaFounded by Charles Ochello, Park City, Utah–based Vitruvius Built specializes in luxury construction, realizing even the most ambitious designs. The homes, located across the country, feature the highest quality materials and amenities such speakeasy-style golf suites, entertainment floors, and cozy bunk rooms. From a contemporary A-frame style residence to a mountain retreat made for entertaining, the homes in the firm’s portfolio showcase its ability to harness the latest technology to craft personal sanctuaries.Cadre General ContractorsEast Coast meets Colorado in this home constructed by Cadre General Contractors that blends traditional sophistication with a rich, Western aesthetic. Photo courtesy of Cadre General ContractorsCadre General Contractors has been building custom homes in Colorado for nearly 30 years and its decades of experience shows in its extensive portfolio. The contracting firm works in a wide range of styles from traditional to contemporary, collaborating closely with architects and designers to bring the overall vision to life. Cadre prides itself on its ability to execute ambitious designs while maintaining an exacting attention to detail and quality.The Jackson Home CompanyWithin a newly constructed home by The Jackson Home Company, the expansive great room, with its vaulted ceilings, exposed steel beams, and grand stone fireplace, is framed by floor-to-ceiling windows showcasing breathtaking views of the Teton Range. Photo by David AgnelloThe Jackson Home Company channels the rugged beauty of Jackson Hole, Wyoming, into striking mountain homes. In 2019, Brooklyn Home Company founders Bill Caleo, Lyndsay Caleo Karol, and Fitzhugh Karol expanded west to Wyoming, and since then the division has designed and built over 20 luxury single-family homes, including a 6,414-square-foot ski-in/ski-out home in Teton Village and an artful retreat nestled beside an Aspen grove. The firm prioritizes sustainability in its homes, incorporating elements like green roofs and locally sourced materials.APPLY NOWGrow your business with the AD PRO DirectoryArrowAre you looking for an interior decorator or designer to hire for your next project? Wherever you are, visit the AD PRO Directory to browse our list of AD-approved designers and find your match for a design consultation.

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2025-05-29 15:17:44 ·

CASTING A BLACK MIRROR ON USS CALLISTER: INTO INFINITY

By TREVOR HOGG

Images courtesy of Netflix.

Unlike North America where episodes tend to be no longer than an hour, it is not uncommon in Britain to have feature-length episodes, which explains why the seasons are shorter. Season 7 of Black Mirror has six episodes with the first sequel for the Netflix anthology series that explores the dark side of technology having a run time of 90 minutes. “USS Callister: Into Infinity” comes eight years after “USS Callister” went on to win four Emmys as part of Season 4 and expands the tale where illegally constructed digital clones from human DNA struggle to survive in a multiplayer online video game environment. Returning creative talent includes filmmaker Toby Hayness, writers Charlie Brooker and William Bridges, and cast members Cristin Milioti, Jimmi Simpson, Osy Ikhile, Milanka Brooks, Paul Raymond and Jesse Plemons. Stepping into the Star Trek-meets-The Twilight Zone proceedings for the first time is VFX Supervisor James MacLachlan, who previously handled the digital augmentation for Ted Lasso.

“… We got on a train and went to the middle of Angleseyto a copper mine. The copper mine was absolutely stunning. … You’re a good 50 meters down, and there were little tunnels and caves where over the years things have been mined and stopped. … It was shot there, and we augmented some of it to help sell the fact that it wasn’t Earth. We put in these big beautiful arches of rock, Saturn-like planets up in the sky, a couple of moons, and clean-up of giveaways.”
—James MacLachlan, Visual Effects Supervisor

Taking advantage of the reflective quality of the bridge set was the LED wall utilized for the main viewscreen.

Dealing with a sequel to a critically-acclaimed episode was not a daunting task. “It’s almost like I have a cheat code for what we need to do, which I quite like because there’s a language from the previous show, so we have a certain number of outlines and guidelines,” MacLachlan states. “But because this was set beyond where the previous one was. it’s a different kind of aesthetic. I didn’t feel the pressure.” No assets were reused. “We were lucky that the company that previously did the USS Callister ship packaged it out neatly for us, and we were able to take that model; however, it doesn’t fit in pipelines anymore in the same way with the layering and materials. It was different visual effects vendors as well. Union VFX was smashing out all our new ships, planets and the Heart of Infinity. There was a significant number of resources put into new content.” Old props were helpful. “The Metallica ship that shows up in this episode is actually the Valdack ship turned backwards, upside down, re-textured and re-modeled off a prop I happened to wander past and saw in Charlie Brooker’s and Jessica Rhoades’ office.” MacLachlan notes.

Greenscreens were placed outside of the set windows for the USS Callister.

“USS Callister: Into Infinity” required 669 visual effects shots while the other five episodes totaled 912. “Josie Henwood, the Visual Effects Producer, sat down with a calculator and did an amazing job of making sure that the budget distribution was well-weighted for each of the scripts,’ MacLachlan remarks. “We shot this one third and posted it all the way to the end, so it overlapped a lot with some of the others. It was almost an advantage because we could work out where we were at with the major numbers and balance things out. It was a huge benefit that Toby had directed ‘USS Callister’. We had conversations about how we could approach the visual effects and make sure they sat within the budget and timeframe.” Working across the series were Crafty Apes, Jam VFX, Jellyfish Pictures, Magic Lab, One of Us, Stargate Studios, Terraform Studios, Union VFX, and Bigtooth Studios. “We had a spectrum of vendors that were brilliant and weighted so Union VFX took the heavy load on ‘USS Callister: Into Infinity,’ One of Us on ‘Eulogy’ and Jam VFX on ‘Hotel Riverie’ while the other vendors were used for all the shows.”

“e had a matte painter at Territory Studio create some generic space looks like exteriors of planets in pre-production. We gave those to Union VFX who animated them so the stars gently drifted and the planets would slowly rotate. Everything in that set was chrome, so no matter where the camera was pointing, when we went to hyperspace, outside planets or in space, there were all of these beautiful reflections all over the surfaces of the USS Callister. What I did not anticipate is when the actors came onto the set not knowing it was going to be a LED wall. Their reaction was enough to say that we had made the right choice.”
—James MacLachlan, Visual Effects Supervisor

Miranda Jones looked after the production design and constructed a number of practical sets for the different sections of the USS Callister.

A clever visual effect was deployed when a digital clone of Robert Dalyis in his garage crafting a new world for Infinity, which transforms from a horizontal landscape into a spherical planetary form. “A lot of it was based off current UI when you use your phone and scroll,” MacLachlan remarks. “It is weighted and slows down through an exponential curve, so we tried to do that with the rotational values. We also looked at people using HoloLenses and Minority Report with those gestural moments. It has a language that a number of people are comfortable with, and we have gotten there with AR.” Union VFX spent a lot of time working on the transition. “They had three levels of detail for each of the moments. We had the mountain range and talked about the Himalayas. Union VFX had these moments where they animated between the different sizes and scales of each of these models. The final one is a wrap and reveal to the sphere, so it’s like you’re scaling down and out of the moment, then it folds out from itself. It was really nice.”

For safety reasons, weapons were digitally thrown. “We had a 3D prop printed for the shuriken and were able to get that out in front of the camera onstage,” MacLachlan explains. “Then we decided to have it stand out more, so asthrows it, it intentionally lights up. On set we couldn’t throw anything at Cristin, so some tracking markers were put on her top where it needed to land. Then we did that in CGI. When she is pulling it off her chest with her hand, the shuriken is all CGI. Because of the shape of the shuriken, we were able to have it poke through the fingers and was visible, so it worked well. Cristin did a convincing job of yanking the shuriken out. We added some blood and increased the size of the wound on her top, which we had to do for a couple of other scenes because blood goes dark when its dry, so it needed to be made redder.” Nanette Colethrows a ceremonial knife that hits Robert Daly directly in the head. “That was a crazy one. We had the full prop on the shelf in the beginning that she picks up and throws. The art department made a second one with a cutout section that was mounted to his head. Lucy Cainand I constructed a cage of hair clips and wire to hold it onto his head. Beyond that, we put tracking markers on his forehead, and we were able to add all of the blood. What we didn’t want to do was have too much blood and then have to remove it later. The decision was made to do the blood in post because you don’t want to be redressing it if you’re doing two or three takes; that can take a lot of time out of production.”

“USS Callister: Into Infinity” required 669 visual effects shots.

A digital clone of Robert Daly placed inside the game engine is responsible for creating the vast worlds found inside of Infinity.

“We had a 3D prop printed for the shuriken… Then we decided to have it stand out more, so asthrows it, it intentionally lights up. On set we couldn’t throw anything at Cristin, so some tracking markers were put on her top where it needed to land. Then we did that in CGI. When she is pulling it off her chest with her hand, the shuriken is all CGI. Because of the shape of the shuriken, we were able to have it poke through the fingers and was visible… Cristin did a convincing job of yanking the shuriken out.”
—James MacLachlan, Visual Effects Supervisor

A cross between 2001: A Space Odyssey and Cast Away is the otherworldly planet where the digital clone of James Waltonis found. “We got on a train and went to the middle of Angleseyto a copper mine,” MacLachlan recounts. “The copper mine was absolutely stunning. It’s not as saturated. You’re a good 50 meters down, and there were little tunnels and caves where over the years things have been mined and stopped. We found moments that worked for the different areas. It was shot there, and we augmented some of it to help sell the fact that it wasn’t Earth. We put in these big beautiful arches of rock, Saturn-like planets up in the sky, a couple of moons, and clean-up of giveaways.”

The blue teleportation ring was practically built and digitally enhanced.

Set pieces were LiDAR scanned. “What was interesting about the ice planetthe art department built these amazing structures in the foreground and beyond that we had white drapes the whole way around, which fell off into darkness beautifully and naturally because of where the light was pulled by Stephan Pehrsson,” MacLachlan states. “On top of that, there was the special effects department, which was wafting in a lot of atmospherics. Some of the atmospherics were in-camera and others were augmented to even it out and boost it in places to help the situation. We did add foreground snow. There is a big crane shot in the beginning where Unreal Engine assisted in generating some material. Then we did matte painting and set extensions beyond that to create a larger scale and cool rock shapes that were on an angle.” The jungle setting was an actual location. “That’s Black Park, and because of the time of year, there are a lot of protected plants. We had a couple of moments where we weren’t allowed to walk in certain places. There is one big stunt where Nanette steps on a mine, and it explodes her back against a tree. That was a protected tree, so the whole thing was wrapped in this giant stunt mat while the stunt woman got thrown across it. Areas would be filled in with dressed plants to help the foreground, but we got most of the background in-camera. There were bits of clean-up where we spotted crew or trucks.”

Large-scale and distinct rock shapes were placed at an angle to give the ice planet more of an alien quality.

An exterior space shot of the USS Callister that is entirely CG.

Twin versions of Nanette Cole and James Walton appear within the same frame. “Literally, we used every trick in the book the whole way through. Stephan and I went to see a motion control company that had a motion control camera on a TechnoDolly. Stephan could put it on his shoulder and record a move on a 20-foot crane. Once Stephan had done that first take, he would step away, then the motion control guys would do the same move again. You get this handheld feel through motion control rather than plotting two points and having it mechanical. You get a wide of a scene of clone Nanette in a chair and real Nanette standing in white, and you’ll notice the two Waltons in the background interacting with one another. Those shots were done on this motion control rig. We had motion control where we could plot points to make it feel like a tracking dolly. Then we also had our cameraman doing handheld moves pushing in and repeating himself. We had a wonderful double for Cristin who was excellent at mirroring what she was achieving, and they would switch and swap. You would have a shoulder or hair in the foreground in front of you, but then we would also stitch plates together that were handheld.”

The USS Callister approaches the game engine situated at the Heart of Infinity.

A homage to the fighter cockpit shots featured in the Star Wars franchise.

USS Callister flies into the game engine while pursued by other Infinity players.

A major story point is that the game engine is made to look complex but is in fact a façade.

A copper mine served as the location for the planet where the digital clone of James Waltonis found.

Principal photography for the jungle planet took place at Black Park in England.

The blue skin of Elena Tulaskawas achieved with practical makeup.

Assisting the lighting were some cool tools such as the teleportation ring. “We had this beautiful two-meter blue ring that we were able to put on the ground and light up as people step into it,” MacLachlan remarks. “You get these lovely reflections on their visors, helmets and kits. Then we augmented the blue ring in visual effects where it was replaced with more refined edging and lighting effects that stream up from it, which assisted with the integration with the teleportation effect because of their blue cyan tones.” Virtual production was utilized for the main viewscreen located on the bridge of the USS Callister. “In terms of reflections, the biggest boon for us in visual effects was the LED wall. The last time they did the big screen in the USS Callister was a greenscreen. We got a small version of a LED screen when the set was being built and did some tests. Then we had a matte painter at Territory Studio create some generic space looks like exteriors of planets in pre-production. We gave those to Union VFX who animated them so the stars gently drifted and the planets would slowly rotate. Everything in that set was chrome, so no matter where the camera was pointing, when we went to hyperspace or outside planets or in space, there were all of these beautiful reflections all over the surfaces of the USS Callister. What I did not anticipate is when the actors came onto the set not knowing it was going to be a LED wall. Their reaction was enough to say that we had made the right choice.”
#casting #black #mirror #uss #callister

CASTING A BLACK MIRROR ON USS CALLISTER: INTO INFINITY
By TREVOR HOGG Images courtesy of Netflix. Unlike North America where episodes tend to be no longer than an hour, it is not uncommon in Britain to have feature-length episodes, which explains why the seasons are shorter. Season 7 of Black Mirror has six episodes with the first sequel for the Netflix anthology series that explores the dark side of technology having a run time of 90 minutes. “USS Callister: Into Infinity” comes eight years after “USS Callister” went on to win four Emmys as part of Season 4 and expands the tale where illegally constructed digital clones from human DNA struggle to survive in a multiplayer online video game environment. Returning creative talent includes filmmaker Toby Hayness, writers Charlie Brooker and William Bridges, and cast members Cristin Milioti, Jimmi Simpson, Osy Ikhile, Milanka Brooks, Paul Raymond and Jesse Plemons. Stepping into the Star Trek-meets-The Twilight Zone proceedings for the first time is VFX Supervisor James MacLachlan, who previously handled the digital augmentation for Ted Lasso. “… We got on a train and went to the middle of Angleseyto a copper mine. The copper mine was absolutely stunning. … You’re a good 50 meters down, and there were little tunnels and caves where over the years things have been mined and stopped. … It was shot there, and we augmented some of it to help sell the fact that it wasn’t Earth. We put in these big beautiful arches of rock, Saturn-like planets up in the sky, a couple of moons, and clean-up of giveaways.” —James MacLachlan, Visual Effects Supervisor Taking advantage of the reflective quality of the bridge set was the LED wall utilized for the main viewscreen. Dealing with a sequel to a critically-acclaimed episode was not a daunting task. “It’s almost like I have a cheat code for what we need to do, which I quite like because there’s a language from the previous show, so we have a certain number of outlines and guidelines,” MacLachlan states. “But because this was set beyond where the previous one was. it’s a different kind of aesthetic. I didn’t feel the pressure.” No assets were reused. “We were lucky that the company that previously did the USS Callister ship packaged it out neatly for us, and we were able to take that model; however, it doesn’t fit in pipelines anymore in the same way with the layering and materials. It was different visual effects vendors as well. Union VFX was smashing out all our new ships, planets and the Heart of Infinity. There was a significant number of resources put into new content.” Old props were helpful. “The Metallica ship that shows up in this episode is actually the Valdack ship turned backwards, upside down, re-textured and re-modeled off a prop I happened to wander past and saw in Charlie Brooker’s and Jessica Rhoades’ office.” MacLachlan notes. Greenscreens were placed outside of the set windows for the USS Callister. “USS Callister: Into Infinity” required 669 visual effects shots while the other five episodes totaled 912. “Josie Henwood, the Visual Effects Producer, sat down with a calculator and did an amazing job of making sure that the budget distribution was well-weighted for each of the scripts,’ MacLachlan remarks. “We shot this one third and posted it all the way to the end, so it overlapped a lot with some of the others. It was almost an advantage because we could work out where we were at with the major numbers and balance things out. It was a huge benefit that Toby had directed ‘USS Callister’. We had conversations about how we could approach the visual effects and make sure they sat within the budget and timeframe.” Working across the series were Crafty Apes, Jam VFX, Jellyfish Pictures, Magic Lab, One of Us, Stargate Studios, Terraform Studios, Union VFX, and Bigtooth Studios. “We had a spectrum of vendors that were brilliant and weighted so Union VFX took the heavy load on ‘USS Callister: Into Infinity,’ One of Us on ‘Eulogy’ and Jam VFX on ‘Hotel Riverie’ while the other vendors were used for all the shows.” “e had a matte painter at Territory Studio create some generic space looks like exteriors of planets in pre-production. We gave those to Union VFX who animated them so the stars gently drifted and the planets would slowly rotate. Everything in that set was chrome, so no matter where the camera was pointing, when we went to hyperspace, outside planets or in space, there were all of these beautiful reflections all over the surfaces of the USS Callister. What I did not anticipate is when the actors came onto the set not knowing it was going to be a LED wall. Their reaction was enough to say that we had made the right choice.” —James MacLachlan, Visual Effects Supervisor Miranda Jones looked after the production design and constructed a number of practical sets for the different sections of the USS Callister. A clever visual effect was deployed when a digital clone of Robert Dalyis in his garage crafting a new world for Infinity, which transforms from a horizontal landscape into a spherical planetary form. “A lot of it was based off current UI when you use your phone and scroll,” MacLachlan remarks. “It is weighted and slows down through an exponential curve, so we tried to do that with the rotational values. We also looked at people using HoloLenses and Minority Report with those gestural moments. It has a language that a number of people are comfortable with, and we have gotten there with AR.” Union VFX spent a lot of time working on the transition. “They had three levels of detail for each of the moments. We had the mountain range and talked about the Himalayas. Union VFX had these moments where they animated between the different sizes and scales of each of these models. The final one is a wrap and reveal to the sphere, so it’s like you’re scaling down and out of the moment, then it folds out from itself. It was really nice.” For safety reasons, weapons were digitally thrown. “We had a 3D prop printed for the shuriken and were able to get that out in front of the camera onstage,” MacLachlan explains. “Then we decided to have it stand out more, so asthrows it, it intentionally lights up. On set we couldn’t throw anything at Cristin, so some tracking markers were put on her top where it needed to land. Then we did that in CGI. When she is pulling it off her chest with her hand, the shuriken is all CGI. Because of the shape of the shuriken, we were able to have it poke through the fingers and was visible, so it worked well. Cristin did a convincing job of yanking the shuriken out. We added some blood and increased the size of the wound on her top, which we had to do for a couple of other scenes because blood goes dark when its dry, so it needed to be made redder.” Nanette Colethrows a ceremonial knife that hits Robert Daly directly in the head. “That was a crazy one. We had the full prop on the shelf in the beginning that she picks up and throws. The art department made a second one with a cutout section that was mounted to his head. Lucy Cainand I constructed a cage of hair clips and wire to hold it onto his head. Beyond that, we put tracking markers on his forehead, and we were able to add all of the blood. What we didn’t want to do was have too much blood and then have to remove it later. The decision was made to do the blood in post because you don’t want to be redressing it if you’re doing two or three takes; that can take a lot of time out of production.” “USS Callister: Into Infinity” required 669 visual effects shots. A digital clone of Robert Daly placed inside the game engine is responsible for creating the vast worlds found inside of Infinity. “We had a 3D prop printed for the shuriken… Then we decided to have it stand out more, so asthrows it, it intentionally lights up. On set we couldn’t throw anything at Cristin, so some tracking markers were put on her top where it needed to land. Then we did that in CGI. When she is pulling it off her chest with her hand, the shuriken is all CGI. Because of the shape of the shuriken, we were able to have it poke through the fingers and was visible… Cristin did a convincing job of yanking the shuriken out.” —James MacLachlan, Visual Effects Supervisor A cross between 2001: A Space Odyssey and Cast Away is the otherworldly planet where the digital clone of James Waltonis found. “We got on a train and went to the middle of Angleseyto a copper mine,” MacLachlan recounts. “The copper mine was absolutely stunning. It’s not as saturated. You’re a good 50 meters down, and there were little tunnels and caves where over the years things have been mined and stopped. We found moments that worked for the different areas. It was shot there, and we augmented some of it to help sell the fact that it wasn’t Earth. We put in these big beautiful arches of rock, Saturn-like planets up in the sky, a couple of moons, and clean-up of giveaways.” The blue teleportation ring was practically built and digitally enhanced. Set pieces were LiDAR scanned. “What was interesting about the ice planetthe art department built these amazing structures in the foreground and beyond that we had white drapes the whole way around, which fell off into darkness beautifully and naturally because of where the light was pulled by Stephan Pehrsson,” MacLachlan states. “On top of that, there was the special effects department, which was wafting in a lot of atmospherics. Some of the atmospherics were in-camera and others were augmented to even it out and boost it in places to help the situation. We did add foreground snow. There is a big crane shot in the beginning where Unreal Engine assisted in generating some material. Then we did matte painting and set extensions beyond that to create a larger scale and cool rock shapes that were on an angle.” The jungle setting was an actual location. “That’s Black Park, and because of the time of year, there are a lot of protected plants. We had a couple of moments where we weren’t allowed to walk in certain places. There is one big stunt where Nanette steps on a mine, and it explodes her back against a tree. That was a protected tree, so the whole thing was wrapped in this giant stunt mat while the stunt woman got thrown across it. Areas would be filled in with dressed plants to help the foreground, but we got most of the background in-camera. There were bits of clean-up where we spotted crew or trucks.” Large-scale and distinct rock shapes were placed at an angle to give the ice planet more of an alien quality. An exterior space shot of the USS Callister that is entirely CG. Twin versions of Nanette Cole and James Walton appear within the same frame. “Literally, we used every trick in the book the whole way through. Stephan and I went to see a motion control company that had a motion control camera on a TechnoDolly. Stephan could put it on his shoulder and record a move on a 20-foot crane. Once Stephan had done that first take, he would step away, then the motion control guys would do the same move again. You get this handheld feel through motion control rather than plotting two points and having it mechanical. You get a wide of a scene of clone Nanette in a chair and real Nanette standing in white, and you’ll notice the two Waltons in the background interacting with one another. Those shots were done on this motion control rig. We had motion control where we could plot points to make it feel like a tracking dolly. Then we also had our cameraman doing handheld moves pushing in and repeating himself. We had a wonderful double for Cristin who was excellent at mirroring what she was achieving, and they would switch and swap. You would have a shoulder or hair in the foreground in front of you, but then we would also stitch plates together that were handheld.” The USS Callister approaches the game engine situated at the Heart of Infinity. A homage to the fighter cockpit shots featured in the Star Wars franchise. USS Callister flies into the game engine while pursued by other Infinity players. A major story point is that the game engine is made to look complex but is in fact a façade. A copper mine served as the location for the planet where the digital clone of James Waltonis found. Principal photography for the jungle planet took place at Black Park in England. The blue skin of Elena Tulaskawas achieved with practical makeup. Assisting the lighting were some cool tools such as the teleportation ring. “We had this beautiful two-meter blue ring that we were able to put on the ground and light up as people step into it,” MacLachlan remarks. “You get these lovely reflections on their visors, helmets and kits. Then we augmented the blue ring in visual effects where it was replaced with more refined edging and lighting effects that stream up from it, which assisted with the integration with the teleportation effect because of their blue cyan tones.” Virtual production was utilized for the main viewscreen located on the bridge of the USS Callister. “In terms of reflections, the biggest boon for us in visual effects was the LED wall. The last time they did the big screen in the USS Callister was a greenscreen. We got a small version of a LED screen when the set was being built and did some tests. Then we had a matte painter at Territory Studio create some generic space looks like exteriors of planets in pre-production. We gave those to Union VFX who animated them so the stars gently drifted and the planets would slowly rotate. Everything in that set was chrome, so no matter where the camera was pointing, when we went to hyperspace or outside planets or in space, there were all of these beautiful reflections all over the surfaces of the USS Callister. What I did not anticipate is when the actors came onto the set not knowing it was going to be a LED wall. Their reaction was enough to say that we had made the right choice.” #casting #black #mirror #uss #callister

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CASTING A BLACK MIRROR ON USS CALLISTER: INTO INFINITY

By TREVOR HOGG Images courtesy of Netflix. Unlike North America where episodes tend to be no longer than an hour, it is not uncommon in Britain to have feature-length episodes, which explains why the seasons are shorter. Season 7 of Black Mirror has six episodes with the first sequel for the Netflix anthology series that explores the dark side of technology having a run time of 90 minutes. “USS Callister: Into Infinity” comes eight years after “USS Callister” went on to win four Emmys as part of Season 4 and expands the tale where illegally constructed digital clones from human DNA struggle to survive in a multiplayer online video game environment. Returning creative talent includes filmmaker Toby Hayness, writers Charlie Brooker and William Bridges, and cast members Cristin Milioti, Jimmi Simpson, Osy Ikhile, Milanka Brooks, Paul Raymond and Jesse Plemons. Stepping into the Star Trek-meets-The Twilight Zone proceedings for the first time is VFX Supervisor James MacLachlan, who previously handled the digital augmentation for Ted Lasso. “[For the planet where the digital clone of James Walton is found]… We got on a train and went to the middle of Anglesey [island in Wales] to a copper mine. The copper mine was absolutely stunning. … You’re a good 50 meters down, and there were little tunnels and caves where over the years things have been mined and stopped. … It was shot there, and we augmented some of it to help sell the fact that it wasn’t Earth. We put in these big beautiful arches of rock, Saturn-like planets up in the sky, a couple of moons, and clean-up of giveaways.” —James MacLachlan, Visual Effects Supervisor Taking advantage of the reflective quality of the bridge set was the LED wall utilized for the main viewscreen. Dealing with a sequel to a critically-acclaimed episode was not a daunting task. “It’s almost like I have a cheat code for what we need to do, which I quite like because there’s a language from the previous show, so we have a certain number of outlines and guidelines,” MacLachlan states. “But because this was set beyond where the previous one was. it’s a different kind of aesthetic. I didn’t feel the pressure.” No assets were reused. “We were lucky that the company that previously did the USS Callister ship packaged it out neatly for us, and we were able to take that model; however, it doesn’t fit in pipelines anymore in the same way with the layering and materials. It was different visual effects vendors as well. Union VFX was smashing out all our new ships, planets and the Heart of Infinity. There was a significant number of resources put into new content.” Old props were helpful. “The Metallica ship that shows up in this episode is actually the Valdack ship turned backwards, upside down, re-textured and re-modeled off a prop I happened to wander past and saw in Charlie Brooker’s and Jessica Rhoades’ office.” MacLachlan notes. Greenscreens were placed outside of the set windows for the USS Callister. “USS Callister: Into Infinity” required 669 visual effects shots while the other five episodes totaled 912. “Josie Henwood, the Visual Effects Producer, sat down with a calculator and did an amazing job of making sure that the budget distribution was well-weighted for each of the scripts,’ MacLachlan remarks. “We shot this one third and posted it all the way to the end, so it overlapped a lot with some of the others. It was almost an advantage because we could work out where we were at with the major numbers and balance things out. It was a huge benefit that Toby had directed ‘USS Callister’. We had conversations about how we could approach the visual effects and make sure they sat within the budget and timeframe.” Working across the series were Crafty Apes, Jam VFX, Jellyfish Pictures, Magic Lab, One of Us, Stargate Studios, Terraform Studios, Union VFX, and Bigtooth Studios. “We had a spectrum of vendors that were brilliant and weighted so Union VFX took the heavy load on ‘USS Callister: Into Infinity,’ One of Us on ‘Eulogy’ and Jam VFX on ‘Hotel Riverie’ while the other vendors were used for all the shows.” “[W]e had a matte painter at Territory Studio create some generic space looks like exteriors of planets in pre-production. We gave those to Union VFX who animated them so the stars gently drifted and the planets would slowly rotate. Everything in that set was chrome, so no matter where the camera was pointing, when we went to hyperspace, outside planets or in space, there were all of these beautiful reflections all over the surfaces of the USS Callister. What I did not anticipate is when the actors came onto the set not knowing it was going to be a LED wall. Their reaction was enough to say that we had made the right choice.” —James MacLachlan, Visual Effects Supervisor Miranda Jones looked after the production design and constructed a number of practical sets for the different sections of the USS Callister. A clever visual effect was deployed when a digital clone of Robert Daly (Jesse Plemmons) is in his garage crafting a new world for Infinity, which transforms from a horizontal landscape into a spherical planetary form. “A lot of it was based off current UI when you use your phone and scroll,” MacLachlan remarks. “It is weighted and slows down through an exponential curve, so we tried to do that with the rotational values. We also looked at people using HoloLenses and Minority Report with those gestural moments. It has a language that a number of people are comfortable with, and we have gotten there with AR.” Union VFX spent a lot of time working on the transition. “They had three levels of detail for each of the moments. We had the mountain range and talked about the Himalayas. Union VFX had these moments where they animated between the different sizes and scales of each of these models. The final one is a wrap and reveal to the sphere, so it’s like you’re scaling down and out of the moment, then it folds out from itself. It was really nice.” For safety reasons, weapons were digitally thrown. “We had a 3D prop printed for the shuriken and were able to get that out in front of the camera onstage,” MacLachlan explains. “Then we decided to have it stand out more, so as [the Infinity Player] throws it, it intentionally lights up. On set we couldn’t throw anything at Cristin, so some tracking markers were put on her top where it needed to land. Then we did that in CGI. When she is pulling it off her chest with her hand, the shuriken is all CGI. Because of the shape of the shuriken, we were able to have it poke through the fingers and was visible, so it worked well. Cristin did a convincing job of yanking the shuriken out. We added some blood and increased the size of the wound on her top, which we had to do for a couple of other scenes because blood goes dark when its dry, so it needed to be made redder.” Nanette Cole (Cristin Milioti) throws a ceremonial knife that hits Robert Daly directly in the head. “That was a crazy one. We had the full prop on the shelf in the beginning that she picks up and throws. The art department made a second one with a cutout section that was mounted to his head. Lucy Cain [Makeup & Hair Designer] and I constructed a cage of hair clips and wire to hold it onto his head. Beyond that, we put tracking markers on his forehead, and we were able to add all of the blood. What we didn’t want to do was have too much blood and then have to remove it later. The decision was made to do the blood in post because you don’t want to be redressing it if you’re doing two or three takes; that can take a lot of time out of production.” “USS Callister: Into Infinity” required 669 visual effects shots. A digital clone of Robert Daly placed inside the game engine is responsible for creating the vast worlds found inside of Infinity. “We had a 3D prop printed for the shuriken [hidden hand weapon]… Then we decided to have it stand out more, so as [the Infinity Player] throws it, it intentionally lights up. On set we couldn’t throw anything at Cristin, so some tracking markers were put on her top where it needed to land. Then we did that in CGI. When she is pulling it off her chest with her hand, the shuriken is all CGI. Because of the shape of the shuriken, we were able to have it poke through the fingers and was visible… Cristin did a convincing job of yanking the shuriken out.” —James MacLachlan, Visual Effects Supervisor A cross between 2001: A Space Odyssey and Cast Away is the otherworldly planet where the digital clone of James Walton (Jimmi Simpson) is found. “We got on a train and went to the middle of Anglesey [island in Wales] to a copper mine,” MacLachlan recounts. “The copper mine was absolutely stunning. It’s not as saturated. You’re a good 50 meters down, and there were little tunnels and caves where over the years things have been mined and stopped. We found moments that worked for the different areas. It was shot there, and we augmented some of it to help sell the fact that it wasn’t Earth. We put in these big beautiful arches of rock, Saturn-like planets up in the sky, a couple of moons, and clean-up of giveaways.” The blue teleportation ring was practically built and digitally enhanced. Set pieces were LiDAR scanned. “What was interesting about the ice planet [was that] the art department built these amazing structures in the foreground and beyond that we had white drapes the whole way around, which fell off into darkness beautifully and naturally because of where the light was pulled by Stephan Pehrsson [Cinematographer],” MacLachlan states. “On top of that, there was the special effects department, which was wafting in a lot of atmospherics. Some of the atmospherics were in-camera and others were augmented to even it out and boost it in places to help the situation. We did add foreground snow. There is a big crane shot in the beginning where Unreal Engine assisted in generating some material. Then we did matte painting and set extensions beyond that to create a larger scale and cool rock shapes that were on an angle.” The jungle setting was an actual location. “That’s Black Park [in England], and because of the time of year, there are a lot of protected plants. We had a couple of moments where we weren’t allowed to walk in certain places. There is one big stunt where Nanette steps on a mine, and it explodes her back against a tree. That was a protected tree, so the whole thing was wrapped in this giant stunt mat while the stunt woman got thrown across it. Areas would be filled in with dressed plants to help the foreground, but we got most of the background in-camera. There were bits of clean-up where we spotted crew or trucks.” Large-scale and distinct rock shapes were placed at an angle to give the ice planet more of an alien quality. An exterior space shot of the USS Callister that is entirely CG. Twin versions of Nanette Cole and James Walton appear within the same frame. “Literally, we used every trick in the book the whole way through. Stephan and I went to see a motion control company that had a motion control camera on a TechnoDolly. Stephan could put it on his shoulder and record a move on a 20-foot crane. Once Stephan had done that first take, he would step away, then the motion control guys would do the same move again. You get this handheld feel through motion control rather than plotting two points and having it mechanical. You get a wide of a scene of clone Nanette in a chair and real Nanette standing in white, and you’ll notice the two Waltons in the background interacting with one another. Those shots were done on this motion control rig. We had motion control where we could plot points to make it feel like a tracking dolly. Then we also had our cameraman doing handheld moves pushing in and repeating himself. We had a wonderful double for Cristin who was excellent at mirroring what she was achieving, and they would switch and swap. You would have a shoulder or hair in the foreground in front of you, but then we would also stitch plates together that were handheld.” The USS Callister approaches the game engine situated at the Heart of Infinity. A homage to the fighter cockpit shots featured in the Star Wars franchise. USS Callister flies into the game engine while pursued by other Infinity players. A major story point is that the game engine is made to look complex but is in fact a façade. A copper mine served as the location for the planet where the digital clone of James Walton (Jimmi Simpson) is found. Principal photography for the jungle planet took place at Black Park in England. The blue skin of Elena Tulaska (Milanka Brooks) was achieved with practical makeup. Assisting the lighting were some cool tools such as the teleportation ring. “We had this beautiful two-meter blue ring that we were able to put on the ground and light up as people step into it,” MacLachlan remarks. “You get these lovely reflections on their visors, helmets and kits. Then we augmented the blue ring in visual effects where it was replaced with more refined edging and lighting effects that stream up from it, which assisted with the integration with the teleportation effect because of their blue cyan tones.” Virtual production was utilized for the main viewscreen located on the bridge of the USS Callister. “In terms of reflections, the biggest boon for us in visual effects was the LED wall. The last time they did the big screen in the USS Callister was a greenscreen. We got a small version of a LED screen when the set was being built and did some tests. Then we had a matte painter at Territory Studio create some generic space looks like exteriors of planets in pre-production. We gave those to Union VFX who animated them so the stars gently drifted and the planets would slowly rotate. Everything in that set was chrome, so no matter where the camera was pointing, when we went to hyperspace or outside planets or in space, there were all of these beautiful reflections all over the surfaces of the USS Callister. What I did not anticipate is when the actors came onto the set not knowing it was going to be a LED wall. Their reaction was enough to say that we had made the right choice.”

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