Oceancos Black Pearl includes an eco-friendly Dyna-Rig sail and a hybrid propulsion system. Sustainable features like these will be discussed during the shipyards NXT livestream event this week.

The superyacht world is engaging in some deep soul-searching these days, with some of the worlds leading gigayacht builders holding livestream events for both brand aficionados and the rest of the yachting world.

Dutch custom builder Oceanco is holding a livestream event on Tuesday called NXT, which will take a serious look at the future of superyachts, especially with regard to sustainability.

We want to make a commitment around sustainable yachting for the future, Paris Baloumis, Oceancos group marketing manager, told Robb Report. We very much believe in it, and as an industry, we need to focus on it, so a yacht is not seen as a liability.

The Oceanco NXT livestream bannerOceanco

Instead of the usual talking heads from the superyacht sector, tomorrows panel will include a cross-section of experts from other industries, including Giles Taylor, vice president of design at the FAW Group; Sanne Schenk and Tommy Kleerekoper, partners at an interior design and architectural agency; James Roy of Lateral; Peter Economides of brand strategist Felix BNI; Chris Gartner, captain of the superyacht Black Pearl;and Marcel Onkenhout, CEO of Oceanco.

This cross-industry collaboration is to attract free thinkers who can work with us on the push for a more sustainable future, says Baloumis. Taylor was instrumental in revising the Rolls-Royce brand, while Roy has worked with Oceanco to foster a zero-carbon future for the custom yacht builder. Gartner, as captain of one of the most sustainable yachts ever built, will provide insights on next-generation carbon-reducing technologies as a template for future builds.

Baloumis says tomorrows panel will be more than just a one-off discussion and will meet consistently to talk about how Oceancoand the yachting industrycan rework facilities and new yacht plans to foster carbon-neutral production and designs. Oceanco has already invested significant amounts into its facilities in the Netherlands to lower its carbon footprint.

The NXT panel will include experts from different industries, including the former head designer for Rolls-Royce, an expert in sustainability, leading-edge designers, a superyacht captain and the CEO of Oceanco.

This is really a call to arms, says Baloumis. Weve already been contacted by large suppliers who want to be part of this initiative, and even our competitors have asked if they could view the livestream.

Heesen, another yacht builder, has had two livestream events called YachtTalk, where a panel also discussed issues impacting the superyacht world. In the latest episode, Dutch Design Renaissance, the panel included Frank Laupman, founder of yacht design studio Omega Architects; Gabriele Chiave, creative director at the Marcel Wanders Studio; and Niels van Roij, founder of multi-disciplinary design studio Niels van Roij Design. The panel took an interdisciplinary approach, with Laupman speaking about yacht design, van Roij about car design and Chiave about interior design. Heesen says it will continue to hold the series going forward.

Lrssen Live is the third livestream series from a superyacht builder, this time from the German brand that builds the worlds largest yachts. CEO Peter Lrssen was interviewed about the companys new approach to building smaller yachts in the 165-foot range and current trends he sees taking place across the superyacht world. The builders next episode will surround Future Propulsion Technologies.

Heesen YachtTalk is a livestream event that covers different topics, including the latest on emerging design trends.Heesen Yachts

Oceancos NXT promises to be a more free-floating discussion than the other two events, touching on issues that go beyond superyacht design. Baloumis said tomorrows panel will not promote any new Oceanco superyachts and instead will focus on larger issues at hand. We want to go deeper and look in a new and different way at our sector, he says. If we keep looking at the same old industry parameters, nothing will change. But we are determined to help drive that change. The future is now.

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This Is Really a Call to Arms: The Superyacht World Convenes Industry Leaders to Tackle Sustainability - Robb Report

Duncan Aviation explains how a timeless design, high-quality materials and expert installation and application of interior components are important in creating interiors that look great for many years with reference to a Gulfstream GIV it refurbished in 2007.

One of the biggest tests of quality is how long something lasts. In aircraft cabins, years of constant use can impact the function and aesthetics of interior components. Wear and tear on seats, tables, cabinetry and galleys can really date an aircraft.

Longevity is subjective; a lot can depend on how often the airplane is used and how many passengers are regularly on board, says Nate Klenke, aircraft modifications sales manager at Duncan Aviation. In addition, the longevity is based on the quality of the products used coupled with quality installation standards and processes. Of course, how well the interior is taken care of, cleaned and maintained also plays into its lifespan.

The company contends that signs of a quality refurbishment dont always show until several years after the work is done; it rests in the durability of the products selected and the quality of the completion process.

In 2007 the company completed a Gulfstream GIV that was placed on static display at the NBAAs annual convention in Atlanta, Georgia. The aircraft featured new paint as well as a fresh interior. Duncan Aviation believes a look at that aircraft today, after 13 years of regular use, proves that its design was timeless and the interior installation and construction was of the highest quality.

From the beginning, Duncan Aviations design experts worked alongside Aviation Aesthetics owner and founder Havilande Whitcomb to turn the owners vision into a reality. The two firms also worked closely with many other parties, including the owner, who chose high-quality materials such as mohair upholstery and a dark wool custom carpet that was integrated into a cohesive unit to flow seamlessly. Flight attendants were involved in the process to ensure items such as silverware, snacks and beverages were exactly where they needed to be in the reconfigured galley.

The finished product featured intricate design details such as inlaid polish nickel, while the drink rails have a carbon fibre flat finish, installed so the fibre pattern lines up along the entire drink rail. Paldao and wenge woods were the primary finishes used to complement the carbon fibre accents. On the lower sidewall, stingray skins were used to enhance the design. The stingray skin, a unique, natural product, had to be cut to perfection with a high-pressured water cutter and needed to be tightly sealed to provide a continuous pattern. The interior also features a credenza with a pop-up monitor; Duncan Aviation believes this was the first automated lift to raise and lower a monitor from a credenza for viewing.

The collaborative effort between a discerning owner, me as an interior designer, the Duncan Aviation design team and the production teams was refreshing, says Whitcomb. The level of craftsmanship was incredible and there was razor-like focus on the small details.

Fast-forward to 2020, and Klenke believes the GIV interior and paint have held up incredibly well. The aircraft featured a selection of high-quality materials and has held up due to excellent design and craftsmanship by Duncan Aviation, agrees Whitcomb.

The GIV is managed by Volo Aviation and is available for charter through Solairus Aviations charter certificate. When I tell passengers that the paint and interior are 13 years old, they are usually stunned, says Robert Tod, director of maintenance and chief pilot at Volo Aviation.

2007 photos by Duncan Aviation. 2020 photos courtesy of Dan Savinelli.

Continued here:
FEATURE: The test of time - Business Jet Interiors

The biggest challenge was using what was already here but making it better, says Tiffany (left). This isnt our forever home, so I had to be really smart about what I decided to spend money on and what just needed a small facelift. Its way easier to bring your full vision to life without any restrictions, but the fun part is figuring it out with those limitations.

When interior designer Tiffany Thompson bought this two-bedroom Portland, Oregon, town house in 2016, she was working at Nike and viewed its close proximity to the companys headquarters as a major benefit. It also didnt hurt that she had access to a community pool and tennis court, or that the drive toward her street was lined with towering trees. But the deciding factor, Tiffany remembers, is that it had a certain Pacific Northwest luxury. What initially drew me to this place was the amount of natural light it received. Its pretty bright all of the time, Tiffany says. Coming from Miami where its usually sunny, the thing that scared me most about purchasing a home in Portland was that it was going to be dark and rainy seven months out of the year.

The challenge would be turning this cookie-cutter town house into a personalized haven. Tiffany was surrounded by a blank canvas. Luckily, her boyfriend, Julian Gaines, is a fine artist. With all of the art, we want to evoke emotion and really let them be the highlight of our home, she says. Being with an artist is amazing because I have endless items to choose from.

For the dining room art, Julian imagined himself being next in line on his way to heaven and seeing the person in front of him receiving his halo, she says. The table is from Lillian August, and the surrounding chairs are from Design Within Reach. The Studio Eero Aarnio Mini Pony Chair in the corner was found at Finnish Design Shop.

Tiffany couldnt touch the exterior or overhaul its interior, thanks to a homeowners association and a limited budget, but she could reimagine its white walls. She pictured a theme of timeless and cozy beauty, punctuated by details that were functional yet exciting upon a closer glance. Tiffany considered her canvas for a year, figuring that it was best to take her time on making this home feel like me. And when she was ready, she landed primarily on a black-and-white palette. Its amazing how these two colors bring a sense of balance to a space, Tiffany says. Theres also so much greenery outside that the black-and-white palette grounded my home and makes the backdrop of the outdoors feel and look even more intense.

These types of homes have exteriors that all look alike, so it was important for me to have some features that were our own and fun, Tiffany says. The accent wall is made of one-and-three-fourths inch oak slats that were nailed to the wall in one-inch gaps. The entire project was painted in Tricorn Black by Sherwin-Williams. The coffee table and floor lamp are from CB2, and the chrome Wassily side chairs were found on Chairish. The framed artwork was created by Julian and the masks are vintage.

Read this article:
This Tiffany Thompson Turned Her Cookie-Cutter Town House Into a Personal Art Gallery - Architectural Digest

Ann Getty in her San Francisco home, 1977

Horst P. Horst / Conde Nast via Getty Images

Ann Getty was as beautiful as she was philanthropic. Tall, at a statuesque 5ft 9, she was a devoted benefactor of the arts and did not allow her legacy to be dictated by the man she married nor the wealth she married into. A sharp, California farm girl, she grew up driving tractors on her fathers peach and walnut farm before marrying the composer Gordon Getty, the fourth son of oil baron J Paul Getty, then the richest man in the world.

Ann, who became a globe-trotting publisher, author, interior designer and philanthropist, died in September, aged 79. Although she lived a ritzy life, adorned with extravagances like a private Boeing 727 (that the press were quick to nickname Jetty) complete with a bath and two bedrooms, she adeptly managed to resist being cordoned off as a delicate socialite. In the lavish plane, Gordon and Ann would travel to the worlds greatest music and arts festivals, a passion the couple shared.

Effervescent and brilliantly intelligent, she was the perfect hostess for Gettys sumptuous parties in San Francisco, attended by aces of the classical musical world, from Luciano Pavarotti to Plcido Domingo. It was while traversing the globe that she met George Weidenfeld, the eminent publisher, and came to save the publishing house from collapse, buying a nearly quarter-size stake in the company. The next year, she and Weidenfeld teamed up to buy the New York publishing house, Grove Press (for $2 million), which had a roster of avant-garde authors and was famed for its audacity but was in a bad way financially. Ann, while she was the president of Grove Weidenfeld, told the New York Times: Im a publisher because its a cover for my indulgence. I love to read all day. But I come from nice Puritan stock, and I grew up believing that you have to work all day, so I made reading my work.

Ann Getty with her husband, Gordon Getty

Alan Davidson / Shutterstock

When in the 1980s she hopped over the continent to New York (following the sale of Getty Oil to Texaco for $10 billion), she was wooed to the boards of the Metropolitan Museum of Art, the New York Public Library and New York University and fast-tracked to the epicentre of the grandest social circles. She had also been a benefactor for the University of California, San Francisco, as well as the San Francisco Opera amongst legions of others.

As for her and Gordon Getty, the story goes that in 1964 she was drinking with some friends in a North Beach Bar when Gordon Getty introduced himself and challenged her to match him shot for shot. She did and the rest is history. They were married that Christmas and J Paul Getty was said to be charmed by his sons choice.

Not just the arts, Ann earned a reputation as a fabulous interior designer and only the true masterpieces would do. In 1995 she founded the interior design firm, Ann Getty & Associates, and the obvious way to showcase her style was by opening up her and her husbands 1913 house designed by Willis Polk, the American architect. Veranda Magazine wrote: The couple have amassed a museum-quality collection of European antiques, Venetian paintings, French textiles and Russian chandeliers. She wrote and published a book, Ann Getty: Interior Style in 2012 which celebrated her love for English and French antiques and Chinese porcelains.

Despite long experience as a society hostess, she was shy and never quite at ease in New York favouring her life in San Francisco. Gordon would reportedly sometimes escape to a sound-proof room in their home to listen to opera, the Times says that she once described him as a perfect monk.

She is survived by her husband and their sons Peter, John and William, and six grandchildren. Ann Getty was born on March 11, 1941. She died of a heart attack on September 14, 2020, aged 79.

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Ann Getty, glamorous publisher and devoted arts patron, dies at 79 - Tatler

In June 1954, an article published in House & Home magazine read, The Japanese had some of our best ideas300 years ago. The piece highlighted three main attributes of Kyotos Katsura Imperial Villa, built in the 1620s: the open post-and-beam plan, the use of verandas for climate control, and its modularity based on tatami mats and shoji screens. The article coincided with the opening of the Japanese Exhibition House at the Museum of Modern Art (MoMA) in New York City. On the recommendation of architect Antonin Raymond, the artist Isamu Noguchi, and others, the museums architecture and design curator, Arthur Drexler, commissioned Japanese architect Junz Yoshimura to design the house as part of the museums House in the Garden series. Yoshimura was inspired by a 17th-century temple home near Kyoto named Kojo-in. He designed and built the house in Nagoya and then shipped it in 636 crates, to be installed in the museums garden, where it received thousands of visitors daily over a period of ten months. Shofuso (Pine Breeze Villa), as Yoshimura named it, was subsequently moved in 1958 to West Fairmount Park in Philadelphia, where it remains today.

Sixty-two years later, and after several months of lockdown, Shofuso has reopened with an exhibition that revisits the historical-cultural exchange between Western modernism and Japanese traditional craft and architecture. Shofuso and Modernism: The Architecture and Design of George Nakashima, Antonin and Nomi Raymond, and Junz Yoshimura honors the close friendship and community-based collaboration between Yoshimura, architect and woodworker George Nakashima, architect Antonin Raymond, and interior designer and graphic artist Nomi Pernessin Raymond.

The exhibition was co-curated by William Whitaker and Yuka Yokoyama. Whitaker is the curator and manager of the architectural archives at the University of Pennsylvania and has worked with the Raymonds and the Nakashima family for many decades. Whitakers 2006 book and exhibition Crafting a Modern World: the Architecture and Design of Antonin and Nomi Raymond highlighted the designers longtime connection with Japan and Japanese architects and craftspeople from 1917 through 1966. Yokoyama boosted her knowledge of the history of ancient and contemporary Japanese craft by working for hands-on industrial designer Sori Yanagi, a pioneer in modernist Japanese design and the son of Setsu Yanagi, founder of the Mingei movement in Japan.

Shofuso is considered an Utsushi, which Yokoyama described as an homage to spirited inspiration. In Shofuso and Modernism, Utsushis are present everywhere, from the building itself to an ikebana arrangement resembling one at the 1954 MoMA installation to the newly commissioned photography by Elizabeth Felicella. Felicellas photographs, presented through a retro slide projector alongside archival photography by Ezra Stoller, show the current working life of the Raymond Farm and the Nakashima Studio.

Shofuso was always intended to be an exhibition house and not inhabited. Nonetheless, this show has enlivened it with a careful selection of furniture, art, and textiles. Bringing these pieces into Shofusos 15-mat room seemed a natural extension of the shared experiences of the Raymonds, Yoshimura, and Nakashima, Whitaker said. A 1933 Nomi-designed chair with grass rattan covering made for the Akeboshi Tetsuma House in Tokyo is placed next to a standing lamp from the 1950s with a handmade mulberry paper shade, along with a rug bearing a graphic abstraction of a lotus field circa 1935, also by Nomi. Alongside the houses shoin (a built-in desk) by Yoshimura hangs Nomis award-winning textile Strips, Trunks, Trees, Dots from the late 1930s. It was originally exhibited with two of her other fabrics at the 1941 MoMA show Organic Design in Home Furnishings, albeit under her husbands name.

The connection between the Raymonds and their protgs Nakashima and Yoshimura goes back almost 100 years. In 1934, a young George Nakashima from Spokane, Washington, having trained as an architect at the University of Washington, Massachusetts Institute of Technology, and Fontainebleau, joined the architecture office of Antonin Raymond, who, together with Nomi, had established a practice in Tokyo in 1921 after working with Frank Lloyd Wright on the Imperial Hotel. Nakashima would soon learn through the Raymonds work and writings how vernacular and modern elements could sensibly be joined. The Raymonds evolved an approach over 18 years of working in Japan that addressed the complexity of the cultural context, connected with Japans deep craft and making traditionsall the while maintaining a connection to modernisms interest in universal solutions, Whitaker said. An exceptional example is their summer studio in Karuizawa, Japan, built in 1933. Its design drew inspiration from Le Corbusiers Maison Errzuriz in Chile, an unbuilt project from 1930, but merged details particular to Japanese traditional cottages, such as awnings and organic fiber blinds, with modern concrete constructions, such as cantilevered platforms.

Yoshimura, classically trained in Japanese culture and traditions in Tokyo, had joined the Raymonds as a student in 1928 and later as a full-time architectural designer in 1931. Nakashima learned from Yoshimura the sophisticated nature of Japanese architecture as they traveled together through Nara, Hakone, and Ine. Nakashima reminisced in his 1981 autobiography Soul of a Tree, [Yoshimura] knew so well the elegance and power of simplicity, the beauty of proper materials in building, where the error of a fraction of an inch can make the design fail absolutely. He knew these things well in both the time-honored Japanese design and in the free, modern concepts, and he passed them on to me.

Nakashima was exposed to the craftwork of rural families in one of his first projects with the Raymonds, St. Pauls Church, finished in Karuizawa in 1935. Traditional Japanese carpenters (or daiku) made use of as much of a tree as possible, Whitaker explained. Larger sections [were used] for structural elements, secondary structural elements [were made] from midsize elements, and narrow diameters were used for the legs of furnitureall from the same tree. Even bark had a place in certain projects.

In 1938, Nakashima volunteered to work on the first reinforced concrete building in India, a dormitory for the Sri Aurobindo Ashram in Pondicherry that had been commissioned to the Raymond office. Nomi maintained strong and deep interests in the spiritual basis of work, Whitaker said. Her connections to theosophy and other perspectives that explored the universality of human experience led her to an early interest in Aurobindo in the mid-1920s. Nakashima was also driven toward this mystical approach and embedded it in his life and work. To my mind, this is where Georges work as a woodworker beginsbeginning out of the wellspring of spiritual devotion, Whitaker asserted.

The Raymonds eventually moved their practice to the United States and in 1939 settled on an 18th-century farm of Quaker origin in New Hope, Pennsylvania (currently run by their granddaughter Charlotte). Yoshimura joined them for a year until war hostilities steered him back to Japan. Ironically, this was when Nakashima made the reverse move and decided to settle back in Seattle, where he began his woodworking practice. Shortly after, Nakashima and his family faced dehumanizing hatred of their Japanese ancestry and were forced to undergo imprisonment at the Minidoka concentration camp in Idaho. Guards were ordered to shoot whoever got close to the fence, Mira Nakashima, Georges daughter, recalled. Georges learning from skilled carpenters in Karuizawa and his karma yoga, hands-on work in the ashram at Pondicherry would prove fortuitous for this time. At Minidoka, Nakashima met Gentaro Hikogawa, a daiku from whom he learned woodworking. Such an opportunity would have been unthinkable within the stratified society in Japan.

In the exhibit at Shofuso, a contorted bitterbrush sculpture by Nakashima mounted on a cedar base sits atop a low table. Nakashimas use of bitterbrush has always fascinated me, Whitaker said. Something so humble as gathering wood in the midst of the Idaho desert, at a time of great personal distress and the inhumanity of war, cleaning it up to reveal the beauty and complexity of its growth over timeand to find a way to allow people to touch that, in an everyday wayseems magical to me.

Thanks to Nomis persistent requests, Nakashima was released from the camp with his wife, Marion, and his daughter Mira (leaving his parents and siblings behind) to the Raymonds New Hope farm in May 1943 on the condition that he not practice architecture. The Milk House table that supports the bitterbrush sculpture in the exhibition is a prototype Nakashima built in a small building on the farm that he adapted as his workshop. Some of his earliest 1940s pieces in the show, like the Straight Chair prototype, the Windsor-like Arm Chair, and the Grass-Seated Chair he designed for MoMA director Ren dHarnoncourt, have a heaviness and an earthbound quality that a lot of furniture did not have in the 1940s, design historian Derek Ostergard said in a recently premiered documentary directed by John Terry Nakashima.

The legacy of the Raymonds, the Nakashimas, and Yoshimura is genuine and palpable through this insightful showa coming together of friends and longtime art and design enthusiasts. An original film accompanying the show produced by Greenhouse Media and directed by Philadelphia-based artists Nadia Hironaka and Matthew Suib debuted on October 9 and gives even more information about the shows participants.

Natalia Torija Nieto is an architecture and design writer trained in modern art, design, and material culture at Pratt Institute in Brooklyn, New York. She is currently working on a book on the architectural work of George Nakashima.

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Shofuso and Modernism revisits a major mid-century East-West cultural exchange - The Architect's Newspaper

The pictured design from Mary Norris Interiors won in the Outdoor Spaces.

The Interior Design Society (IDS) gathered virtually to honor winners of the 2020 Designer of the Year competition on Oct. 8.

The Designer of the Year competition demonstrates our commitment to recognize the outstanding work of our members nationwide says Jenny Cano, IDS executive director. This year we received a record number of entries, our award-winners consider it a prestigious honor.

The virtual gala, available to view in full at this link, also honored two individuals that received the 2020 Outstanding Leadership Award, Beth Clark of Portland, Ore. and Audrey Clawson of Charlotte, N.C.

The winners of the Designer of the Year competition are:

Space Designs:

Singular Areas:

Specialty Awards

Impact Awards

Adelaide Addie Elliott is the web editor for Casual Living, Furniture Today and Designers Today. Before being promoted to web editor in May 2019, Adelaide worked as Furniture Todays editorial intern for a year. Get in touch with her on Twitter at @AElliott_Writes or by email at aelliott@designerstoday.com.

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Interior Design Society taps Designer of the Year winners in virtual ceremony - http://www.designerstoday.com

Design your passion into the career of your choice!

Were you always the artsy one? The one who (mentally) rearranged every room as soon as you walked into it? The go-to setup committee for every event and celebration?

And then it came time to plan a career. And you dreamed of finding the perfect choice that would allow you to:

Utilize your innate creativity and talents

Work well with your inborn people skills

Hold down a job while completing the coursework

Was that too much to ask for?

ICA, The Institute for Career Advancement, was founded with one overarching goal: that of enabling talented young men and women to fulfill their career dreams at an affordable price, in a timeframe that worked well with the busy lifestyle of todays generation.

The renowned ICA Interior Design Course was created just for you the creative, artistically-inclined soul who wants to channel their inborn gifts so they can profit and live off their talents. This course offers you the ability to turn pro and become a professional interior designer in just 12 months. With separate classes for men and women, and sessions held on evenings or weekends, this course was designed for busy creatives like YOU.

To ensure the very highest standards of education, course instructors are licensed and professional interior designers whose real-life experience in the field brings their lessons to life. The course covers the basics of design style, with an emphasis on aesthetics that doesnt compromise on functionality. Also included are the drafting software and the important technicalities like code compliance and presentation skills, so that you are fully prepared to deal with every job you may encounter.

Why stifle your inner creativity when you channel into a lucrative career? With an over 85% job placement success rate, and a number of graduates who opened their own interior design firms upon completing the course, the ICA Interior Design Course is the option of choice for aspiring interior designers.

Design your passions so that they form the groundwork for your future career success!

Next cohort begins October 25 20. THIS may be YOUR opportunity.

Call 718-506-0912 to register or to learn more.

Read more:
Design your passion into the career of your choice! - Yeshiva World News

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Instruction

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Port of Portland shares first look of new main terminal design on PDX's 80th anniversary - KPTV.com

Lifestyle and interior designer Amanda Hilton Sawyer is founder of Irish Girl in Brooklyn. She lived in the US for 25 years and moved back to her native Limerick two years ago she wants to bring that Brooklyn look here.

*What have you done to make your home more eco-friendly?

I have a Victorian house in the city that its 100 years old is of itself an environmental choice. The walls are two feet thick. When we were putting in a window, the builder said thick walls were that eras insulation they didnt allow damp to penetrate.

Everything I do is sustainable I have expensive taste so, if I buy anything, its for life. I believe sustainable should include workers rights and fair trade. When I lived in America, I bought from union factories [where workers have a union]. If you buy something cheap and the materials are sustainable but it was produced in a factory where labours underpaid or conditions are sub-par thats not acceptable. For me, coming from a working-class background, thats a deeply-instilled belief.

I have an aversion to anything disposable. If I get tired of it I change its use, repurpose it or send it to auction. Most of my choices are based on that philosophy. Ive had old linen curtains repurposed into roman blinds for most of the house.

All my furnitures old.

I only ever use low VOC (volatile organic compounds) paint. My wallpaper isnt vinyl-coated. All my sheets are organic fair-trade linen, which wash so well and become better with time well worth the upfront investment. My cutlerys old silver-plate, available at every flea market in the world cheap and fabulous. I also collect and use old mason ironstone white plates they have a great look. *Whats the most do-able eco-friendly home decor idea you've come across?

I love the [current] dried flower trend. Many florists are trying to do only local flowers now because the flower business can be so toxic roses in supermarkets are usually from Africa, where theyre grown with lots of pesticides. But at certain times of year, there arent many local flowers, so theres a trend towards using dried flower arrangements. An over-the-top arrangement looks amazing on mantle, sideboard or dining table. You can have fun foraging for branches and twigs, as well as drying your own flowers, e.g. hydrangeas. And at the holidays dress it up to be festive, or add fresh flowers in spring.

*What sustainability-conscious household habits do you routinely practice at home?

I use eco cleaning products. I buy veg at farmers markets to avoid plastic packaging. We walk 90% of the time thats why it was important for me to live in town. Its how we lived in Brooklyn and I didnt want to give that up. Im not getting in a car to buy a pint of milk!

An interior designer for 25 years, Gwen Kenny is founder of Dublin-based Divine Design. She lives in South Dublin.

*What have you done to make your home more eco-friendly?

It was a two-storey, three-bed house. Then we did an attic conversion and two extensions. We insulated all exterior walls and the roof space to reduce heating costs.

We also changed the heating system. Its much more economical. Its a zoned system you can have just the upstairs heating on or the downstairs. Its operated by thermostat once it hits the temperature youve set, it turns off. We have thermostatically-controlled radiator valves so you can set the temperature you want in each room.

We added a stove in the back extension, where we mostly live. Its a wood-burning stove of course, there arent endless supplies of wood but its more efficient than a coal fire. All our light-bulbs are energy-efficient. *What's the most do-able eco-friendly home decor idea you've come across?

I bought an amazing sideboard and mirror in an auction house a huge, fabulously-carved Jacobean piece. It was heavy, dark brown and nobody wanted it. I got it for 300, I painted it and then everybody wanted it! Nobody could see it out of its ugly duckling phase my husband said what did you buy that for when he saw it. I painted it grey and highlighted it with very soft white. We went to see Downton Abbey and they had the exact same sideboard. My husband, Tadhg, said look, they have our sideboard I wanted to rewind, but of course you cant in a movie!

I could see the quality in it from the start, the weeks alone itd have taken to do the carving they dont make stuff like that anymore. I didnt use any new materials other than paint, so I see it as really minimising our footprint. *What sustainability-conscious household habits do you routinely practise at home?

We try to be a non-plastic family for example, we buy vegetables loose rather than in packaging. We recycle as much as possible I have a wormery in my garden. You get plant food and composting out of it. We use old-fashioned hand soap rather than plastic bottles. I do in the shower too. I get them from Dalkey Handmade Soaps, which also makes shampoo in bars. I havent convinced the kids yet though theyre 17 and 10 thats a work in progress!

Cork-based interior designer Cathy Angelini set up Flamingo Interior Design in 2017.

*What have you done to make your home more eco-friendly?

A lot of the furniture is vintage most rooms in my house in Waterfall have two or three pieces. Any storage unit I buy is vintage or antique. I have a 1960s writing bureau in the hallway that we use as a hall table. Nearby is an armchair from the 1970s next to a table from the 70s with an old record player on it.

I didnt go vintage with the sofa it can be hard to get one in good condition. Comforts key in a sofa, so we went new with that. My beds also new but my eight-year-old daughter Nancys bed is an old iron one we got on Done Deal. *What's the most do-able eco-friendly home decor idea you've come across?

When looking at dcor, go for natural materials. Choose eco-friendly paint with fewer chemicals and where pots are recyclable. Get hands-on with up-cycling. Rather than throwing out a tired old bed-side table, I painted it bright blue and put some brass handles on it and its now in my daughters room. *What sustainability-conscious household habits do you routinely practise at home?

I dont own a dryer and have no plans to get one. I line-dry clothes or use the clothes horse.

I dont use spray cleaners. I buy a bar of cleaning soap wrapped in brown paper from Green Outlook (https://www.greenoutlook.ie/). I bought one in October, it lasted four months and cost only 4.50. You wouldnt clean an oven with it but its great for cleaning down countertops, the sink, dining room table or, when doing a deep clean, the window frames. And it smells lovely.

Green Outlook also does eco-friendly beauty products I use reusable make-up pads, as well as bamboo toothbrushes. Theyre biodegradable and look nice.

My daughters using solid bars of shampoo and conditioner from Holland & Barrett. Im shortly going to make that switch. When you squeeze shampoo out of a bottle, you tend to use too much, whereas a bars a slower process and its great for travel.

Here is the original post:
Meet the interior designers who take pride in their green houses - Irish Examiner

Portland, Oregon-headquartered architecture firm ZGF Architects is celebrating the 80th anniversary of its hometown air travel hub, the Portland International Airport (PDX), by publicly sharing several early design renderings of the upcoming new main terminal at the airport, expected to be completed in 2025.

With a price tag of $1.5 billion, the new main terminal building at PDX is the largest of five major capital improvement projects that have been completed or are underway at the airport as part of the Port of Portlands PDX Next campaign. Designed by Hennebery Eddy and Fentress Architects, an expanded Concourse E opened to the public this summer as part of the $2 billion airport overhaul. Meanwhile, a redeveloped and expanded Concourse B, also designed by ZGF, along with a revamped rental car center and parking additions are all due to be completed in fall 2021. Concourse A, home to the last remaining swath of PDXs extremely locally beloved geometric-pattern teal carpeting, was closed for demolition late last year to make way for the new Concourse B.

As for the 17,5000-square-foot new main terminal, ZGF cites the rugged landscapes of the Pacific Northwest as being a major influence in its health- and wellness-focused designa design that will boast nature-infused interiors and a spacious, versatile footprint geared to accommodate an anticipated influx in passenger volume at PDX in the coming years. Frequently highly rated by passengers as one of the best domestic airports based on various criteria, PDX currently ranks as the 30th busiest airport in the United States based on total passenger traffic, falling in between Daniel K. Inouye International Airport in Honolulu and Nashville International Airport.

The influence of the regions natural landscapes will be most evident in the terminals vasttimber roof, which will be studded with massive skylights and stretch across enlarged lobby and ticketing areas. As noted by ZGF in a news release, the roof, which will begin installation in 2022, is to be constructednot at all surprisinglyfrom sustainably sourced regional wood.

The roof design was inspired by the forests of the Pacific Northwest and the feeling you get while walking through the woods, the experience of light filtering through the trees, and the protection of the tree canopy, explained Sharron van der Meulen, ZGF partner and lead interior designer for the project, of the terminals strong arboreal influence.

In addition to the timber roof, the outdoors-y vibes continue throughout the interior of the energy-efficient, earthquake-safe terminal with plans for a considerable amount of lush greenery to be incorporated into the design.

While the design of the terminal pays explicit homage to the forests and coastlines of the Pacific Northwest, it also nods to the human-scaled, neighborhood-oriented streetscapes of Portland itself. As elaborated by ZGF, passengers traveling through the new main terminal can expect to see independent storefronts clustered together along a tree-lined street and cafe seating spilling out onto sidewalks.

Were taking the airport that has served the region well for the past 80 years and updating and upgrading it, said Vince Granato, chief projects officer with the Port of Portland. While the space will look and feel different, we are keeping the heart and soul of the airport that Portlanders know and loveeasy to navigate; bright, open spaces; and local shops and restaurantsit will still feel like home.

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Get an early glimpse of the new timber-topped main terminal at Portland International Airport - The Architect's Newspaper