There are many, perfectly rational, even admirable reasons why we should all eschew the quintessential, American-style dream of living in a honking big house on a honking big lot. On a basic level, larger houses are more expensive to build, buy and keep up. They also tend to be energy hogs. Then there’s the cleaning – the more rooms there are, the more dust there is to bust.
Before Françoise Turner-Larcade moved from Paris to Toronto in 2000 to marry her Canadian boyfriend, she was a jewellery designer with a boutique on Avenue George V. The change in location inspired an artistic change in direction. Instead of crafting bobbles for the body, the French native decided to create jewel-like home decor. Her Fragmented Mirrors series has the shimmer of a sterling necklace studded with precious stones. The casing is made from raw steel—which has a warm, slightly weathered patina—and inset with clear, coloured and grey reflective glass. Each section of the mirror is set into the frame at a different depth, so that every panel reflects light and motion in different, unique way. $4,000–$9,000. Through roselandgallery.com, firstname.lastname@example.org and email@example.com.
This piece originally appeared in the Globe and Mail on Thursday, October 17, 2013.
There’s something undeniably odious about the word basement. It unfailingly conjures up a spine-shivering image of something drafty, claustrophobic and dark. But subterranean living spaces offer an important opportunity to accommodate Canada’s shifting housing needs. They work well as in-law suites for downsizers, income rentals for empty nesters or extra sleeping quarters for families who’ve outgrown their current house but can’t afford a larger one in the country’s ever inflating real estate market. And, with the right eye for aesthetics, a basement apartment can be bright, airy and beautiful. It just takes the right lighting, wall finishes and window wells. Here, five tips from top design professionals on how to turn an underground grotto into something glorious. Continue reading
Right now is a white-knuckle time to be a homeowner. Not because of bubble worries in the condo market or fears of an interest-rate spike. Over the past few years, global warming has become undeniably more menacing. It has caused an increase in roof-wrecking, basement-flooding storms and the type of sweltering, seemingly endless heat wave that makes homes feel more like giant saunas.
Marble is to geology what Cher is to the entertainment industry: hard and soft at the same time with an endless capacity for reinvention and an unquestionable ability to dazzle.
The only difference is that marble has been beloved for a few (thousand) years longer — even if both the stone and the singer look strangely ageless. Continue reading
Basket weaving is one of the oldest known handcrafts. It predates pottery and, for at least 10,000 years, has been a vital means of transforming leaves and grass into vessels for storage and transportation.
These days, even at a time when furniture production has never been more high-tech — it’s possible for a designer to model a chair, light fixture or vase on his laptop, then e-mail the specs to manufacturers all over the world for almost instant 3-D printing — the anachronistic warp and weft still has an important influence.
Even if you’ve never heard of Giulio Cappellini, or the eponymous design studio he’s run for three decades, chances are you’ve seen some of the furniture maker’s quizzically shaped, brightly hued tables, couches and cabinetry.
Part of what has made the 59-year-old so successful is a singular ability for discovering, developing and collaborating with untapped talent: much lauded stars like Marcel Wanders, Jasper Morrison and Tom Dixon all got their first big breaks by working with the Milanese master.
When Cappellini was in Toronto recently to give a lecture at the Design Exchange, we caught up with him to talk about his sense of colour, humour and how he finds his bright young things.
You’ve got a knack for spotting fresh talent. How do you do it?
I travel a lot. I visit universities and schools. I meet a lot of people. Sometimes I just see a rough prototype or a sketch. Or sometimes I meet someone and I just think that this person can work well with Cappellini. The feeling I get for the person is very important, because sometimes it takes years between the first prototype and the final design. And I never just want to make one piece with a designer. So we need to build a strong relationship.