“Now, this is a question I think is wrong on its face,” says Jay Valgora, founder and principal of Studio V Architecture, when we asked him what cities can do to lure one-time urban dwellers back from the suburbs – where, perhaps, they fled during the pandemic. He rejects the perspective that the pandemic has fatally wounded urban centers. “I think that cities are the greatest invention of man,” says Valgora, who was raised in Buffalo, New York, and is now based in New York City. “It’s our greatest artifact. It’s our greatest collective work of art. But for me also, they are one of the greatest measures of our resiliency. There are many, many examples of [an imperiled] New York – from the Revolutionary War, when it was destroyed and occupied by the British, to the Civil War, when it was the site of race riots, to the 1970s, when Central Park was decimated. Always the city has come back. I’m a terrible optimist when it comes to cities, and I believe that New York City is incredibly resilient, and it rises again and reinvents itself – and we, as architects, have a role in helping reinvent it and creating the new city that it will constantly become.”

In this week’s Milkshake, we spoke with Valgora about the legacy and importance of cities in civic life – and about the many projects he’s taken on to make cities stronger, better places: “One thing I love about the studio is that we just do a huge range of projects – there’s really no single thing I’m working on,” he says. “The studio is working on affordable housing. We’re doing the largest geothermal project ever done in the history of New York. We’re working to create a marine terminal in Red Hook and a home for the New York City ferry system. I’m doing the rail overbuild in South Brooklyn and [Bronxlandia], the community hub in the Bronx. I’m developing new beach house prototypes for Edgemere and the Rockaways so the city can create more affordable housing there. We’re doing a maker space in Greenpoint, a public space under highway ramps in Long Island City, and finally a small community theater in Buffalo.” All of these projects, he says, point to a sole guiding philosophy: “All of them, in some way, are about the reinvention of the city – about reconnecting the edges of our neighborhoods and making our cities more green and resilient.”

Bronxlandia

Also in this week’s Milkshake: Valgora shares more details about Bronxlandia, the Bronx community space, in which a “ruined train station” will be converted into “a place of activity for the entire community, [for] entrepreneurial elements, film shoots, all different kinds of public events.” And he talks about how architects will continue to respond to new, flexible ideas about what a workspace can be, even as he designs a new studio for his own practice: “Offices and residential environments are converging, and we really need to create new kinds of spaces to work in and collaborate,” he says. For more, tune in!

Silo City

Diana Ostrom, who has written for Wallpaper, Interior Design, ID, The Wall Street Journal, and other outlets, is also the author of Faraway Places, a newsletter about travel.

Milkshake, DMTV (Design Milk TV)’s first regular series, shakes up the traditional interview format by asking designers, creatives, educators and industry professionals to select interview questions at random from their favorite bowl or vessel. During their candid discussions, you’ll not only gain a peek into their personal homeware collections, but also valuable insights into their work, life and passions.

Auto manufacturers are very much aware younger generations are not as beholden to the pull of new car ownership as previous generations. Especially so when taking into account the average price of a new set of wheels has drifted upward of $48,000, according to data from Kelley Blue Book. So what to do to sway young drivers toward buying their first new car? Build them a kinda-sorta car, a mini-EV electric quadricycle that detours around many of the speed bumps associated with full-size cars. But make it cute… adorable even.

Fiat calls the Topolino an electric quadricycle, a category of vehicles that allows drivers as young as 14 years old in Italy and France to get behind its small golf cart-like steering wheel. The urban and short-range vehicle is being offered in two flavors, but limited to a single “Verde Vita” hue. A “closed” Roof Sunblind topped model is joined by an “open” DolceVita edition featuring a cabriolet roof and ropes in lieu of doors. Otherwise Fiat keeps it simple with a singular vintage-modern aesthetic across both options.

The Topolino DolceVita abandons doors for a rope, making it something closer to a golf cart than genuine automobile.

The TikTok/IG-ready Fiat Topolino throws in a small slew of accessories to appeal to drivers who aren’t necessarily in a hurry but want to get “there” having fun, including a matching USB-powered fan, a Bluetooth speaker, a thermal water bottle for both hot and cold drinks, rack with matching bag, and two seat covers that convert into beach towels for drying off after rinsing off with an option to add a hose shower attachment (didn’t see that coming, did you?).

Don’t expect to outrace or outdistance other vehicles driving a Topolino. The vehicle is equipped with a small 5.4 kWh battery, enough for a modest 47 miles of range and topping out at a pokey 28 mph top speed. The good news is the miniature mode of transportation only requires less than 4 hours to fully recharge to capacity.

The Fiat Topolino isn’t really a car in size nor performance. But in urban centers in Italy and France where urban arteries are tight and parking is perpetually challenging, and where smaller electric vehicles like scooters and Smart cars have already proven to be popular solutions for getting from point A to point B independently powered by a clean and quiet electric-powered engine, tweeners like this may be the right solution at the right price.

Both editions offer a 4-wheel footprint that should make it a breeze to park in tight urban quarters.

And that price? Around $10,770 in Italy. We’ll be curious to see whether the price and features are enticing enough to result in numbers of Topolino’s zipping around Paris and Rome by next summer amongst the 14 and over crowd living la dolce vita.

Gregory Han is the Managing Editor of Design Milk. A Los Angeles native with a profound love and curiosity for design, hiking, tide pools, and road trips, a selection of his adventures and musings can be found at gregoryhan.com.

From time immemorial, parents have lamented how quickly their children outgrow their clothing and shoes. This is now also true in regards to technologies designed for kids, with enormous amounts of waste being produced from the disposal of outgrown tech. Kibu headphones, designed by design consultancy Morrama in partnership with circular manufacturing company Batch.Works, offer an answer: audio gear designed to be assembled and customized by its eventual youthful user, while also being thoughtfully conceived to be repairable and recyclable throughout its circular lifespan.

Each pair is 3D printed on-demand and in custom colors using recycled PLA from packaging waste sourced from the agricultural industry and topped off with a comfortably plush TPU headband and foam ear cups sized for children.

This project is the result of both Batch.Works and Morrama’s drive to shift the consumer mindset around product circularity and repairability at end-of-life. By starting with kids’ products, we hope to set the next generation on a path to better understanding and appreciating the objects they use and interact with and do so in a playful and engaging way.

– Jo Barnard, Founder and Creative Director of Morrama

Like toys or any accessory used by children regularly, damage is always a looming possibility. To address this reality, plastic parts of the Kibu can be sent back to its manufacturer Batch.Works to be reduced down to its original polymer pieces to be eventually reused to make new headphones again. Similarly, the electronic componentry within is designed to be easily disassembled, and offer easier access to the core precious metals within.

Batch.Works’ head of R&D Milo McLoughlin-Greening considers the circular design of Kibu not just prototypical of the future of manufacturing, but a means of communicating to a younger generation the possibilities of engineering products where technology is not considered a disposable commodity nor presented with a juvenile design.

Kibu’s intended demographic are children ranging from five to eleven years old.

Kibu’s repairable and recyclable headphones are scheduled to be launched later this year with options and pricing yet to be released.

Gregory Han is the Managing Editor of Design Milk. A Los Angeles native with a profound love and curiosity for design, hiking, tide pools, and road trips, a selection of his adventures and musings can be found at gregoryhan.com.

Argentinian architect Paula Valentini reaches for her training and experiences in art and urban planning when designing. Nowhere is it more apparent than in the sculptural R24, a two-piece collection created for GANDIABLASCO. Through the structures of a low coffee table and a low stool, Valentini investigates textile architecture on a small scale. “The image of the weightlessness of bodies held in space and the intention to explore structural fabrics became the guiding light of the project. Through R24 I evoke sensations and images like the evanescence of a bailiff’s wing. It is a useful object and it is also a work in space,” she explains.

Now part of GANDIABLASCO’s outdoor furniture catalogue, R24 was created in exchange with the Museum of Contemporary Art of Buenos Aires and its collection of abstracción geométrica. The challenge was creating furniture pieces that are as light as they are resistant. The innovation lies in its ethereal support, which Valentini achieved by dematerializing edges and substructures and avoiding bracing rings for the appearance of continuity. The results create degrees of opacity, and in the case of the stools, mimic a kaleidoscopic and sculpture when stacked. Added Valentini, “The pieces of the R24 series stand out for their open and slender weave and are surprising for their ability to support a weight close to one hundred times their own.”

The R24 coffee table and stool are handcrafted in India using 5 mm diameter stainless steel rods that are bent, intertwined, and arranged in a structured pattern. A weave is used to create a firm structure. “The curves that make up the pieces are bent in the same plane,” Valentini explains. “Then, the elements are organized and woven around the absent pyramidal body. The braiding manages to bring the threads into contact with each other and create a two-level mesh that distributes the stresses.”

The coffee table and stool can be thermo-lacquered in all the standard tones of GANDIABLASCO’s color chart. The stool is available with or without an upholstered cushion – also handmade in India – that uses a base of Gravidry® filtering polyurethane foam and a layer of wadding on the surface. Both materials add tactile comfort, breathability, and quick-drying properties.

We’d be remiss not to share that the original R24 piece was designed in 2017 for MACBA’s program for the elderly, supported by Mecenazgo Cultural de la Ciudad de Buenos Aires. The initiative highlights design as a functional tool to provide solutions to the needs of the elderly. It was then recognized as a finalist in the 8th Ibero-American Design Bienal.

To learn more about the R24 low coffee table and stool, visit gandiablasco.com.

Kelly Beall is Director of Branded Content at Design Milk. The Pittsburgh-based writer and designer has had a deep love of art and design for as long as she can remember, from Fashion Plates to MoMA and far beyond. When not searching out the visual arts, she’s likely sharing her favorite finds with others. Kelly can also be found tracking down new music, teaching herself to play the ukulele, or on the couch with her three pets – Bebe, Rainey, and Remy. Find her @designcrush on social.

Residing on the pristine waters of Lake Eildon, about a two-hour drive outside of Melbourne in Australia, this architectural marvel challenges tradition with its seamless blend of form and function. Designed by Jolson, the Halcyon is not just a modern houseboat, but an enviable floating dwelling that feels unconfined. Halcyon leverages Jolson’s combined architectural experience and local familiarity to create a design that draws inspiration from dynamic watercraft, like ships and speedboats, and infuses a sense of motion into the structure.

The name “Halcyon” not only signifies a happy and peaceful period of the past, but also the mythical bird believed to calm winds and waves. Just like its name, the Halcyon houseboat delivers an idyllic and serene escape from the hustle of daily life.

One of Halcyon’s primary design goals was to establish a harmonious connection between the interior and the breathtaking surroundings. The shared living areas on the ground floor offer uninterrupted views of the water and landscape through the perimeter of windows. The living room opens out to a covered outdoor room offering additional seating and dining options.

The unique window design allows the sides of the houseboat to slide open to form an outdoor living room surrounded by the water.

Beneath the staircase, a built-in cabinet hides a TV while operating as a bar for entertainment.

An open staircase placed in front of the windows connects Halcyon’s three floors while allowing natural light to permeate inside.

The middle floor houses four bedroom suites that are strategically separated from the boat’s decks and passageways for privacy and tranquility with elevated views of the lake.

The two main bedrooms, located at each end, boast circular mirrors that bounce light and the surrounding views, fully immersing the guests in the landscape.

Attention to detail is evident in the materials and furnishings on board the Halcyon houseboat. The rugged texture of sawn-cut timber floorboards extends into the furnishings, creating a seamless flow between indoor and outdoor decor. The thoughtfully curated color palette gives nod to the natural surroundings, particularly the gradient tones on the shore as the water recedes down the bank.

The partially covered top floor is a large multifunctional living space without walls, offering breathtaking 360-degree views. This roof space is a haven for relaxation on the sun lounges, daybeds, and wood-fired hot tub, while providing plenty of room for dining and entertaining at the linear bar complete with kitchen and bar amenities, and a circular banquette for eating.

Photography by Lucas Allen.

Caroline Williamson is Editor-in-Chief of Design Milk. She has a BFA in photography from SCAD and can usually be found searching for vintage wares, doing New York Times crossword puzzles in pen, or reworking playlists on Spotify.

It’s only been a little over a year since Samsung launched the original Bespoke Jet stick vacuum, an all-in-one cordless cleaning appliance with a decor-friendly design and adaptable multi-surface brush and suction capabilities, and they’re already updating the device with the addition of those now two ubiquitous letters: AI.

Beyond its new satin black finish, the artificial intelligence enhanced Samsung Bespoke Jet AI may appear indistinguishable from its launch model predecessor. But don’t let outward appearances fool you, there are several notable performance and efficiency improvements that distinguish this new model as a distinct successor (and sets to warrant its $300 price bump).

An Achille’s heel of cordless vacuums beyond suction has always been battery life. To address this limitation, Samsung upgraded the Bespoke Jet AI features with a large 4,500mAh battery delivering 100 minutes of runtime. That’s an impressive 80% improvement in capacity than the previous Bespoke Jet and probably good for several cleaning sessions.

Now you may be wondering about artificial intelligence’s role in this new model and if it really improves chasing down dust bunnies and errant pieces of snacks. Samsung’s AI Cleaning Mode is essentially smart enough to distinguish between different floor types as quickly as you might, adjusting the cleaning power and in turn stretch out battery life. The vacuum does all this via sensors to feed the vac’s AI data about the brush load alongside the air pressure through pressure sensors (for example, a tufted rug will result in higher air pressure than a wood floor).

In turn the AI system dials up or down suction power and brush roll speed to optimal settings on the fly. You’ll definitely notice when the AI is working, as it results in audible changes similar to shifting gears in a car while it switches from hard wood floors, carpet, rugs, and tiles, adjusting suction and brush performance near instantaneously.

Samsung has also switched out the heart of the Bespoke Jet AI with an upgraded HexaJet Motor. This new motor brings with it a 25% increase in suction power compared to the original Bespoke Jet AI. What’s impressive is while the motor boosts the vacuum’s suction power to 280W, the motor is 52% more efficient. At max setting, we found the suction power is comparable to a corded vacuum, so strong it is capable of pulling up low pile area rugs and runners.

Samsung says the Bespoke Jet AI is the first cordless stick vacuum to feature an AI verification from UL Solutions, a newly set standard of testing created to test AI algorithm product claims independently and determine whether the AI can adapt to both unstructured and structured conditions (versus machine learning, the older and less adaptable software+hardware optimization technology).

The new model retains the same automatic self-emptying suction base as the previous model, delivering an oh-so-satisfying “now you see it, now you don’t” magic act after each cleaning session.

And this vacuum being an extension of Samsung’s smart home ecosystem, there’s also Wi-Fi connectivity built-in, allowing users to add the Bespoke Jet AI into the SmartThings app to further customize the vacuum and its functions. The app also gives owners the option to run the smart self-diagnosis function to keep their vacuum running at tip-top.

We just hope Samsung eventually adds a few more color options to this top tier model. The original Bespoke Jet [shown above] nabbed an iF Design Award 2022 a year ago with a trio of interior design friendly hues to appeal to those homeowners who prefer to keep their vacuum out in the open, ready for duty at a moment’s notice – a purely aesthetic preference we do not believe has changed even with the advent of artificial intelligence.

The Samsung Bespoke Jet AI is not yet available, but is listed at samsung.com as a pre-order with a limited period $150 discount ahead of availability.

This post contains affiliate links, so if you make a purchase from an affiliate link, we earn a commission. Thanks for supporting Design Milk!

Gregory Han is the Managing Editor of Design Milk. A Los Angeles native with a profound love and curiosity for design, hiking, tide pools, and road trips, a selection of his adventures and musings can be found at gregoryhan.com.

“When a design is successful, different people can read it in different ways. Depending on where you’re from, you can interpret and relate to these designs in a totally different way from somebody else across the world,” said Portugal-based Singaporean designer Gabriel Tan. His focus lies in the interaction between humans and furniture – how we use and configure it to suit our life, no matter the stage we’re in. Today, in a first-time partnership with Herman Miller, Tan’s Luva Modular Sofa Group and Cyclade Tables hit the market. Organic and modular, both collections work across disciplines while reinterpreting the use of traditional craft and technology.

Tan pays homage to various cultural intersections in these comfortable and functional designs. Relaxing and supportive, the Luva Modular Sofa does it all. “Luva” is the Portuguese word for glove, fitting because the furniture’s shape is inspired by the soft grip and padding of boxing gloves, as well as Japanese futons or shikibuton. The visual form is soft, but grounded thanks to natural textiles and organic lines.

As for the qualities shared between the sofa group, boxing gloves, and futon, Luva can expand into a higher, open back for further relaxation and more supported seat. The sofa group is available in several configurations: armchair, chaise lounge, sofa, and sectional. Add further variety with a detachable ottoman. A bar hidden near the bottom of the seat allows pieces to be easily grouped together or moved apart as needed.

“We’re thrilled with our partnership with Gabriel,” notes Ben Watson, President, Herman Miller. “Herman Miller takes pride in collaborating with the world’s best designers. Tan is a designer who is dedicated to preserving and elevating craftsmanship while creating dynamic furnishings that support the evolving needs of today’s customer, wherever they are.”

The Cyclade Tables are equally versatile and functional, a trio inspired by the form of Pangea – islands coming together and flowing apart. Each of the three table designs is unique and organic, working as well apart as they do as a group. Cyclade is available in a low table with an optional glass bowl for entertaining, displaying objects, or adding greenery, as well as mid and high table variations. The result, in any configuration, is a nod to Tan’s appreciation of Isamu Noguchi.

Gabriel Tan Photo: Gabriel Tan Studio

To learn more about the new Luva Modular Sofa Group and Cyclade Tables, visit hermanmiller.com.

Kelly Beall is Director of Branded Content at Design Milk. The Pittsburgh-based writer and designer has had a deep love of art and design for as long as she can remember, from Fashion Plates to MoMA and far beyond. When not searching out the visual arts, she’s likely sharing her favorite finds with others. Kelly can also be found tracking down new music, teaching herself to play the ukulele, or on the couch with her three pets – Bebe, Rainey, and Remy. Find her @designcrush on social.

New York galleries are currently observing “summer hours” (closed on weekends), but there are some exceptional under-the-radar gems worth sneaking out of work a little early on a weekday. Innovation, curiosity, intelligence, and visual sparks link my four favorite gallery exhibitions on view now in New York.

Doyle Lane at David Kordansky Gallery

Doyle Lane (1923-2002) was an important and influential figure in 20^th Century West Coast studio ceramics. This current exhibition of nearly 100 of his “weed pots” is a rare treat for long-time fans of his work, and a breathtaking introduction to those less familiar (like me, now converted to a super-fan of his work due to this show). His “weed pots,” named for the unwanted garden plants, not the drug, are often not much larger than a couple inches but pack a truly tectonic visual punch. The shapes feel as vibrant as an organic previously-unknown fruit, while the glazes demonstrate a mastery of both chemistry and control. Seeing these 98 vessels in one white room sparks joy and surprise with every step.

Weed Pot, c 1960-1978 and Weed Pot, c 1960-1978. Photo: Jeff McLane, courtesy of David Kordansky Gallery

(Weed Pot, c 1960-1978 and Weed Pot, c 1960-1978. Photo: Jeff McLane, courtesy of David Kordansky Gallery

Installation view, Doyle Lane “Weed Pots” at David Kordansky Gallery, New York. Photo: Phoebe d’Heurle, courtesy of David Kordansky Gallery

Sculptor Ricky Swallow curated the exhibition. I love his description of the size of the openings in these vessels, “so small [that] they can appear as if they are holding a breath.” If you can’t visit in person, the exhibition website features great images of every single pot.

Doyle Lane: Weed Pots, Curated by Ricky Swallow is on view at David Kordansky Gallery (520 W 20^th St, NYC) June 23 – August 4, 2023

Ann Veronica Janssens at Bortolami Gallery

Ann Veronica Janssens, After the peacock wheel, installation view, Bortolami Gallery, New York, 2023. Image courtesy the artist and Bortolami Gallery. Photo: Guang Xu

Belgian-based artist Ann Veronica Janssens is well known for pushing the optical possibilities of glass in her sculpture. Her latest series explores “Structural Color,” a phenomenon I’ve never before seen in glass (or any other sculpture honestly). Currently on view at Bortolami Gallery in Tribeca, this may be my favorite work by her yet.

““Structural Color” is a natural phenomenon that results in our perception of iridescent color in peacock feathers and butterfly wings. Those holographic-like colors are apparently achieved not through the actual color of pigment, but by the microscopic geometry of the feather or wing itself that refracts light in a specific way. Peacock feathers, for example, contain the brownish pigment “melanin” (the same pigment in our own skin), but through a complex surface structure, they appear to our eyes as shimmering blues and greens that may shift to purple at an angle.

29.04.23 #2, 2023, by Ann Veronica Janssens. Image courtesy the artist and Bortolami Gallery, New York. Photo: Guang Xu

29.04.23 #2, 2023 (detail) by Ann Veronica Janssens. Photo: David Behringer

Inspired by this concept, Janssens collaborated with Dr. María Boto Ordóñez, artistic researcher at KASK & Conservatorium, the school of arts of HOGENT and Howest. The resulting process involves soaking a sheet of ribbed glass at the bottom of a liquid bath containing artificial melanin. The melanin forms a skin on the bath’s surface, sometimes cracking as evaporation occurs. Finally, the liquid is siphoned, slowly lowering the floating film until it makes contact with the glass.

12.05.23 #1, 2023, by Ann Veronica Janssens. Image courtesy the artist and Bortolami Gallery, New York. Photo: Guang Xu

12.05.23 #1, 2023 (detail), by Ann Veronica Janssens. Photo: David Behringer

This highly unique process produces swirls of perceived color, cracks that mimic a sheet of ice, and an iridescence that subtly shifts at different angles. It’s a marriage of science and art that just opened a whole new world to me, inside and outside the gallery walls.

Ann Veronica Janssens “After the peacock wheel” is on view at Bortolami Gallery (39 Walker St, NYC) from June 23 – August 25, 2023

“Plastic Straws” at Tara Downs Gallery

“Plastic Straws” at Tara Downs Gallery may be the best group show this summer. Composed of an international set of female-identifying artists, every artwork here shares an intriguing visual “plasticity.” From Charlotte Houette’s psychedelic paintings with movable panels, to a large sculpture by Priscilla Jeong held together by friction and magnets, the stand-out – and my favorite paintings on view anywhere – are the visually glitching paintings by Evian Wenyi Zhang that are assembled from hundreds of small canvases.

Exhibition view or “Plastic Stars” at Tara Downs, New York, 2023. Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe d’Heurle

Artist Evian Wenyi Zhang describes her process as an “image-tabulating system,” seeking to represent the pull of her own eyes across a given image source. For example, a work titled “Backing Flour” (below), is composed of 442 tiny canvases, each painted separately with acrylic and airbrush and hung individually on the wall (a numbering system aids their placement every time its installed). It represents the duration and focus of her attention while she observed a screenshot of a video game that included an up-side-down firefighter (note the orange of a reflective uniform) and sacks of flour on the floor. Once “tabulated” and individually painted, canvases can be slightly re-ordered as she composes the final work, gently corrupting the data for a greater overall “truth.” Her work is a meticulous system of self-perception that merges with memory, the unknowable, and aesthetic balance, all without ever giving us the actual source material.

Evian Wenyi Zhang, Baking Flour, 2023. Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe d’Heurle

Evian Wenyi Zhang, Baking Flour, 2023 (detail). Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe d’Heurle

Evian Wenyi Zhang, Baking Flour, 2023 (detail). Photo: David Behringer

Exhibition view: Plastic Stars at Tara Downs, New York, 2023. Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe d’Heurle

“Plastic Stars” is on view at Tara Downs Gallery at 424 Broadway, NYC,  from June 28 – July 28, 2023. Evian Wenyi Zhang additionally has a solo show at Public Gallery in London now, worth checking out.

Harry Gould Harvey IV at PPOW Gallery

One of the most intriguing and mysterious exhibitions now is the work of Harry Gould Harvey IV at PPOW Gallery. Born in 1991 in Fall River Massachusetts, he combines a fantastical and dark medieval aesthetic with wood frames that hold a ghostly presence.

Installation, Harry Gould Harvey IV at P.P.O.W. Gallery, New York

Harry Gould Harvey IV, “The Eschatological Artists Union 1111 – Post Labor (Illuminated), 2022”

The wood in the frames is sourced by the artist from “downed trees, gilded age mansions, dilapidated factories, and gutted gothic churches,” often using tiny carved details from the original structure. That material somehow retains the weight and memories of those now-gone structures adding an intense depth to the drawings that they now hold.

Harry Gould Harvey IV, “Art Is Life_Life Is Death (Antigestmunst-Kunstwerk) Blight Of The Lobeliaciae, 2023” Courtesy of Harry Gould Harvey IV and P·P·O·W, New York

The best drawings are the diptychs or paneled works that feel like two points in time, or the same moment in two parallel universes. In all however, there’s a sort-of phoenix feeling – as if something is being destroyed or created simultaneously. It’s temptingly wondrous and frightening at the same time. The secret of the exhibition is to press the black doorbell (a small black button on the back wall) to fill the room with sounds composed by the artist – an “ambient score blending music, voice recordings, bird songs, and street sounds.”

Harry Gould Harvey IV, “The Eschatological Artists Union 1111, 2022”. Image courtesy of Harry Gould Harvey IV and P·P·O·W, New York

Harry Gould Harvey IV: “Sick Metal” is on view at PPOW Gallery, 392 Broadway, from June 29 – August 4, 2023

In conclusion: Summer may be “off season” for the contemporary art world, but this is the best July I’ve experienced in 18+ years of gallery visiting. There’s plenty of visual buzz and intellectual depth that rewards anyone up for an adventure on a weekday. Here is the list again, re-grouped by location:

Chelsea:

Doyle Lane at David Kordansky Gallery (520 W 20^th St), through August 4, 2023. Exhibition website

Tribeca:

“Plastic Stars” at Tara Downs Gallery, 424 Broadway, through July 28, 2023. Exhibition website (enter via the elevator directly off the sidewalk to the 3rd floor)

Ann Veronica Janssens at Bortolami Gallery, 39 Walker St, through August 25, 2023. Exhibition website

Harry Gould Harvey IV at PPOW Gallery, 392 Broadway, through August 4, 2023. Exhibition website

David Behringer visits over 200 galleries every month to uncover and share the most exciting contemporary art in New York today. Subscribe to his exclusive weekly newsletter at www.thetwopercent.com and learn about his private gallery tours. And be sure to check out his YouTube.

Los Angeles’ prestigious Bel Air neighborhood has always been synonymous with luxury and opulence. Among the sprawling mansions, there’s one architectural gem that stands out, not just for its striking design but also for its commitment to sustainability. RO54, by Arshia Architects, is a dynamic building perched on a hilltop, offering breathtaking views of the Pacific Ocean and the Los Angeles basin.

RO54 isn’t just another large house dominating the landscape, it is an architectural, futuristic marvel that pays homage to the natural topography that once defined this area before new development took over. Arshia Architects set out to craft a design that fits harmoniously within the neighborhood’s confines while adhering to strict regulations.

At the core of RO54’s design is a clever exercise in spatial relationships. The split-level design gracefully follows the contours of the hill, effectively connecting the floor half-story plates. This design choice not only enhances visual appeal but also allows for a functional organization that maximizes utility. The result is a home that seamlessly integrates various spaces, encouraging a sense of openness and fluidity.

Taking inspiration from streamlined automotive design, RO54 embraces concealed technology throughout the house. The aesthetic is sleek, sophisticated, and uncluttered, allowing the beauty of the space to take center stage.

The interior palette revolves around a monochromatic color palette and limited variety of materials, such as wood, stone, and glass.

RO54 isn’t just visually stunning, it’s also a thoughtful, eco-friendly design. One of its innovative features is a courtyard, strategically designed to daylight the lower, underground bedrooms while simultaneously acting as a rainwater runoff filtration system for the entire home. This approach ensures that the project meets or exceeds stringent California green building and energy conservation standards.

The house incorporates additional sustainable elements, such as low-flow plumbing systems, drought-tolerant plants, rainwater filtration, photovoltaic integration, and a high-efficiency building envelope and glazing, a HERS rating for the mechanical system, and more.

The interior boasts meticulously sourced natural materials that adhere to low VOC standards. Mica plaster, hardwood flooring, and natural stone were selected to complement the overall design philosophy. The focus on minimal, low-impact, and proven materials ensures that the residence stands the test of time while maintaining a commitment to responsible design.

There’s even a unexpected glass elevator that takes center stage.

Photography by Paul Vu, Renee Parkhurst, and Yuheng Huan, courtesy of v2com.

Caroline Williamson is Editor-in-Chief of Design Milk. She has a BFA in photography from SCAD and can usually be found searching for vintage wares, doing New York Times crossword puzzles in pen, or reworking playlists on Spotify.

In French, cabine is the word for a dressing room in a clothing store, as well as of rooms in boats and trains. But in the case of designer Inga Sempé’s Cabine Mirror, it’s a half full-length mirror and a half coat rack. Created for and produced by Japanese company Ariake, the bifold product features double mirrors, increasing the amount of space you can view around it. Highly functional, turn the mirror around to find ten pegs to hold clothing, bags, and more, with a small basket located beneath. It’s easy to see how the Cabine Mirror reflects the Japanese cultural values of keeping a tidy home and presenting your best to the world.

To learn more about the Cabine Mirror, visit ariakecollection.com.

Kelly Beall is Director of Branded Content at Design Milk. The Pittsburgh-based writer and designer has had a deep love of art and design for as long as she can remember, from Fashion Plates to MoMA and far beyond. When not searching out the visual arts, she’s likely sharing her favorite finds with others. Kelly can also be found tracking down new music, teaching herself to play the ukulele, or on the couch with her three pets – Bebe, Rainey, and Remy. Find her @designcrush on social.