The relationship between Adebunmi Gbadebo and her material, clay, is one of supplication-on the part of Gbadebo. The churched among us consider a potter something of an autocrat; they find masochistic affinity with the idea of clay as the humble, dumb stuff of life of which they are made. But clay will give its protest. In certain environmental situations, clay will choose catastrophe.
I find them so alluring, almost like perfume bottles or snow globes, but so grotesque, she explains as we handle the etched and sculpted objects, which each have a precious drop of crude oil at their centre. They have these shiny, dazzling exteriors, but when you get close you see the death mulch inside. All presentations of power are fragile; they collapse once you get close enough.
In southern Mexico City, within a double-height house designed by OW Arquitectos, two pieces by Omar Wade, Banca Tres (Bench Three) and Silla Cuatro (Chair Four), investigate the relationship between space, materiality, and light. The , characterized by skylights and large windows, provides the setting for this dialogue, framing the interaction of furniture and architecture. Together, the two wooden pieces present an exploration of scale and construction.
Contemporary architecture often references ideals from modernism - canonical elements like clean lines, open plans, and material honesty - further tempered to suit current tastes and needs. This Highland Park residence, designed by SmithArc with interiors by Joshua Rice, belongs firmly in that lineage. While expressing its modernist DNA, the home reconsiders what it means to be a "machine for living," with an emphasis on how color, material, and built-in conveniences will impact a growing family.
"A study in contrast, materiality and craftsmanship." That was how Cos described its Autumn/Winter 2025 collection at New York Fashion Week, the fourth consecutive September the London-based brand has crossed the Atlantic. For a house steeped in urban minimalism, the city is a natural stage - its architecture and relentless movement a mirror of Cos's own design philosophy, a refined quiet cutting through the bustle.
Nathaniel Mary Quinn has never shied away from confronting the most difficult corners of the human condition. With ECHOES FROM COPELAND, his fifth solo exhibition with Gagosian, the acclaimed American artist channels fear, grief, and redemption into a deeply visceral body of work. The exhibition, currently on view at Gagosian's West 24th Street gallery through October 25, draws inspiration from literature and figurative abstraction to create an emotional terrain as fractured as it is full of possibility.
Focusing on this difference, the artist has, since 2016, continued a practice of dynamically forming characters using springs, strings, bands, and chains, and is now working with "needles." In Japanese, the same character 針 is used for both the hand of a clock and a sewing needle, as both are sharp, linear objects. The act of using them is also expressed with the same word sasu: one "points" to time and "pierces" fabric.
Electric Bowery's renovation of a historic Pasadena, California residence began not with demolition or dramatic gestures, but with careful attention to what already existed. The challenge was determining how to respect its American Craftsman roots while shaping spaces that could coexist with contemporary life. The solution emerged through a dialogue between eras, where new additions spoke to original structures without mimicking their accent.
Glass already has a mesmerizing quality fragile yet enduring, transparent yet expressive but scaled up into furniture, it becomes almost hypnotic. In his debut collection, designer Clive Lonstein pushes the material beyond its expected forms, transforming it into sculptural tables that feel all at once grounded and ephemeral. Made in collaboration with art and design gallery STUDIOTWENTYSEVEN, the limited-edition Glass by Clive Lonstein collection highlights the powerful qualities of this material, elevating glass as the main attraction in any room. While many contemporary designs lean heavily into aesthetics at the expense of usability, Lonstein takes a stand for both.
Constructed from antique paper and the thorns of wild roses, Owen's sculptures suggest fortresses, reliquaries, and dreamlike towers. Their tapering forms strain upward, yet their surfaces are creased, stitched, and scarred, holding a quiet gravity. In Owen's hands, stability feels precarious, and foundations seem half-remembered, the scarred surfaces of her forms suggesting both skin and structure. Hidden recesses suggest stories of touch, damage, and sacred encounter.
In architecture, the effect of color is rarely neutral. It has the power to calm or energize, to expand or compress space, to unify or divide. Far from solely being a decorative layer, color is a tool that architects, interior designers, and designers use to structure atmosphere and perception. Alongside light, material, and proportion, it is one of the most precise instruments available for guiding spatial experience.
The womenswear store is defined by a serene and intimate atmosphere with neutral-toned textured walls, a warm rattan ceiling, and a modular bookshelf showcasing curated artworks.
