‘Keep Things Sophisticated’

Interior Designer Marissa Stokes aims for designs that are classic and timeless. And says don’t overlook the ceiling.

For designer Marissa Stokes, home has been a variety of places. Home was growing up in New Jersey, where creative parents and a need for change led to an intense love for interior design at a young age. Home was also New York, where she earned a degree from Parsons School of Design and worked her first jobs at elite design firms, including David Kleinberg Design Associates, Victoria Hagan Interiors and Jayne Design Studio. And now as an accomplished designer, home is more than just a place — it’s every threshold she passes, every piece of furniture she chooses, every decision she makes in order to help craft the perfect space for her clients. We spoke with Stokes about her experiences in the industry and how her love of interior design has transformed her career so far.

How do you think living in New York affected your design style and preferences?

You’re just exposed to so many amazing things, being in and around New York City. The architecture alone, having incredible museums at your fingertips. I also went to school in NYC; I think that was an incredible experience, but also had a huge influence on my design aesthetic, just having everything at your fingertips, between different cultures, food, architecture. I feel fortunate to have lived there and so close to there still now. I love New York City.

When was the first time that you ever thought about working in design?

I really have always wanted to be an interior designer from a very young age.… I think it’s because my parents are both very creative people, always doing things to improve our home.… My dad made furniture, we even had a woodshop in our basement. I just had this love for transforming spaces and the process, and I just fell into it very naturally.

Did you learn wood craftsmanship yourself?

Yes! I had all the tools at my fingertips in the shop, and I am still able to use them now, a bandsaw, a tablesaw, et cetera. We also had a sewing machine, so I grew up sewing at a young age — we’d be making window treatments and pillows. I was always transforming my personal space, shifting things around, changing them or painting them. Making them look different. It was just something I always loved to do, and still love it.

A Mediterranean Revival home on the Intracoastal in Palm Beach.

Above photos courtesy of Jayne Design Studio.

When it comes to designing, what is the most important element you have to remember?

Well one thing that tends to be overlooked, I think, is the ceiling. It’s very important to design from top to bottom, to think about ceiling work, a lighting plan, and overall how it’s treated and how it affects the space.

Is there a piece of art in your own home that you would never consider selling?

Everything is here for a reason, so not one specific piece.

It’s always important to surround yourself with things you love, even if it’s a bit eclectic, surround yourself with furniture and art that you love. When you do that, things just kind of work together. There’s no standard.

What do you want people to take away when they look at your work?

I want people to find it classic and timeless, something that could last forever. I don’t want someone to walk into a space and instantly date it. I want the clients to be comfortable in their home for a long time. Keep things sophisticated.

What advice would you give to someone going into design?

Don’t be afraid to roll up your sleeves, you have to wear a lot of hats in this industry. Maybe start with an internship, but, all in all, do whatever you need to do to learn.

At left: A cozy breakfast room nook with a custom-designed banquette.               Photo by Aaron Thompson.

Above: An outdoor terrace overlooks Dutchess County.                           Photo by Aaron Thompson.

Ask any stylist the key to a successful shoot and you’ll find yourself in a conversation about lighting.

More than just aesthetics, it possesses its own emotional language, writing atmosphere and warmth into contemporary interiors. If you or your home are feeling a little under the weather, consider experimenting some with some new lighting. You might be surprised at the life it brings.

To help you get started, Chaplins Furniture has created a shortlist of the best new launches this season…

Back to Black

In 2020, designers are experimenting with classic drama, revealing a host of iconic designs in sleek matt-black colourways. Seductive and bold, the new palette feels fitting for this time of year, updating winter homes with a little monochrome magic. A new favorite? The New PH Artichoke in BLACK, a daring design statement if ever there was one.

Deja-Vu

We couldn’t sign off without mentioning a handful of new retro lights that are making waves in maximalist circles. Boasting everything from 70s fringe through to art deco prints, these funky designs pack a serious punch, with island culture inspiring the creation of the new ARCIPELAGO LAMPS and CONTARDI’S extended CALYPSO collection.

All photos courtesy Chaplins Furniture.

Photo courtesy of Covet NYC

1. Get Creative with Material

With any modern chandelier, the material matters. Getting creative with the material used to create the chandelier can add a great addition to the room’s decor. Creativity is proven to go a long way in designing the perfect modern chandelier.

The Botti pendant lamp, inspired by the American trumpet player Chris Botti, adds a fun twist by using trumpets as the main material of the chandelier. While still luxurious in its style and design, it adds personality and a conversation piece to the space. While the chandelier is more retro in its style, using a creative material and thinking outside of the box can be beneficial for whichever style is preferred.

In recent years, more and more hotels and apartment buildings are getting rid of the traditional designs and replacing them with modern and sophisticated styles instead. The modern chandelier in this residential building is certainly the focal point, simply for its sheer size and elegance. When visitors and residents walk into the building, they are in awe of its design. 

3. The Lighting

In terms of lighting, either a dramatic flair or a softer hue can be a great addition to any space. While the design and material of chandeliers can be similar, the lighting can make a major difference in the atmosphere in the space.

While the first chandelier provides a dramatic light in a darker room, the second provides a more subtle light in a room ample natural light. Both, however, add to the design and atmosphere of the space.

Photo courtesy of The Alyn

Nature has been inspiration to designers and artists since the dawn of design, from floral prints and handcrafted wood pieces to architectural choices meant to showcase natural light. While these pieces aren’t dependent on natural light, their design and function are inspired by nature and its ever-evolving beauty.

Photo courtesy In-es.artdesign.

Le KLINT

Traditional Danish company LE KLINT is known for its design lamps. Taking into account new trends and technologies, the LE KLINT luminaires are a symbol of modern Danish design, without neglecting the integrity of the company founded in 1943. In addition to folded lampshades made of paper and plastic, LE KLINT’s latest CARRONADE series will also feature aluminum luminaires with wood in elegant industrial design.

The Nordic design luminaires from LE KLINT receive their industrial charm primarily through the mix of natural materials like aluminum and wood: while the lampshades are made of aluminum, the bracket consists of light oak or dark walnut wood. Laterally set discs of gold-colored brass or silver aluminum round off the design of the CARRONADE lights in style.

For the CARRONADE series, the young Danish designer Markus Johansson was inspired by 18th century ship cannons, which is evident both in the form and in the material selection of the luminaries. All CARRONADE luminaires are also individually adjustable and can therefore be easily adapted to the respective room situation.

“I conclude that design, for me, has to be a perfect combination of function and form, which conveys emotions, that subtly affects us as humans, while simultaneously, enhances our daily experiences,” says Johansson.

The combination of the individual CARRONADE luminaires results in modern lighting concepts. While the CARRONADE pendant luminaires in different sizes illuminate, for example, the dining room table, the floor lamps CARRONADE low and high create atmospheric light conditions in the living room.

All photos courtesy Jesse Ede.

When at the base the sliding light head sits in an off position, and then as it is moved upwards it activates a low intensity red hue, which transitions into orange, then 2700k white light as slid upwards. This custom LED light array, developed by Rigby and his team, replicates the transition of light from the deep, rich red of the late evening to the white light of midday. The light is also capable of rotating 360 degrees around, providing a range of uses from outward facing task light through to a backward-facing ambient light, creating a subtle wash.

Dawn to Dusk is meant to not only showcase a naturally beautiful occurrence but to also utilize this power to support our natural rhythm throughout the day. The high-quality white light helps users to wake up more naturally, while the richer, relaxing red colors help regulate the circadian cycle and prepare for sleep.

“haberdashery believes light is a transformative power in the world; we challenge what is possible with light, and through our products are defining a new category of contemporary lighting,” says Rigby.

All photos & video courtesy haberdashery.

Recently released exclusively with SUITENY, the design brand Nuura is known for creating aesthetic and select lighting options that reflect the riches and joy found in Nordic nature. With the chandelier as a central focus, Nuura offers lighting collections that enrich the room and complete the interior in both private homes and public spaces. By combining delicate design with state-of-the-art technology, the designers strive to create unique quality lighting that has a positive impact on our wellbeing.
“The meaning of Nuura is light and honour,” says a brand representative. “From our base in Denmark, we are inspired by the Nordic light — an everlasting source of inspiration. We wish that our lighting collections will spread life and joy.”

All photos courtesy SUITENY.

Professor and author Mary Guzowski has a new architectural book debuting this summer entitled The Art of Architectural Daylighting. She recently sat down to discuss her interests in daylight as a building material and its importance in the architectural industry.

What lessons do you want readers to take from the book?
It was unanimous from all the architects that to study and understand daylighting it’s good to use physical models and put them outside, to understand the phenomenon of natural light. Many of the architects would start with small models and look inside to see how the light changed, experiment with texture and colors, then make mockups of full-scale spaces.
 
 
Guzowski has written other books regarding sustainability, including Towards Zero Energy Architecture: New Solar Design and Daylighting for Sustainable Design. She is a professor in the School of Architecture and helped design the MS in Sustainable Design at the University of Minnesota, as well as a co-author of the Carbon Neutral Design Project. The Art of Architectural Daylighting will be available for sale June 25^th.
 

Contemporary designers around the world are transforming lighting fixtures from basic utility into artistic bling.

By Roger Grody

Diamond Ring by Christopher Boots. Photo by Christine Francis. 

Talented interior designers compose seating, flooring and window treatments to complement each other like a wardrobe, requiring a delicate balance of fashion and functionality.  Lighting was once viewed as mere utility, but the fixtures produced by today’s premier designers represent the jewelry that sets off an outfit.

Drew McGukin, a New York-based designer with a national clientele, reports that although dramatic lighting can sometimes short-circuit budgets, its value should never be underestimated. “I think of lighting as an extension of the art in a space — a real opportunity for functional sculpture that immediately lifts a room,” says McGukin, who welcomes the myriad of innovative products currently available. Among the lighting designers he favors are fellow New Yorkers Lindsey Adelman, an industry leader, and Stephen Antonson, whose work is distinguished by his creative use of plaster.

“I’ve always surrounded myself with handmade things, art and antiques. They make good company because the maker seems to be present,” reports Antonson, who wants his chandeliers to evince this feeling and eschews polished, silky finishes. “No two are alike and you can actually see my hand in every one,” he explains. Indeed, Antonson’s plaster has a tactile, organic quality in which you can almost make out the artist’s fingerprints.

Adelman is the darling of world-class interior designers and architects, and her work—an extraordinary fusion of art, whimsy and electricity once reserved for Manhattan penthouse dwellers — has found a global clientele. She is as much a movement as a designer, and Adelman-inspired knockoffs are so ubiquitous that even suburban homeowners are unwitting fans of the designer.

At Lindsey Adelman Studio, the founder surrounds herself with a staff of metalworkers, architects and philosophers, all dedicated to pushing the limits of lighting design. Adelman says of her craft, “It’s structural and sculptural and you can test it immediately.” She also appreciates the unpredictable dynamics of anything that hangs from a ceiling, suggesting a chandelier’s relationship to gravity is far more seductive than that of static sofas or tables.

Adelman is inspired by the work of renowned architects Santiago Calatrava and Shigeru Ban. And although one can see the influence of those masters’ daring sculptural expressions in Adelman’s cantilevered fixtures, she humbly characterizes her personal style as simply “combining the practical and sensual.” 

Her studio’s first product was a modest version of Adelman’s now-signature Burst, an explosion of hand-blown globes and spikes inspired by vintage French jewelry and Medieval flails. The Boom Boom Burst, a spectacularly oversized edition of that inaugural piece, is priced well north of $100,000.

“I think that, more than ever, designs are driven by self-expression,” states Adelman, who notes this is still a nascent trend for products designed for mass-production, but quite prevalent among independent designers who self-manufacture. “Lighting is the perfect medium for this kind of expression,” she insists.

Across the country is Los Angeles-based Fuse Lighting, where founder Kevin Kolanowski uses semiprecious stones to elevate lighting fixtures into an haute couture of electricity. “Designing lighting has really been an ongoing exploration for me,” says Kolanowski, who, like Adelman, is influenced by Calatrava, as well as architects Carlo Scarpa and Zaha Hadid.

“I appreciate all types of design, but have such a passion for lighting because of how it can completely transform the mood of a space,” says Kolanowski. His work is a testament to how a thoughtful selection of materials and forms profoundly influences how light radiates through a room. “Lighting is art, atmosphere, structure, and function all in one,” says the designer, who has always been fascinated by jewelry.

“I wanted to play with this idea of adornment using organic materials in my lighting design, but with a contemporary twist,” says Kolanowski. The designer began incorporating semiprecious gems into sleek geometric forms, calling his work “jewelry for the home.” Like a jeweler, Kolanowski manipulates natural materials into art, using citrine nuggets or amethyst chips to suffuse and refract light in different ways. Fuse’s Alex chandelier features a curtain of stone surrounded by a metal frame, and a particularly compelling combination of finishes is amber-hued carnelian nuggets juxtaposed against dark oil-rubbed bronze.

Kolanowski contends the industry’s embracement of miniaturized and flexible LED bulbs has encouraged the use of new materials and a wider variety of intricate shapes in lighting design. He states, “The forms that I’m working with now usually follow architecture and are more fluid than ever.”

Unlike some commentators, Jason Miller, founder and creative director of New York’s Roll & Hill, does not believe lighting has yet completely morphed into art. “Design is design. Art is art. The goals are different,” he insists, but concedes, “I do think it’s fair to say that lighting has become more expressive, which opens up a whole new world of opportunity for interiors.”

Miller has assembled a team of designers — including his celebrated crosstown peer Lindsey Adelman — that emphasizes the sculptural qualities of lighting, customized to clients’ specifications.

The Brutalist movement-inspired Gridlock pendant from Roll & Hill, created by Philippe Malouin, is a handcrafted, symmetrical assemblage of brass trusses, something that might have been created from a very sophisticated Erector Set. In addressing new trends, Miller states, “I think there is a group of young designers working right now whose work has more in common with Memphis or design from the ’80s than other periods.” He notes, however, “That work is usually rejected as being ‘ugly.’”

“I’m very inspired by nature,” explains Gulla Jónsdóttir, who adds, “There are no straight lines in the human body so why should we live in square spaces?” The Icelandic-born designer is a successful hospitality industry specialist whose chic Parisian restaurants and serene Mexican resorts reflect her organic, seductive imprint. She also authors collections of furniture, including some distinctive lighting pieces. Her Nest chandelier — the fixture’s outer shell is a collection of “twigs” crafted from salvaged rebar, while an inner shade surrounding the bulb is created from polished tubular steel — reflects the designer’s penchant for reimagining nature.

Alexander Chandelier by Stephen Antonson. 

Nest Chandelier by Gulla Jónsdóttir. Photo by Jesus Banuelos. 

Masters of Illumination

Roll & Hill: www.rollandhill.com

Stephen Antonson: www.stephenantonson.com