Holly Hunt: 2024 Interior Design Hall of Fame Inductee

Even if you never met Holly Hunt, you could pick her out in a crowd. She is a doyenne of an exquisitely understated, timeless modern style, who worships fine materials and artisanship and is heavily into neutrals. That woman with the perfectly coiffed silver hair and contrasting slim, dark jacket, surrounded by museum-quality artwork and impeccably tailored furnishings? Yep, that’s her.

How Holly Hunt Changed The Industry Game

Hunt did away with all that. Expanding first to Minneapolis in 1985, then New York’s D&D Building in 1994 and Washington in 1999, ultimately reaching a total of 12 showrooms nationwide, she revealed designer net prices (much to the industry’s disgruntlement) and insisted on taking responsibility for orders even when it cut into her profits. She also took the radical step of creating showrooms that looked like places where clients might actually want to live, with architectural detailing, artwork, and a mix of products and styles.

In these rooms she displayed pieces by such established designers as Vladimir Kagan and Rose Tarlow, helping to turn talents into luminaries, and lesser-knowns that she discovered, including Los Angeles glass artist and lighting designer Alison Berger and French sculptor and furniture maker Christian Astuguevieille. She hired the avant-garde graphics studio Thirst to mold a sophisticated modern image in print advertising and marketing materials. The common thread binding everything together was superior quality.

In the early ’90’s, Hunt met Christian Liaigre in Paris. She could see by the French furniture designer’s sleek, monochromatic clothing, which was much like her own, that they were creative soulmates. “Fashion sets the tone for everything in design,” she says. Soon she was manufacturing and selling Liaigre in the U.S., transforming the look of American interiors so that they glowed with sleek, dark woods and creamy textiles. “It was art collectors who were buying it, who understood the clarity and cleanliness and classic proportions,” she recalls. The ultimate seal of approval came in 1997, when André Balazs’s Mercer Hotel opened in downtown Manhattan with Liaigre-designed interiors.

Inside Holly Hunt’s Notable Showrooms

Hunt was equally agile when the 2008 recession hit, streamlining and restructuring the company, which had 250 employees by that time. Two years later, just as it was returning to economic health, Liaigre sold his business to private investors. “We’re going to design our way out of this,” she told her staff, launching Holly Hunt Modern, a collection that was even more profitable than her partnership with the Frenchman had been.

Some of Hunt’s successes were so big they exerted gravitational pulls. In her book, she describes offers she couldn’t refuse that led her to part with things she dearly loved, namely her company. In 2014, Knoll bought it for $110 million. She retained her CEO position for two years and oversaw the planned expansion of showrooms in Dallas and L.A. She remained a consultant until 2019, while designing such projects as a penthouse at the Surf Club in Miami Beach.

Today, she presides over House of Hunt, a boutique interior architecture and furniture studio in Chicago that weaves together many creative strands at every scale, from the design of such products as the Dune sofa for HOLLY HUNT to the renovation and development of whole homes, with residences in Colorado and Florida among the firm’s current and recently completed projects. Hunt still doesn’t have a business plan and that’s just the way she likes it—being challenged as she goes.

Explore More of Holly Hunt’s Interior Designs

Discover Holly Hunt’s Collaborations

A Look At Trailblazing Product + Branding Projects

Shamir Shah Goes West to Update a San Francisco Home

Shamir Shah Design has left its signature imprint all over the Manhattan residential map. So much so that when a sophisticated, world-traveled couple visited a lower Park Avenue loft principal Shamir Shah had created for friends, the pair was determined to bring the designer West—specifically to San Francisco, where a recently purchased Pacific Heights house was in need of a gut renovation. “All the things he did—art, furniture, textures, textiles, scale—spoke to each other,” the wife says of what initially attracted them to Shah’s distinctive style. An ensuing dinner party established that designer and clients had mutual respect and the right chemistry—prescient planning since the project took six years to complete, thanks to COVID erupting during the construction phase.

“We do interiors and architectural design,” Shah says of his practice, “mostly in New York, where we generally don’t work with an architect on smaller residential projects.” Thousands of miles away, San Francisco’s infamously labyrinthine permitting process presented another story: “We needed a local architect to shepherd the renovation through the building department, take charge of the house’s core and shell, and work in a truly collaborative spirit.” Enter Geddes Ulinskas Architects. In a flip of the usual procedure, it was the designer who brought on the architect after diligently interviewing three other prospects. “We enhanced each other’s roles,” principal Geddes Ulinskas reports, lauding the thoroughness of Shah’s drawings. “He produced a brilliant package that was a fantastic way of communicating and transmitting his passion for the project to the entire team.”

The Home Renovation Features Seismic Upgrades

The house, originally a 4,000-square-foot, three-level, wood-sided structure dating to 1947, was lackluster in design and substandard in construction. What it did have was location. At an elevation of 340 feet, the site offers panoramic views of San Francisco Bay. And in a city given to a mélange of residential styles, the property was located in a cul-de-sac of pedigree modernist houses by Gardner Dailey, Joseph Esherick, and William Wurster. In fact, the enclave is up for listing on the National Register of Historic Places.

The second level is given over to private quarters: the main suite, two bedrooms, one doubling as a larger office, and a sitting room. The penthouse, which opens to a roof deck, is designated as a game room while more things recreational—a gym and a capacious wine cellar—join two additional bedrooms, a laundry, and a mudroom in the basement.

“In general, our work is quiet and serene,” Shah says of the furnishings and materials, which are frequently custom and used plentifully “for a rich, layered approach.” Pale creams and grays dominate the color palette, while bronze is the metal of choice. A characteristic vignette centers on the living room fireplace, which is surrounded by planes of travertine and flanked by a pair of oak-lined niches with custom bronze pedestals topped by Ju Ming sculptures, part of the family’s art collection.

“We wanted large walls for art,” Shah continues. Whether existing, purchased, or commissioned, the pieces were curated by the designer. An impressive Max Neumann canvas, one of the first works acquired and a Shah favorite, anchors the living room. A pair of Julian Watts stained-maple bas-reliefs adorn the adjoining wall, across from which hangs a Katherine Hogan wire sculpture, a ghostly presence reminiscent of the late San Francisco artist Ruth Asawa’s iconic pieces. Arguably closest to home is the commissioned site-specific mixed-media work spanning a media-room wall. Made of canvas, burlap, rope, and wood, it’s by Malcolm Hill, Shah’s life partner.

Inside the Curated, Art-Filled Home by Shamir Shah Design

shamir shah design: nely cuzo; cailen messersmith; olivia manzano; wendy wahlert

geddes ulinskas architects: alla agafonov; roma olišauskaitė

lutsko associates landscape architects: landscape consultant

jon brody structural engineers: structural engineer

matarozzi pelsinger builders: general contractor

todd merrill studio: custom sofas (living room)

through fair: floor lamp

through ralph pucci international: daybed

through galerie bsl: loveseat

la cividina: armchair

argosy designs: custom pedestal

Woven: custom rugs (living room, media room)

neolith: sintered stone (kitchen)

Holly Hunt: sconces (stair), chairs (dining room), armchairs (media room)

through maison gerard: sconce, shelf (entry)

Lindsey adelman studio: pendant fixture (entry), chandelier (dining room)

bddw: table (dining room)

chris french metal: custom front door (exterior)

amuneal: custom coffee table (media room)

emmemobili: table (penthouse)

dwr: chairs

garde: pendant fixture

phillip jeffries: wallcovering (bedroom)

bruno moinard éditions: armchairs (bedroom), sconces (penthouse)

B&B Italia: sectional (penthouse)

galanter & jones: seating (terrace)

erickson æsthetics: chair (office)

caste design: tables

Sacco: custom rugs

Resawn Timber Co.: accoya siding

amari: windows

benjamin moore & co.: paint

Jouin Manku’s Debut Super Yacht Sets Sail

2023 Best of Year Winner for Yacht

Designer Patrick Jouin and architect Sanjit Manku both have sharp early memories linked to boats. For Interior Design Hall of Fame member Jouin, one of his grandfathers was a welder at the Saint-Nazaire shipyard in western France and worked on the construction of the legendary luxury liner, Le Normandie, in the 1930’s. As for Manku, in his early 20’s, he built a skiff so large that he had trouble storing it. “My dad had to cut it in half to get it from the backyard to the front,” he remembers. “It didn’t end well.”

Since founding their Paris-based firm, Jouin Manku, in 2006, the co-CEOs and copartners have completed numerous restaurants for Michelin-starred chef Alain Ducasse, six boutiques for Van Cleef & Arpels, a spectacular residence in Kuala Lumpur, and a multitude of hotels. Yet, they had never been asked to work on the interior of a private yacht before. “We couldn’t understand why,” Jouin states. “We were so sure we were made to design one.”

Jouin Manku Designs the Interior of a Private Yacht

When the call finally came, it was well worth the wait. Built in the Admiral shipyard in Italy’s Marina di Carrara with sleek mint-green exteriors conceived in tandem by Azure Yacht Design and German architecture firm Archineers. Berlin, Kenshō, as the yacht is named, measures 246 feet in length and can accommodate up to 12 guests and a crew of 23. Its owner—a self-made European businessman—sounds both visionary and quite particular. Prior to commissioning the vessel, he’d checked out numerous other boats armed with a laser measure and noted down the exact dimensions of rooms he liked. He was also looking to create something different. “He’s always wondering whether things could be done better,” Manku notes.

The client insisted on having ceilings just under 9 feet and shunned the need for walkways on both sides of each deck. “He said, ‘People like symmetry, but having two walkways eats up valuable space,’” Manku continues. Most importantly, he questioned the common assumption that the navigation bridge has to be located at the front of the uppermost deck. Why should the crew, rather than guests, get the best view? Instead, a 915-square-foot sitting room was placed up there, with the wheelhouse tucked on the floor below.

The Kenshō Yacht Interiors Are Designed for a Peaceful Journey

Jouin Manku had distinct ideas of the atmosphere the team was looking to conjure. “Mega yachts are glamorous and powerful. At the same time, what intrigued us was, Could they still be intimate?” Manku asks. “Could they be something peaceful?”— indeed a challenge with a project that has four levels (plus one for staff) and six bedrooms. He and Jouin were helped by their client’s request to integrate Asian influences (Kenshō is the Japanese term for enlightenment). They adopted a soft color palette and favored the use of wood (specifically teak), silk, and leather. The latter lines the walls of corridors, where it has been sculpted by British artist Helen Amy Murray. The designers also opted for a more Asian approach to the lighting, installing backlit walls and ceilings. “The idea is that the light kind of hugs and surrounds you,” Jouin says.

Far East Motifs Include Silk Printed Patterns

Most striking are the motifs drawn from the Far East: the guest cabin bedheads upholstered in a silk printed with a gingko pattern, the custom Chinoiserie-style wallpaper in the main dressing room featuring monkeys and flying cranes, and the doors into the main bedroom, which are decorated with an abstract landscape evocative of clouds and mountains. Created from patinated brass by French metalworker Steaven Richard, it recalls the work of mythical Japanese artist Katsushika Hokusai. Elsewhere, inspirations are nautical. The patterns of the rugs and ceilingscapes are drawn from hydrographic maps, and jellyfish and sailboats are among the subjects painted by Axel Samson onto the wood paneling the four powder rooms.

Modularity was also worked into Jouin Manku’s scheme. Asymmetric nightstands were devised to look equally at place on either side of a double bed or grouped together between two twin berths. Several pieces of furniture were fixed onto rails, which allow their component elements to be either joined or separated. A prime example is the expansive two-piece table in the dining room, which presented the team with a particular challenge. For much of the time, it could potentially be something of a dead space. “You only eat there on a bad day,” Manku says. “Otherwise, you’re out on a deck.” To enliven it, he and Jouin installed floor-to-ceiling glass cabinets filled with a collection of the owners’ nautical-themed curios.

A Marble Tub Makes for Ultimate Luxury

Finding the right marble for the tub in the main bathroom proved one of the most complicated tasks. Jouin and Manku traveled to stone yards around the world before realizing the solution was practically under their noses. The Admiral shipyard is located close to the famous Carrara quarries, where they came across two slabs with “calligraphy-like” veins and had them sculpted into an exquisitely rounded tub. “We created its curves not just for the eye, but, first and foremost, for the hand,” Jouin says. “The touch of the marble really is something else.” Call the experience enlightening.

Inside the Kenshō Yacht

Jouin Manku: bénédicte bonnefoi; dimitri malko; julien lizé; fanny peurou; axel de clermont tonnerre; vincent dechelette; bruno pimpanini; aurélien gauducheau; néhemy goguely

azure yacht design: yacht exterior

archineers.berlin: design, engineering consultant

trappmann consulting slu: interior design consultant

atelier 27; ébénisterie générale; tisg: custom furniture workshops

voyons voir: lighting designer

aude planterose: art consultant

admiral (italian sea group): shipyard

stuart king architecture: owner technical representative, surveyor

manutti: table (main deck)

sunbrella: sofa fabric, carpet (stair)

pedrali: games chairs (living room)

starset: games table

pierre frey: sofa, chair fabric (salon, sitting room)

Holly Hunt: chair (main suite)

delisle: custom lamp

de Gournay: custom wallpaper (main bedroom)

crystal caviar: custom chandelier (dining room)

pilot’ ag: custom table

galerie diurne: custom carpet

preciosa: custom lighting

miscimasci: custom silk

Aidlin Darling Design and Susan Marinello Interiors Team Up on This Modern Office in Seattle

2022 Best of Year Winner for Small Tech Office

For Expedia Group, travel is a way of life. When the tech company, which includes Expedia.com along with Vrbo, Orbitz, Travelocity, and hundreds more travel aggregator sites, took over a 40-acre waterfront campus along Seattle’s Elliott Bay in 2015, a central aim was to help employees experience the physical and mental benefits of travel, without leaving the office. “With all the acreage in hand, our goal was to create a destination on the grounds—sort of an on-site ‘offsite,’” Expedia’s director of real estate Josh Khanna says. In 2017, Aidlin Darling Design, known for their intimately crafted residences and commercial interiors, won the bid to create a new sheltered on-campus environment for staff to work and gather but also retreat.

Called the Prow, the single-story, 3,700-square-foot building is a deliberate departure from the multistory steel, glass, and concrete structures of the main campus. “Expedia’s leadership group was in tune with creating a full-body, sensorial workplace,” begins Joshua Aidlin, principal and cofounder, with David Darling, of ADD. “The ethos of Seattle is outdoor-focused and athletic, and Expedia embraced that.” The common end for this ancillary structure was a biophilic sanctuary that celebrates the landscape in both form and function.

Nestled into the southernmost edge of campus closest to the waterfront, the Prow is sited several hundred feet from Expedia’s primary work spaces. In contrast to the slick industrial language of those buildings, the volume emphasizes natural materials like stone and wood, helping it knit into the surroundings. “We didn’t want to block the view of the bay from the offices, so we needed to create a structure that was hidden in plain sight,” Aidlin explains. For his team, which was co-led by senior associate Adam Rouse, the solution was a building that is of the landscape in every sense.

Appearing to grow from the earth, the Prow’s stone-formed walls angle down into the ground plane to connect seamlessly with the existing riprap-stone walls delineating the campus border. It gracefully merges into the ziggurat-shape grass terraces defining this portion of the grounds, part of a larger campus master plan by Surfacedesign. Indigenous grasses planted here continue uninterrupted along the roof of the Prow. “It’s meant to be a diamond in the rough—intentionally organic, intentionally hidden,” Aidlin notes. “There’s an element of discovery because it presents as a landscape rather than a building.”

indoor-outdoor spaces encourage exploration in Expedia Group’s modern office

Expedians who make the open-air trek to the Prow—often braving the ubiquitous Pacific Northwest rain—are rewarded with a cozy hideaway that feels more woodland cabin than workplace. That’s thanks to president and principal design director Susan Marinello and senior design associate Louisa Chang of Susan Marinello Interiors, which evoked a relaxed, residential environment where employees can enjoy a moment of quiet contemplation in softly upholstered furnishings aside a glowing fireplace. “Expedia offers a window to the world, so our concept reflects those collective travel experiences by curating items from across the globe,” Marinello says of the many art-inspired furnishings, crafted by makers from locales as far flung as India and Brazil. The showstopper is the 20-person conference table, which contains no screws and was custom-built from a pair of book-matched black walnut slabs by George Nakashima Woodworkers, the company founded by the famed late Seattle furniture designer. Employees can reserve the table for larger meetings away from the hustle and bustle of the main office. (The Prow also accommodates events with a catering kitchen tucked into a corner.)

A set of sliding panels in a floor-to-ceiling glass wall opens to the outdoors, allowing those meetings to spill out to an elevated deck with views of Mount Rainier in the distance and bikes and Segways zooming by on the Elliott Bay Trail below. Since the building fronts a city park and is visible from boats in the water, ADD considered its appearance from all directions. “The building takes the landscape and covers itself with it like a blanket, while presenting a crystalline-inspired window to the public,” Rouse says.

The Prow is a study in contrasts, with the grounded, stone walls and green roof nestling into the earth just as it appears to take flight at the opposite end. There, the sharply pointed roof that cantilevers out 50 feet lifts off above the deck, taking the form of an airplane wing or, as the building’s namesake suggests, a ship’s bow. “The site experiences so many modes of transportation: trains, planes, automobiles, scooters, bikes, boats, so the structure is meant to inspire the concept of motion and flight,” says Aidlin, referencing the travel-centric ethos of Expedia.

Ultimately, this notion of grounded aspiration informs how this unconventional office space shifts the mindset of Expedians, breaking up routines and inspiring new forms of interaction. “They have to go out into nature and experience the elements to access the Prow,” Chang says. “It physically and emotionally transports them.” At a moment when the world is returning to the office, the project signals a new mode of workplace connection that’s taking flight.

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a closer look at the design details throughout

Aidlin Darling Design: david darling, faia; ryan hughes; luis sabatar musa; laing chung; kent chiang; tony schonhardt

Susan Marinello Interiors: dena mammano

ZGF: Campus Architect

surfacedesign: landscape architect

fisher marantz stone: lighting consultant

KPFF: structural engineer, civil engineer

wsp: MEP

js perrott: woodwork, stonework

gly construction: general contractor

george nakashima woodworkers: custom table (conference area)

vaughan benz: custom chairs

Maharam: chair fabric

advanced ironworks: custom fence (entry)

driscoll robbins fine carpets: rug (lounge)

Holly Hunt: sectional

misia paris; zak + fox: sectional fabrics

thayer coggin: chairs

douglass leather: chair upholstery

DeMuro Das: bench

dan pollock: custom table

uchytil’s custom woodworking: custom console

alessandra delgado design: lamps (lounge, reading area)

daltile: tile (rest­room)

zurn: toilet

rockwood: door pull

Janus et Cie: table (deck)

triconfort: chairs

meyer wells: stools

ak47 design: firepit

montigo: fireplace (reading area)

a. rudin: chair

bernhardt textiles: chair fabric

creoworks: custom ceiling system

brandsen floors: flooring

lucifer lighting company; luminii: lighting

Arcadia: storefront windows

phoenix panels: exterior metal paneling

hartung: glazing

columbia green technologies: green roof system

benjamin moore & co.: paint

HOK Creates a Streamlined Office for a Freight Rail Operator in Atlanta

Transportation company Norfolk Southern Corporation traces its history back to 1827. But today it’s firmly rooted in the 21st century. Its subsidiary, Norfolk Southern Railway Company, which oversees 19,000 miles of train tracks across 22 states, relies on technology to ensure safety, move goods efficiently, and reduce fuel emissions. But to be innovative and nimble—and attract top coders and engineers—NS needed to consolidate into a state-of-the-art headquarters. For decades, the corporation was based in Norfolk, Virginia, but its operations and technology teams were in Atlanta. In 2018, NS decided to bring everyone together, and HOK won the bid for the interiors of a new 750,000-square-foot complex in Midtown Atlanta’s Tech Square.

“The client didn’t want this to be treated like a train museum,” HOK firm-wide director of interiors Tom Polucci begins. “The existing buildings had beautiful models of locomotives, but NS said, ‘No, we’re more sophisticated than that.’” Betsy Nurse, HOK Atlanta’s director of interiors, adds: “Norfolk Southern sees itself as a tech company, not a railroad company.” The client envisioned a timeless concept where track workers and administrators alike would feel at home, with ample flex spaces to help the 3,000 on-site employees meet and collaborate. Robust amenities—fitness center, food hall, game room, childcare center—would help the company compete for talent against the likes of Google.

With architecture by Pickard Chilton, the ground-up headquarters is composed of two office towers (10 and 17 stories tall) joined by a five-story podium, which houses the lobby, amenities, and parking. HOK was at the table from the beginning and helped shape some of the architectural solutions, especially in the podium. The parking deck constrained the volume that would become the lobby, which could have been one to three stories high. “We studied different options and how the floors wove together,” Polucci says. The team landed on a 32-foot-high lobby that’s open to loungelike collaboration zones on the second floor and creates energy and buzz. This gave HOK the opportunity to create a monumental circular stair, the defining element of the interior.

The firm conceived of the stair as an iconic sculpture that would make the headquarters unique. Its ribbon of Corian-clad steel twists from the ground floor to the fourth, but the white-oak treads only begin on level two. In the lobby—detached from the stairs for security reasons—the Corian curls to wrap the reception desk. “Our goal was a pure form,” Polucci says. “The ribbon is consistent all the way up; it doesn’t flatten out at each floor.”

The stair grew out of the idea of movement, the guiding theme of the project. “Norfolk Southern was looking to celebrate the idea of motion in subtle, special ways,” Polucci notes. Outside the building’s entrance, a site-specific sculpture evokes tunnels and curved tracks in weathering steel. Nurse points out that the artwork is right outside the lobby, where you can see its relationship to the stair: “One is super refined, the other is raw.”

Artwork populates the interior, as well. In the ground-floor café, which is open to the public, there’s a 19-foot-high mural by HOK’s Experience Design team of a train on a track under a golden moon. Nearby, a painting by local artist María Korol hangs at the end of the main elevator lobby.

On the fourth floor, the stair terminates in front of the network operations center, which is like an air-traffic control room for trains. “From a visitor experience, it tells a story, because you land at the heart of the facility,” Nurse says. The room vividly channels the concept of motion with angular pendant fixtures and 2,000 feet of recessed LED strips that streak across the ceiling and down the walls. The center, which operates 24/7, also glows with blue lighting chosen to be soft on the eyes of dispatchers staring at screens all day.

Employees come together in the fifth-floor canteen that doubles as an all-hands meeting space. Designed like a food hall with six different vendors, it sits between two outdoor terraces; one has a retractable glass wall so the spaces can flow together. Totaling 55,000 square feet, the outdoor areas include another terrace by the gym on the floor below, where employees can do laps on circular walking paths. “Movement is also important to Norfolk Southern from a health and wellness perspective,” Nurse states. Glass-walled stairs in both towers further encourage physical activity.

While the array of amenities might seem like a post-pandemic bid to lure workers back to the office, the program had already been in place. The headquarters was mid-construction in March 2020, and Norfolk Southern stuck to the plan—even keeping a permanent desk for each employee. “That was a key tenant from the beginning,” Annie Adams, Norfolk Southern’s chief transformation officer, says. “It was important that everyone have a space to call their own.” The company, which had a phased move-in that began last fall and was completed in April, had always planned on accommodating hybrid work; meeting rooms are wired to connect remote participants seamlessly. Adams estimates that the headquarters is typically at 80 percent capacity. For her, the project’s success goes well beyond its anticipation of flexible work schedules. “The design reflects who we are and where we’re going,” she says. The future of freight rail, it seems, is right on track.

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HOK: danielle schmitt; kay sargent; diana stanisic; vivien chen; richard saunders; weronika cichosz; francesca meola; crystal latham; valerie roosma; irina sai; erin ezell; emily payne; bethany foss; claire pellettiere; matt mcinerney

HKS: architect of record

OJB: landscape consultant

HOK Experience Design: custom graphics

one lux studio: lighting con­sultant

uzun + case: structural engineer

integral consulting: mep

onsite woodwork corporation: custom fabrication workshop

hitt: general contractor

masland carpets: rug (lobby)

hbf: sofa (lobby), chairs (café)

luum: sofa upholstery (lobby), chair fabric (lounge)

shaw contract: lvt (break room); rugs (break room, lounge), carpet tile (daycare)

Courtesy of Davis Furniture: tables (break room)

jamie stern design: custom banquettes

pollack: banquette upholstery

mortensen woodwork: custom screens (lounge)

curry sawmill co.: custom table

Andreu World: chairs (lounge, café)

Holly Hunt: chair (reception)

art & associates: custom light fixtures (gym entry), custom wallcovering (gym)

wolf-gordon: wallcovering (gym entry)

Bentley Mills: carpet tile (conference center)

russ bassett: workstation (operations center)

lambert & fils: pendant fixtures (café)

nydree floor­ing: floor tile (canteen)

martin brattrud: tables

sandler seating: stools

ton: chairs

nanawall: folding glass wall

atomic 50: ceiling panels (game room)

flor: carpet tile

CB2: ceiling fixtures

hightower: red chairs

ofs: ping pong table

big ass fans: fans (gym)

pliteq: floor tile

flos: track fixtures (daycare)

ef contract: lvt

Dupont: corian

basaltite: stone flooring

kährs: wood flooring

axis lighting; genled brands; hubbell; led linear; 3g lighting; usai lighting: lighting

decoustics; ritz acoustics; usg: acoustical ceilings

benjamin moore & co.: paint

8 Glittering Wallcoverings Steal the Spotlight

The subtle gleam of these glittering wallcoverings steal the spotlight.