Apartment Therapy Design Evenings at ABC Carpet are a bright spot in the design scene here – the incandescent lighting flowing through the oversized glasses of wine, the luxurious mishmash of couches and chairs, and a packed room of enthusiastic design and decor citizens smiling in their camaraderie.

It couldn’t be more fun, more lively. But as I looked around, I wondered, what exactly is this scene?
Coming from Europe where there’s a massive design presence to here where there are so many lovers of beauty and talented creative minds of every ilk, I’ve starting to see a distinction between Europe and Asia’s definition of design – the beautiful and functional and functionally beautiful object - and what design is in the U.S.
First, just to get it out of the way, yes there is the design awareness made possible by Steve Jobs and Apple Computers. There’s Fast Company’s championing of design thinking and design in business. But for the lovers of design festivals and design schools, furniture design, and manufacturing, the individual maker and craftsman, there is a big empty silence filled only by ICFF and it’s satellite shows.
New York is largely about Decor and Shelter. It’s Design Sponge and Etsy. Pinterest mood boards and Decor 8. It’s decorating tips and DIY. It’s interior design and real estate lust.
I love decor. I do. I mean where else are you going to put your design but within some sort of decor? Decor can be very practical and personal at the same time. Hey, even I found myself doing a DIY project for the first time and I’m pretty proud of it.
See? Here it is.
From this

To This

I found an old ugly beat up nightstand on the street and went out and bought some white high gloss paint, a bottle of Mod Podge, some paper from Paper Presentation and found endless how-to sites to make sure I didn’t screw the whole thing up.
Pretty cool, right?
But I’m not a designer. I would never call myself that. So there you go. You’ve got design and you have decor. America is about decor.
I really enjoyed what Maxwell, the founder of Apartment Therapy had to say when I asked about the state of American design (which meant where the hell is American design?) because it was clear that he cares about design as much as I do. He told me that it’s hard to nurture design here because manufacturing has left America. I told him about my experience in Europe and he said “yeah, Europe’s ahead of us.” So in our haste to automate and simplify everything, to sell everything and consume everything, to consolidate everything and to watch the bottom line on everything, we forgot about design. Not good. And honestly, not very modern. I think all of this DIY activity is just another sign of how desperately we need design leadership. It’s not just about dressing things up but making things that are truly beautiful, thoughtful and reflective. Right now, the design landscape is practical and commercial, not gutsy. It doesn’t marry inventiveness and innovation with reality. Design can be the perfect summation of right and left brain and, at the risk of sounding lofty, hope for the future. It’s a visual manifestation of spirit, intelligence, and hope. In other words, design is more than a gorgeous bedspread with eclectic throw pillows.
The last Apartment Therapy talk I attended was a few weeks back. It was with the very popular and very personable Deborah Needleman, the founding editor of Domino magazine who has gone on to start a beautiful style magazine at the Wall Street Journal. I was a subscriber of Domino. In fact, it was the very last magazine I subscribed to before moving to Paris at the end of 2006. Domino was so pretty and useful and collectible where nothing else really was. I was tired of the stuffy celebraphotog-generated nonsense, the Vogues and Visionnaires. I was tired of being talked down to and dictated to. Domino was different. It wasn’t ‘design’ but it was great. She herself admitted that while she loves the practical application of decor – she’s coming out with a book about making your home ‘cozy’ – she ‘doesn’t know anything about design’. It’s hard to wrap my head around but I think ultimately I know what she means. I just hope the dialogue will open up and decor-lovers will also start to see just what design is and how much value it has.
Just imagine, a New York with a design scene as robust as London.. Heaven!
(It looks like our company Show Love may be doing some yet-to-be-announced work with the American Design Club led by the effervescent designer and design advocate Kiel Mead so more excitement to come!)

-Chauncey Zalkin
links:
Apartment Therapy
Decor 8
Etsy
Design Sponge
Pinterest
Saturday • February 25, 2012 • by Chauncey Zalkin
Category: 3D Printing, Architecture, Blog, Cities, Clay, Copper Wire, Deborah Needleman, Disciplines, Embroidery, Essays, Fabric, Furniture, Glass, ICFF, Interior Design, Leather, Lighting, Materials, Metal, New York, Plastic, Polyamide, Porcelain, Product Design, Resin, Schools, silicone, Sugar, Surface Design, Sustainable, Tablewear, Textiles, U.S., Wood, Wool

Diane Ruengsorn brings a diverse background of experience that informs her current initiative, the socially and environmentally responsible home furnishings company Domestic Aesthetic.
After graduating from Smith College, she began her career as a writer covering technology and business trends and interviewing political leaders and CEOs of Fortune 500 companies, which gave her great insight into the issues shaping industry and the environment. Later, she enrolled in a Masters program at the Pratt Institute and began apprenticing for a furniture designer/manufacturer where she witnessed the chemicals and materials that workers were exposed to on a daily basis. This led her to believe that products could be produced with people-friendly materials and methods that didn’t harm anyone in the process. She has since guest lectured on design management and publishing and presented her work internationally. Through a culmination of all these things, the idea for Domestic Aesthetic was born.
ABOUT DOMESTIC AESTHETIC
“Live well, live right” is the company’s philosophy. You can have products that enhance your life while taking into account people and our planet. Domestic Aesthetic offers consumers affordable products that adhere to environmentally and socially responsible standards.
Since their launch last year, the company has been in numerous publications such as New York Magazine, Interior Design, and multiple features in the New York Times. The company’s line of eco-luxe housewares can be found in stores across the US, Canada, and Australia including the MoMa Design store.
DIANE’S STORE-Y
Diane discusses her work leading up to the What Women Make ~Women in Design 1st ed.~ exhibit at the London Design Festival showing at Designerblock September 23-26, The Bargehouse, Oxo Tower
THE INTERVIEW
wwm: What are these plates made of?
DR: These plates are made from sugar cane fiber, which is a waste product after juice has been extracted from the stalks. In our work, we have several themes and one of them is using materials that take waste out of the wastestream. It’s an amazing material and gave us the look we wanted to achieve while also being sturdy, durable, heat-resistant and completely biodegradable/compostable.
wwm: Walk us down your path of discovery for creating them?
DR: The inspiration for these came from staircases, as I happen to have a thing for staircases. I liked the idea that they are functional but could also be a metaphor for transition. The first of this line, the dinner plates, remind me of Italian piazzas. The bowls will be modeled after amphitheaters, my favorite one being the Hollywood Bowl in Los Angeles. It’s an interesting challenge to draw on this inspiration, translate it into a potentially commercial product, and make sure it’s consistent with everything else we’re doing.
wwm: How does this new line fit in with your other products?
DR: I love food – I’m an avid cook – and much of my work involves enhancing the dining experience. Our first line was about trying to create meaningful experiences through products that were timeless and long lasting, items that you could potentially pass on to future generations. For this new line, many of the themes are still there but I wanted to have a different approach. This time I wanted to solve a problem, to provide an alternative to the Styrofoam and plastic plates that are commonly used and thrown away.
wwm: What would you serve? Feel free to give us a recipe!
DR: I just made an arugula and watermelon salad with a balsamic glaze. It’s a light, refreshing summer salad and the first dish I made to test out the new plates. Even for a casual gathering, it can be nice to enhance the presentation a bit. In this instance, the plates worked really well because I used the balsamic glaze to dribble along the edges. It looked great against the contrast of pink and green.
Watermelon, Feta, and Arugula Salad with Balsamic Glaze
- 5-ounces baby arugula
- 8 cups 3/4-inch cubes seedless watermelon
- 1 7-ounce package feta cheese, crumbled
- 2 tablespoons balsamic vinegar glaze
More information on Domestic Aesthetic can be found at domestic-aesthetic.com
Tuesday • August 31, 2010 • by Chauncey Zalkin
Category: Designers, Diane Ruengsorn, New York, Product Design, Sugar, Tablewear

This article started with the a trip to Tokyo and Kyoto working on a lifestyle brand inspired by Ancient Japan. My client wanted me to see with my own eyes this enigmatic culture revered the world over for its power and its mystery. The article is now up on BrandChannel with a bit more of a branding twist than it started out with (original article below).
FRESH BRAND THINKING FROM ANCIENT JAPAN
By Chauncey Zalkin
Japan, the land of paradoxes. From the start a collectivist society, Japan has always had a devout reverence for nature, a hardened understanding of what is now the biggest buzzword of our time, social responsibility, and yet a derring-do where only the brave, most visionary, and sometimes slightly wacky, need apply. These qualities, with all their distinctly Japanese nuances, couldn’t be more relevant to today’s branding challenges the world over.
Historically, In a simpler time before the jet age, Japan was physically isolated, surrounded by treacherous seas, formidable fault lines, and land three-quarters covered in mountains. The entire population clustered inside the land left – a constant reminder of nature’s strength and the need to adhere to a manageable social order. Their history of isolation led to a respect for nature and an emphasis on the group over the individual. The result was an enviable system of organization and ethos of constant improvement that gave rise to innovative brands and services.
As China and Korea look to transcend their reputation as efficient manufacturers and get into the branding game, they look to Japanese standards as a beacon. Brands like Toyota, Mitsubishi, Sony and smaller progressive brands like Muji and Uniqlo hold cues to the future for these emerging markets. “For us, ’Made in Japan’ means quality”, says a Korean marketing MBA interviewed for this article and an employee of Japanese designer Yohji Yamamoto in Paris. While other east Asian countries are still finding their capitalistic identity mostly by westernizing, she explains “the Japanese dare to be themselves.” After the Beijing Olympics, Reuters reported that a new game was under way, ‘telling China’s economic future by reading the tea leaves of Japan’s past’. By all accounts, China yearns for Japanese standards of style and hospitality.
Superb craftsmanship, strict standards and attention to detail are what makes Japanese corporations the envy of all the rest. But it’s the deeper cultural differences long embedded in Japanese society that are hyper-relevant to living and branding in a new, more accountable world.
The consumer perception of Toyota is that the perfect car is possible which is as much a part of their brand as it is their internal workings. On the other end of the spectrum, Comme des Garcon’s creator Rei Kawakubo and her stable of designers are known in the industry for pursuing the ultimate form of creation. Its this combination of pushing the limits with a particularly Japanese brand of restraint, that is most ingenious.
LESSON 1: CONSIDERATION OF THE GROUP
In ancient Japan, once someone did even a small favor for a stranger, for example, picked something up off the street that you dropped, you had to reciprocate. The ancient word for a social obligation that must be repayed was an ‘on’. One could wear an ‘on’ their whole life if they did not or were not able to reciprocate. In ancient Japan, it was considered by many to be a burden. Even now, every individual is strongly linked to every other individual in Japanese society.
There is no literal translation for the phrase “kuuki wo yomu” in English but it means to ‘read the air’, essentially to get a sense of the feeling of the room or the group. In a recent social experiment, Japanese and Western participants were shown an individual standing in front of a crowd and asked to describe what the individual was thinking. The Japanese test takers ‘read the air’ when assessing the situation. They considering the facial expressions of the group behind the individual, whereas westerners focused solely on the expression of the individual in the foreground.
The fundamental principle at Toyota is kaisen or ‘continuous improvement’. Another is genchi genbutsu or ‘mutual ownership of problems’. When Toyota CEO Yuki Funo was asked if he might star in a Toyota ad (as the American president of General Motors had), he said something along the lines of, ‘there’s not one single hero, we all are.’ The ability of a brand to be socially conscious and consciously expansive are crucial. Social responsibility is now inexorable to a company’s reputation.
LESSON 2: RITUAL AND RESTRAINT
One set of slippers is for the house. Another, for the bathroom. Sake comes before, not during, the meal. After a Japanese meeting, it’s time for karaoke and raucous good times. The working day is done. Each experience has its place, and for that time, every other experience is put aside.
Japanese patterns and rituals have the ability to clear the senses, to reorder what the mind takes in. Interiors are marked by clean, minimal lines and stripped to their bare essence. Nature is controlled in Zen gardens or the pruning of a bonsai tree. Each object in the landscape is distinct and pure.
‘Shibui’ means inobtrusive beauty. ‘Wabi Sabi’ is the reflection of inner perfection, simplicity, the rustic and the unembellished. Muji, for example, employs top designers whose names are absent from all packaging and merchandising.
In the hospitality and service industry, the flashy boutique hotel with its disco lobbies has had its day. Luxury now is about time and space, superior construction, and escape from the ordinary.
LESSON 3: REVERENCE FOR NATURE & THE HUMAN TOUCH
Number five of Toyota’s fourteen guiding principles is “Be reverent, and show gratitude for things great and small in thought and deed.”
There’s been a shift in the U.S. collective consciousness — green is no longer an issue marginalized to fanatical environmentalists; nearly all Americans display green attitudes and behaviors versus a year ago.
-WPP, 2007
Japan is by many measures the world’s most energy-frugal developed nation.
-New York Times referring to Japan’s “single-minded dedication to reducing energy use”, 2008
“Custom-made and one-of-kind are rising above the mass-produced.”
-Head of Trend Research, JWT, 2007
(Luxury consumers) are looking for unique handcrafted things that can’t immediately be reinterpreted at every level of the marketplace.”
Brand Media Week, 2008
Japan is known for sci-fi style innovation but also for employing nature’s materials. Japan’s ancient Shinto religion is based on reverence for nature and the power of the spirit of animals. Zen Buddhism pays homage to nature in the form of pristinely preserved rock gardens and an abundant use of natural materials.
From Maison Objets in Paris to Salone del Mobile furniture fair in Milan to PCBC show in California, design and building news is dominated by natural and renewable materials.
In all communities, even in our post-industrial individualistic society, we’re tribal in some aspects and isolated in others. The values of social responsibility, respect for nature, and a distinctly more modest and subtle luxury are extremely relevant in a saturated environment of strident individualism, materialism, waste, and social alienation.
Friday • April 17, 2009 • by Chauncey Zalkin
Category: Blog, Chauncey Zalkin, Essays, Japan, Retail, Sugar, Sustainable, Topical Thursday