Fernando Mastrangelo

New York,
Mastrangelo creates furniture under the name MMaterial and limited-edition, more fine art pieces under the name FM/s. Inspired by natural phenomena such as glaciers and rock strata, the two collections are united by a predilection for unusual materials such as dyed cement, salt, and sand.

What is American design to you, and what excites you about it?
I feel there is still a lot of uncharted territory in American design. That’s always an exciting place to work from because you’re not subjected to traditions or standards. We spend a lot of time in the studio just trying to push the craft and materials to new levels in hopes that it will expand the current ideas of how art, design and architectural objects can be made.

What are your plans and highlights for the upcoming year?
The studio is fired up for next year! In March 2017, we’re preparing for a collaborative solo project with Maison Gerard, and in April, FM/s will show new work with Rossana Orlandi during Salone del Mobile. In May, we’ll present entirely new collections for both MMATERIAL and FM/s at Collective Design Fair.

We’re also working on several private commissions that explore new casting techniques and more architectural type installations. One of these commissions is for a top secret residential project in California and we recently completed a large commission for the 1 Hotel here in Brooklyn, which includes a completely custom bar cast from black silica sand.

Late next year, I’m extremely excited about an FM/s collaboration with Edward Fields where I’ve been invited to create an collection of rugs. We’ll be showing the first one during design week next year.

What inspires or informs your work in general?
I can’t seem to get over exotic landscapes (Iceland, Patagonia, Mexico) that have natural, organic formations. Nature is the greatest sculptor of all. We try our best to translate the materials we cast with into forms inspired by nature, in an attempt to give the object its own gravitas. I feel jealous when I see a perfect stone formation created by water crashing into it, or by wind wearing slowly against its surface. I want to live with those moments, and that’s what I try to create in art and design.


Jason Miller

New York,
In addition to maintaining his own studio practice, Miller gets major credit for having founded the preeminent contemporary American lighting brand Roll & Hill, which not only produces his own elegant designs but also provides a much-needed manufacturing platform for up-and-coming American talents.

What is American design to you, and what excites you about it?
American design is often a balance of new and old. When the balance is tipped too far in one direction, it becomes either alien or retro, neither of which is good. What’s exciting right now is that there’s a ton of really great work being created that finds the right balance. It’s a great time to be working in the US.

What are your plans and highlights for the upcoming year?
Through my studio, the biggest project this year is a furniture collection that I’m developing for De La Espada. I’m also working on a rug collection for a French manufacturer. Both will debut during New York Design Week. Roll & Hill will be launching new products again this year at EuroLuce and then in the fall in New York.

What inspires/informs your work in general?
I’m increasingly interested in interiors. While I’m still a product designer, it’s hard for me to think of products outside of a specific interior context. Furniture and/or lighting is never experienced on a white background — it’s part of a room. I think more and more about how the things I make will affect the rooms they inhabit.

Bari Ziperstein

Los Angeles
In both her design and fine art practices, Ziperstein is constantly reinventing what a piece of ceramic art can, and ought, to be.

What is American design to you, and what excites you about it?
To me, American design is about a focused moxie to break rules in terms of scale, material choices, and stretching new outlets to sell or display one’s work. Having the ability to move between the fine art and design worlds (or the space between design, art, craft), where materials that are traditionally functional have a different use, value, and output. With a conceptual education at Cal Arts, rather than a traditional ceramics technical background – my investment in ceramics is less weighted in showing off technical tricks. Rather it’s about creating a new ceramic silhouette with unexpected processes that excites me.

What are your plans and highlights for the upcoming year?
I’m working on my next collection of large-scale pottery, with a continued investigation into terracotta, rope, and scale, and I’m participating in Rachel Comey’s ceramic event in both Los Angeles and New York City, opening December 5 through the new year. A few projects are still in the planning stages including several hotel and restaurant commissions.

This upcoming year I have a solo museum show at UCSB Museum of Art, Architecture, and Design. It will be my first solo show in more than four years, since distinguishing between my fine art practice and my editioned design works. “Fair Trade” consists of new work related to communist propaganda I researched while at the Wende Museum, a repository of Cold War artifacts. Using posters and ephemera as my starting point, I’m creating a dynamic installation that brings together a series of ceramic sculptures — vessels and decorative panels — that borrow from, and manipulate government-sanctioned images of women. These works form part of a faux trade show booth, which is based on specifications for Soviet Russian public information displays and industrial fairs. Complementing the installation are Soviet propaganda posters on special loan from the Wende that inspired portions of the project.

What inspires or informs your work in general?
The transformation of clay and testing its technical limits informs so much of my practice, from testing how to make a flat 28-inch ceramic slab to making a three-foot leather embossed image with equal pressure and consistency. With both practices, the experimentation of combining soft woven ropes with hard ceramic materials has been an ongoing point of inspiration — a collaging of sorts. I have an ongoing interest in Brutalist architecture, Soviet propaganda posters, and this primitive futurist style of terra cotta raw pottery. Artists like Imi Knoebel, Patti Smith, Marimekko, Robert Irwin, Moira Dryer, Marisol Escobar, Otto Lindig, Eva Hesse, and Superstudio are always sources of historic moxie.

The NEW Logo
Fernando Mastrangelo Drift
Fernando Mastrangelo in Interior Design
Fernando Mastrangelo's DRIFT collection
By Ryan Waddoups November 23, 2016

This year’s Collective Design saw Fernando Mastrangelo turn heads with his ethereal Drift Collection. Interior Design awarded him Best in Show at the inaugural NYCxDESIGN Awards before he hauled the collection cross-country to exhibit at the recently-opened THE NEW Gallery in Los Angeles. The self-proclaimed wanderlust finds inspiration while globe-trekking (a Patagonian glacier inspired Drift) or experimenting with cutting-edge materials in his Bushwick studio. Here, Mastrangelo clues us into projects on the horizon.

Interior Design: Where did you grow up, and how did it influence your work?
Fernando Mastrangelo: I grew up in Mexico, which has had a great impact on my work. I think of Mexican architecture the most—it is simplified, geometric, and uses unique materials.

 Fernando Mastrangelo Drift collection at THE NEW


ID: What are a few recent projects?
FM: We did our first major architectural installation for the Thakoon flagship store just in time for New York Fashion Week. We cast 1,700 square feet of cement walls using our furniture technique and created a series of displays. This summer, our studio also developed a custom wall sculpture for the Tao Group and Rockwell Group at Avra, a new restaurant uptown.
We’re about to launch with Holly Hunt and ABC Home, both of which are our very first large scale collaborations. I’m also excited about a line of carpets that we will launch next year with Edward Fields.

ID: Which projects are you most proud of and why?
FM: The work we’re doing in cast sand. We presented the Drift Collection at Collective Design Fair this year and it’s been my most inspiring work to date. Sand has become my new fascination. Right now, we’re experimenting with new techniques and methods of casting.

Fernando Mastrangelo MMaterial Collection

ID: Which person, place, or thing—inside the industry or out—inspires you?
FM: I’m inspired by nature mainly, but also by other industries, especially fashion, architecture, and interiors. Some of the artists I love are Nick Van Woert, David Altmejd, Matthew Barney, Anish Kapoor, and Richard Serra. In fashion I follow Marie Saint Pierre, Yohji Yamamoto, Rick Owens, and Label Under Construction. In furniture design, I love the work of Fredrikson Stallard.

ID: Latest design obsession?
FM: I’ve been closely following Joseph Dirand. I think his interiors will define this generation. The way he moves between the language of minimalism and classic French interiors is so subtle and complex, yet seems effortless.

Fernando Mastrangelo Drift Mirror

ID: Latest interiors pet peeve?
FM: The over-reliance on Scandinavian design. I love reduction in art and design, but it seems to me that Scandinavian influence has led to such minimalism that some craftsmanship feels lost. New processes and technology are closing doors to the handmade object, which I don't mind, but I’d like see a harmonious balance.

ID: An item you couldn’t live without?
FM: I sometimes wish I could keep some of the commissioned pieces I do for my personal collection. But I also love not having too many objects in my life.

Fernando Mastrangelo MMaterial Collection Side Tables

ID: Most admired historic interior or building?
FM: Luis Barragán’s home.

ID: Best part of working in Brooklyn?
FM: Brooklyn is turning so quickly, but for now, it remains the creative epicenter for art and design.

ID: How has social media impacted your career?
FM: Having direct contact with the audience has expanded the reach of the studio. This is exciting because it is breaks with traditional forms of visibility. Not relying on gallery giants and corporate-style sales is the future, and yet it’s still the wild west. Social media is the opportunity to define who you are and not have to abide by institutional standards.

Fernando Mastrangelo at the NEW in Los Angeles


Fernando Mastrangelo Drift Sofa



Fernando Mastrangelo at Stella McCartney Palo Alto store

Stella McCartney Palo Alto store. 

Fernando Mastrangelo at Stella McCartney Palo Alto store


MMaterial table

 Photography by Cary Whittier courtesy Fernando Mastrangelo.

New York based designer Lindsey Adelman talks about her work flow and how experimentation lead to exciting discoveries in this short video from Surface Magazine.

Adelman describes her process from conceptualizing unique designs to fabrication, saying, "I'm not really the type of designer who will draw something, draw it perfectly, put it in cad, and then have it made. I'm much more about wanting to see if there are any interesting surprises during the process of trying something." And she continues, "[Introducing a new concept] usually for me, that happens with experimenting."

Find Lindsey Adelman's designs on Twentieth here.

Lambert et fils logo

The LAURENT Collection

Lambert et Fils will be launching their Laurent Collection this week at Biennale Interieur in Kortrijk, Belgium. This contemporary series of chandeliers and pendants is described as combining "the classic Bauhaus Milk Globe with a series of sculptural forms that carve through space, moving between line, surface and volume."  

Lambert et Fils LRT09
Lambert et Fils LRT09
Lambert et Fils LRT04
Lambert et Fils LRT07
Lambert et Fils LRT01
Lambert et Fils LRT01

"Our research [for the Laurent Collection] focused on the surface and the form. Here, the globe acts as the link between the two,” says Samuel Lambert, the studio’s founder and lead designer.
The Biennale Interieur is the first exhibition in Europe for the design studio, which was founded in 2010.

Lambert et Fils LRT05
Lambert et Fils LRT03

Find the Laurent Collection on Lambert et Fils' designer page.

Laurent LRT01 hanging

 London Design Festival Logo

The annual London Design Festival began on Saturday, September 17th and will run until Sunday, September 25th. Sir John Sorrell and Ben Evans founded the festival in 2003 with the concept of creating "an annual event that would promote the city's creativity, drawing in the country's greatest thinkers, practitioners, retailers and educators to deliver an unmissable celebration of design."
Now in its 14th year, the festival has grown to over 400 events and has spread all over London.

Tom Dixon Harvest Festival Party

For this year's festival, designer Tom Dixon continues his running theme of "furnishing and food," bringing unique design and cuisine to London's Wharf Building at Portobello Dock in Ladbroke Grove. Dixon writes that their mission is "to design, illuminate and furnish the future with innovative lighting, furniture and accessories of longevity, simplicity and a materiality inspired by Britain’s unique heritage."

Tom Dixon and Goldfinger Studio collaboration

Dixon is also premiering a range of benches and tables named Trellick, designed as a collaboration with London based Goldfinger Factory. Goldfinger Factory is an award-winning design, carpentry and teaching platform centered around recycling materials, building bespoke furniture, and allowing artisans to become self-sustaining through craft.

Goldfinger Factory Trellick Building

The exclusive Trellick range has been named after the building in which Goldfinger Factory is situated.

Trellick Range from Tom Dixon and Goldfinger Factory

Tom Dixon's project at Portobello Dock will last the duration of the London Design Festival, from September 17th to the 25th. The Trellick product line is available through a crowdfunding project, which will help Goldfinger Factory expand and reach more members of London's artisan community.
Find Goldfinger Factory's crowdfunding project at 

Another site specific installation constructed for the London Design Festival is Omer Arbel's "44" design in London's Barbican Centre. Arbel, the creative director and founder of Bocci, has created a sculptural work comprised of over 300 free-poured aluminum forms, with intertwined lights. 

 Omer Arbel 44 at the London Barbican Centre

"As the sculpture, 44, descends into the space and expands, it punctuates the spaces of the Barbican foyer, engaging with notions of weightlessness and mass, craft and mass-production." Each unique aluminum form in "44" is cast by, pouring molten aluminum into a large canisters filled with rock-like resin shapes." They are then suspended from thin wire with low voltage electricity powering interconnected lights.

Close up of the aluminum forms in 44

Arbel's "44" will be on view at the Barbican Centre until April 18th, 2017.
Find more details at:

Moooi unexpected welcome

In central London, Dutch based Moooi celebates the design festival with a continuation of their Unexpected Welcome theme, along with the UK introduction of Paul Cocksedge's foam Compression Sofa.

Kit Miles custom Moooi carpet design for the London Design Festival

Also on display from Moooi is a custom Moooi Carpet design by award winning surface designer Kit Miles. Miles has created a 150 square meter carpet specifically for the entrance of the London Design Fair exhibition and explains that the abstract design is "based on the interplay of shadows and light, inspired by classic Mediterranean architecture, infused with the graphite and urban sprawl of London." 

Find Moooi's showroom at 23 Great Titchfield Street, London.

Lee Broom Opticality

For the London Design Festival, British designer Lee Broom is running a brief exhibition, titled Opticality, out of his East London flagship store. For Opticality, Broom has overloaded his store with his Optical collection of floor lamps and pendants and continues the Op Art theme premiered at Salone del Mobile.

Entrance to Opticality

Broom writes, "The store will become a surreal space inviting visitors to step into an immersive optical illusion. Visitors will become part of the installation as they journey through an infinity of reflections."

Inside Lee Broom Opticality

In Broom's Opticality, mirrors cover the walls and floor with a striped path down the center of the space, leading customers through what appears to be a never ending optical illusion.

Opticality opens on the 21st of September and runs to the 25th.

Find more details on the London Design Festival and those displaying at

Roll and Hill logoOver the next several months, Roll & Hill will be releasing new pendant, table lamp and chandelier designs from Ladies & Gentlemen Studio, Bec Brittain, Karl Zahn and Jason Miller.

Kazimir Pendant by Ladies and Gentlemen Studio for Roll and Hill
Designed by Ladies & Gentlemen Studio
The Kazimir series is inspired by the early twentieth-century Russian modernist Kazimir Malevich, whose flat monochromatic canvases, colorful geometric compositions, and textured collages challenged existing notions of painting. Here, his ideas are transformed into three dimensions with pieces of textured and dichroic glass arranged in layers. 

Bec Brittain Seed Pendant for Roll and Hill

Designed by Bec Brittain
A seed crystal is a tiny crystal used to grow larger crystals; they are order emerging from chaos. Seed is also the name of a series of lamps by Bec Brittain. An armature of round mitered tube defines a chaotic void, yet order is imminent as seeds appear.

Atlas 01 by Karl Zahn for Roll and Hill

Designed by Karl Zahn

Named for the Titan doomed to shoulder the world, Atlas combines an illuminated glass globe with an intersecting metal armature, drawing on Karl Zahn’s elegant use of geometry and metaphor in design.

Bauer 02 by Jason Miller for Roll and Hill

Designed by Jason Miller
Jason Miller’s Bauer is a pendant fixture made of stacked, concentric clusters of handblown tubular glass. The glass fades from dark to light, recalling the tonalities of earth-to-sky views, producing an ethereal, atmospheric effect.

Bounce Table Lamp by Karl Zahn for Roll and Hill

Designed by Karl Zahn
A compact spinoff on the original series, Karl Zahn’s Bounce table lamp combines a folded aluminum shade and an independently-positioned light source. One side of the shade is white to reflect illumination while the other has a decorative wood veneer finish.

Castle 12-01 by Jason Miller for Roll and Hill

CASTLE 12-01
Designed by Jason Miller
While the shape of these pieces occasionally resemble the turrets of a castle, the name actually comes from the game of chess. The rook can jump any distance, yet it is restricted to moving orthogonally. Likewise, the glass in Castle extends to different lengths, but is always horizontal or vertical.

To view additional new lighting from Roll & Hill please click this link.

May Furniture Logo

Based in New York, MAY is a small production furniture company. Every piece is created by hand with lasting craftsmanship, timeless design principals, and imagination. Travis James, a craftsman and multidisciplinary artist, is the founder and designer of May Furniture, which is now on display at Twentieth.

Struttura Credenza by May Furniture

May Furniture's Struttura Credenza features a unique compressed hardwood case available in a variety of color ways with matching compressed or natural wood doors.

Custom lengths, doors, and drawer configurations are available.

 Buoy Lamp by May Furniture


The Buoy Lamp is part of May Furniture's Brutalist inspired collection and is constructed from their unique raw but refined compressed hardwood. Each 1/4" wood shade's pattern is unique and disperses light from the bottom, top, and through the porous surface.

The Buoy Lamp is available as a table lamp, a floor light or a chandelier.

Struttura Coffee Table by May Furniture


The Struttura Coffee Table is crafted from May Furniture's beautifully porous compressed hardwood and features a 1/2" edge profile tapering to an internal 3" thick summit.

Sphere by May Furniture


The Sphere is a unique design and hand shaped to a smooth stone-like finish. It sits flat on the ground and can be used as a seat or simply a sculptural object.

The Sphere is available as an indoor (compressed wood) or outdoor (fiberglass) design.

Hemisphere by May Furniture


The Hemisphere follows the indoor or outdoor construction path of May Furniture's Sphere, but is sliced in half, resulting in a unique circular table design.

As an outdoor object, the Hemishpere is cast from fiberglass. As an indoor design, the Hemisphere uses compressed hardwood. Both designs allude to a concrete construction.

Find more of May Furniture Company's collection at: MAY Furniture 


PRESS RELEASE: June 23, 2016 - (Los Angeles) On June 23rd 2016, THE NEW, a gallery project by Twentieth, will debut with “Elemental”, an exhibition by Christopher Boots featuring new and limited edition works. Coinciding with the Los Angeles Design Festival, the event also marks the launch of THE NEW, a separate exhibition space located adjacent to Twentieth. 
Based in Melbourne, Boots received an industrial design degree in 2005 from Australia’s National School of Design. Since founding his studio in 2011 his work has grown an international following and includes projects for Hermes and the National Gallery of Victoria.
Christopher Boots - Smokey Asterix
Smokey Asterix
Christopher Boots Nepenthes
Using elemental materials such as iron, copper, quartz crystal and even gallium, Boots produces works that combine technical skill with a refined formal sensibility.
Boots references his Greek heritage frequently, and his embrace of foundational themes of Greek thought such as Geometry, Beauty and Mythology permeate the work.
Greek philosophy’s quest was to distill all things to their essence, their most elemental. Whether in Euclid’s elements of geometry or Democritus’ first concept of the atom, Greek thought explored the possibilities of nature’s abstracted and universal essence.
Diamond Ring by Christopher Boots
Diamond Ring
Crystal Orp by Christopher Boots
Crystal Orp
That a fascination with paring down nature to its essence coexisted in a culture that simultaneously embraced the elaborate dramas and narratives of mythology is not lost on Boots. Just as a fascination with nature’s elemental forms persist from ancient times to now, so does a celebration of the human theatricality that surrounds them.
THE NEW is a gallery project by Stefan Lawrence focusing primarily on limited edition design and is co-curated by Daniele Albright.
The space is directly adjacent to Twentieth.

Oracle Triplet
Christopher Boots Prometheus I and 2
Prometheus I and II

For more information, press interviews and previews:

T. 323 904 1200

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