Originally built as a seminary in 1931, the landmarked brick building anchoring The Lodge at St. Edward State Park sat vacant for 44 years before coming back to life as one of Washington’s newest luxury hotel and spas.
“It’s always been this mystery,” says Jenne Oxford, The Lodge’s general manager. “Now, the community can experience the history of this place firsthand.”
The Kenmore-based hotel weaves together past and present, with painstakingly restored original details and spaces that conjure the building’s yesteryears, including a seminary barber shop-turned-speakeasy bar, original brick façades and windows, and period architectural sketches translated to wall-size murals.
Besides the four floors of guest rooms, a luxury spa, and eateries including a restaurant helmed by James Beard award-winning chef Jason Wilson, the hotel offers a slew of publicly accessible amenities.
Don’t miss visiting a gallery hallway with rotating Northwest artists, high tea service and live music events.
Brooklyn-based furniture designer Arielle Assouline-Lichten has been busy. The founder of Slash Objects recently appeared as a contestant on Ellen’s Next Great Designer and launched her sleek Adri Chair, composed of two marble slabs joined with brass hardware and a recycled rubber seat. “I was inspired by collage artist Adriana Jiménez Blanchet and her process of creating works organized into grids, but also with organic gestures and movement,” says Assouline-Lichten. “I interpreted these gestures as the natural veining of marble and the sling chair as an extension of that movement.” Here, she shares her design insights.
Origin story: I decided to be my own client and design all the things I was imagining. I didn’t know I would turn that initial collection into a company. I love working at this scale—where you can create tangible products in a relatively quick timeline and control more of the process from start to finish.
On circular design: Beauty has the power to persuade, which is why my goal is to create beautiful products that integrate recycled materials. We are still in the nascent stages of circular design and how to make our society reckon with the materials we use. I’d like to be a part of the trajectory.
Ones to watch: I’m swooning over my friend Martina Guandalini’s (@martinaguandalinidesign) resin-and-faux marble pieces, as well as Maryam Turkey’s (@maryamturkey) mixed-media assemblages.
In Paso Robles wine country, amidst the hills and vines of Booker Vineyard’s 100-acre property, is a new tasting venue with a lounge-y vibe that invites guests to gather with friends, settle in and make themselves at home.
Signum Architecture’s minimalist design honors the California winery’s natural surroundings, matching the sensibilities of owner and vintner Eric Jensen, whose respect for the land is central to his winemaking approach. The fracture patterns of the area’s limestone soil, for example, were used as the basis for the layout of the structure’s long walls. The restrained material palette includes cedar, board-formed concrete and natural steel, which architect Juancarlos Fernandez says “will rust over time, just like the stakes at the end of each vine row.”
The architecture is complemented by understated interiors by Katie Martinez Design, whose warm, light color palette was also inspired by the limestone soil. Tactile surfaces abound— from raked limestone bathroom tile and bleached walnut and white oak cabinetry to cedar siding and beams and burnished brass at the bar front.
The new spaces set the stage for various experiences at the winery, from a VIP limestone cave tasting with the owner’s personal library of wines, to an afternoon of “Bocce and Bottles” on a private outdoor lounge area.
Originally built in 1977, the mountain abode was renovated in 2019 by the previous owner into its sleek statement of glass and sunlight, made in consultation with architect Scot Broughton. In their work, McGuire and Tenzin especially delight in making such grand contemporary structures feel welcoming and human-centric. “People seem to be drawn to us to create cozy interiors in these types of spaces,” notes McGuire. “We balance the architecture and complement it, so it doesn’t feel cold and stark.”
The home already provided an inspiring canvas for the designers to explore, and they found able partners in general contractors Thaddeus Eshelman and Jimmy Terui, who also oversaw the 2019 renovation. Collaborating on the new customizations with McGuire and Tenzin “was the bow on the present,” notes Terui. “All of their final touches really put it over the top.” Together, they focused on incorporating new finishes that would add more visual weight to the interior’s broad white walls and pale oak flooring. The abode featured black metal-framed windows and ceiling box beams that cut through the light and airy spaces, and the designers emphasized this juxtaposition by adding a few bolder finishes, such as staining the kitchen cabinetry in a deep ebony hue. The rich color “gives some structure and energy to the space, so it’s not just neutrals,” Tenzin explains.
To temper the angularity of the architecture, the designers introduced some curved elements to the interiors. “Right now, we have this desire for softer lines, yet still done in a very contemporary way,” says Tenzin. This was the guiding principle behind selecting the new furnishings and accents: all are unequivocally modern in silhouette, but never too sharp or sleek. Chairs and sofas have rounded backs and arms softened with tactile materials like shearling, wool and saddle leather. Mixing abstract designs with traditional Moroccan weaves, “the rugs are also really special, as they add a lot of comfort and interest,” says McGuire. The couple’s bedroom in particular is a study in tactile layering, with an upholstered bed frame, a fabric-paneled wall and artful Apparatus sconces featuring wefts of horsehair. “Textures were a key part of adding in that warmth to the home,” notes Tenzin about their overall approach.
The designers also kept everything within an organic palette borrowed from the surrounding mountain woodland to create cohesion. “Golden tones from the aspens, amber tones from the scrub oaks and greens from the evergreens all filter in through the house,” notes Tenzin. And in the couple’s serene main bedroom “there’s a little bit of a lavender hue that relates to the lavender and sage that grow so beautifully here in Colorado.” Artwork introduces more personal and playful notes of color, like the specially commissioned comic book-inspired piece by artist Nelson De La Nuez, which serves as a touching reference to the couple’s love story.
A self-confessed lighting fanatic, Tenzin was particularly passionate about how they would illuminate the home. Style wise, materials ranged from minimalist black metal to delicate amber glass globes. But “it was also really important for us to find LED fixtures that get warm as you dim them,” he explains. “It’s so critical for creating the right vibe.” These technical details are very much like “the difference between gray, cool lighting, which makes everybody look like a ghost, and that beautiful candlelit feel where everyone looks glamorous,” adds McGuire.
Nestled in this soft glow and laden with lush textures, the dwelling now feels more approachable. And for the designers, there’s nothing better than infusing soulfulness into such shiny, modern spaces. As McGuire says, “When you can walk in and see the family truly relaxing in their own home, that’s a feeling of success for us.”
By the time she turned over her inspiration folder to Rudolph Colby—the residential designer behind more than a decade’s worth of Circa Lighting stores—Gale felt confident he was the person to bring her vision to life. “Rudy is an artist,” she says of Colby, who, working with general contractor Josh Brooks, also orchestrated the home’s landscaping and pool. “He has a wonderful sense of style, detail and proportion. His designs are classic and timeless.”
Gale is a hands-on client. “The most fun we have, ever, is when we sit down together, spread out a piece of paper and each pick up a pencil,” Colby says of their tactile process. Having initially conceived of an on-site renovation that ultimately had to be scrapped due to water damage beneath the property’s existing house, the residential designer’s “take two,” as he calls it, followed the original home’s layout quite closely. What transpired was a practice in extreme simplification, subtracting everything extra. “Any time there was a line or shadow that could be removed from a window or door or piece of hardware, she would nix it,” Colby says of his client, who dictated the project’s concealed door hinges and nearly invisible reveals.
“There’s nothing trendy about it,” Gale adds of the residence, which cleverly combines modern-leaning and ranch-inspired influences behind a façade of slender white Norman brick and horizontal board-and-batten siding. Though her linear, tightly landscaped home might diverge from the typical Lowcountry vernacular, it’s connected to the fabric of the city in a manner very personal to its owner: fine art. “I’m lucky to live in a place with such close access to the Savannah College of Art & Design and all the wonderful artists that have come out of that university,” says Gale, an ardent collector.
Her expansive art assortment comes to life thanks to sizable skylights—Colby’s solution for illuminating the east-west-oriented house from the inside out. “You get direct sun at different times of the year, and it’s really quite fabulous,” Colby reveals. As a lover of natural light, Gale eschewed window treatments in most rooms, adding extra layers by way of Circa Lighting fixtures. However, her selections were not chosen for dramatic impact, rather for subtlety. Most had remained stalwarts on her personal wish list for years—particularly a pair of Thomas O’Brien-authored pendants named in her honor, which today suspend over her kitchen island.
To ensure interiors that would incorporate all of these items masterfully, the discriminating homeowner looked to Michael Del Piero, a designer whom Gale praises for her “neutral palettes, and ability to layer textures and to curate objects.” Del Piero, who had previously designed Gale’s Chicago loft, has long felt a sense of aesthetic alignment with her client. “What Gale wanted is what my firm is known for: livable, approachable and interesting interiors with nothing too precious or fussy,” she notes.
Decorating decisions between the two were uncommonly swift, with most made on a single trip to High Point Market. “For three days, in the pouring rain, we literally furnished the entire house, inside and out,” Del Piero recalls. Together, the pair selected deep sofas with simple lines, intriguing Louise Nevelson-esque nightstands, even an oak dining table to sub as an oversize desk in the grass cloth-clad home office. “Gale is super no-frills; she wants the best but she wants it simple,” says Del Piero, who finished off spaces with antique rugs to warm up the sleek wood and stone floors.
In sum, the lighting maven’s Savannah home demonstrates her strong understanding not only of design, but of herself. No space is wasted, and every element is optimized for the way she wants to live. “She has a really sharp eye,” Colby concludes. “There’s a place for everything and everything has meaning. And I think there’s a strong reason for that: Gale sees things differently.” Certainly, in the case of curating her own home, she’s seen the light.
Livden’s statement-making tile packs a vivid punch.
Half-sisters Hilary Gibbs and Georgie Smith share a familial love of tile: Gibbs’s mother, Melinda Earl, founded Stone Impressions, where both women still play a role. But the duo’s new side venture, Livden, focuses on their own original decorative tiles made with recycled and post-consumer materials. “When I told my mother I’d been experimenting with my own designs, she immediately handed me her tool kit of art supplies and gave me her best design tips,” recalls Gibbs.
Taking their cues from Southern California’s geographic diversity and rich architectural history, the sisters have produced innovative geometric designs, available in a palette of earthy hues. “We’re inspired by color’s ability to evoke certain feelings,” adds Smith, noting a meditative red and their desert-inspired collection, Painted Sands, that debuted in July. “Our designs mirror the California lifestyle, from laid-back and sunny to bohemian and modern,” adds Gibbs. “They’re playful statement-makers that can give any space a punch of personality.”
An example of Livden’s new desert-inspired collection, Painted Sands.
Another example from Livden’s new desert-inspired collection, Painted Sands.
Resource Furniture is designed to be adaptive and multi-functional.
This fall, renowned European-made furniture company Resource Furniture opens its first Northwest showroom inside the newly renovated Seattle Design Center in the industrial-hip Georgetown neighborhood. The company’s slick collection of transforming and multifunctional furniture—from luxury Italian wall beds to bookshelves with built-in telescoping tabletops and an array of storage systems and seating options—insists that design-forward furniture can have cutting-edge technology and functionality without sacrificing style. The Seattle locale will feature a mix of new and classic Resource Furniture pieces that help tease out multiple uses from compact spaces. A champion for small- space living, Resource Furniture has supported the research and development of ADU and prefab homes throughout North America.
“As one of the leading cities for micro-housing developments, Seattle was a natural fit for Resource Furniture’s expansion,” says co-founder Ron Barth. Challie Stillman, Resource Furniture’s Head of Sales & Design, agrees. “We attract the design-obsessed, innovation- seekers and out-of-the-box thinkers. We’re proud to bring our unique philosophy to Seattle, where we know we’ll be surrounded by a community of like-minded design enthusiasts.”
Tables and chairs neatly fit together in multiple, space-saving ways.
Take everything you know about your grandmother’s quilt and elevate it. Bridging the past with the present, Sarasota textile artist Maggie Dillon translates vintage images, family photos and her own photography into quilted pieces of fine art. The award-winning textile portrait artist captures candid moments, evoking a feeling of nostalgic happiness but also loss of something deeply important and soulful.
What prompted you to work with fiber?
My freshman year at Flagler College in historic St. Augustine, I started working at a local quilt shop near campus. I began experimenting with fabric as a medium after being a traditional quilter for about a decade. Encouraged by my drawing professor, I created my first fiber portrait made of collaged commercial fabrics. Since 2008, I have worked exclusively in fabric and textiles. Increasingly, more galleries and venues are accepting mixed media/fiber, but it is still an uncommon medium.
How do you source and select the vintage photos you use?
While pursuing a fine art degree, I focused on photojournalism. I enjoyed that the photos captured what was happening in the moment, rather than an awareness of the camera. A friend found some amazing vintage images in a thrift shop. I pulled inspiration from a few of those and entered some exhibitions, and from there I was hooked. My favorite images are the ones that feel the most authentic and nostalgic. Many are sourced from original family photos, while others are pieced together with different elements of images before creating the pattern.
Why do these textile art pieces make an impact?
Quilting and textile work have a broad view of being “grandma’s quilts” and a strictly utilitarian item. I believe my work, among others, is breaking those boundaries and elevating the medium to fine art. It draws the viewer in, looking closely at the built-up fabric layers, stitching and textures.
As any desert dweller knows, the landscape’s saturated sunsets and botanical austerity create an ideal backdrop for a variety of architectural styles. In Santa Fe, architects have responded with designs that are rooted in tradition yet also forward thinking in execution. The result is an architectural authenticity captured in Santa Fe Modern: Contemporary Design in the High Desert. Authored by Helen Thompson with photographs by Casey Dunn, the book features 20 distinctive residences that highlight Santa Fe’s emerging modernist design. “Santa Fe Modern comes out at a time when it has never been more urgent to think about how we are at home in the world,” Thompson says. “Modern houses in Santa Fe seem as if they belong in the dramatic desert landscape, and that sense of belonging is the real reason modernism works so well there.”
Delray Beach artist Junior Sandler splashes canvases with vibrant color and captures the energy of South Florida’s tropical lifestyle. Along with showcasing her work at galleries in Palm Beach and beyond, Sandler recently collaborated on her first design project with interior designer Lauren Haskell. Luxe catches up with Sandler. shoplohome.com
How did you get your start? I was exposed to art early on and experimented with many mediums, such as charcoal, ceramics and oil. Formal training is wonderful for technique, but the opportunity to explore with an easel, still life or live models allowed me to trust my vision and expression. I started donating works to my favorite charities some years ago. The feedback was so positive that it pushed me to take a professional view of my production.
What do you want your works to evoke? My designs are based in natural patterns, and that feeling of lightness and tranquility is what I hope shines through. I aim for a contemporary take on traditional, so there is a simplicity in the images yet they’re still provocative. Color is a must.
Take us behind the scenes of your latest collaboration with Lauren Haskell. We followed one another on Instagram, and she reached out saying she saw something special in my work. Lauren hand-selected the paintings, which became beautiful fabrics, wallpapers, pillows and pottery, including ginger jars. I thought of myself as a painter, but she has encouraged me to see myself as a designer as well.