The NYSE went through a multi-phased refurbishment to recapture the energy and glamour of the neoclassical temple of commerce, completed in February 2018. International design and architect studios Rottett Studios and Studios Architecture were commissioned to renovate two upper floors of the eight-story 1903 building, developed as exclusive working and event spaces.
An ambitious design collaboration to develop solutions that would balance the old and new, stay within budget and perform aesthetically and functionally without any fine details falling short.
Faced with an exciting challenge, we were able to draw upon our expertise as pioneers in the custom rug and carpet industry, developing solutions that resulted in the ideal balance between both firm’s aesthetic visions and expectations being achieved.
TSAR FORMULA = BALANCING AESTHETICS, BUDGET AND PERFORMANCE.
Mediating between the two firms was the priority; this involved sticking to brief, budget and prioritising areas in the NYSE according to the managers and the hierarchy of the various spaces. We used a range of our product offerings that not only fitted but suited the spaces, including Astoria, axminster, kartina and hand-tufted in different levels of complexity. Leaving both clients with an unforgettable design experience, and of course a refresh of the iconic historical establishment.
Balancing managerial hierarchy and importance of the rooms allowed the right products to be specified based on varying degrees of luxury / design complexities / usage so the products not only fitted but suited the spaces.
Constant and clear communication allowed us to negotiate with project managers to meet strict deadlines for artwork production, sampling and the final delivery. Managing their expectations and the workload of our designers was essential.
Inside the walls of the NYSE, our in-house designs Tuileries and Venetian were chosen and customised to be distinctive, suit the Neo-classical interiors and to serve purpose and functionality in the space.
We modified and revised in-house and custom designs numerous times to perfection, bringing together elements in the rooms, balancing old with new but also not losing the design details that make the pieces unique. The designs had to fit both visions and meet the aesthetics expectations of the firms.
We were given one total budget for 15 spaces of varying management hierarchies and quality expectations. This meant we had to allocate different budgets to each space based on a variety of factors, continuously adjusting specifications throughout the process.
Unwilling to compromise on aesthetics and quality, we worked tirelessly to find solutions by tweaking complexity and production techniques to find to suit status of rooms and remain in budget without aesthetics falling short.
We’re alway honest with the performance of our products and refuse to work with and recommend inferior qualities that won’t perform in the space.
In order to specify the right solution for each individual space and ensure the product performs, the below considerations were taken into account:
Amount of traffic throughout the life of the space including events etc.
Occupational health and safety codes
Furniture including any caster chairs
Understanding the different spaces allowed us to specify the optimal performing product to last for each individual situation.
A remarkable collaboration and fabulous experience where we were able to test and prove the TSAR formula – balancing aesthetics, budget and performance.
For more information about the project or featured designs please contact Annie – email@example.com.
Experimentation and a playful mindset are fundamental in the development of design.
TSAR X BYZANTINE X LUKE are tackling the theme of Melbourne Design Week 2019 – Design Experiments by collaborating for the first time, injecting creativity into the community, supporting local design and promoting the growing creative hub of Windsor Design Precinct.
Two interior installations were created to challenge conventional perceptions of product, blending and extending the viewer’s experience of materials. Currently being displayed in the TSAR Carpets showroom and Luke Furniture showroom, both located on High Street in Windsor, Melbourne.
Through thoughtful collaboration and playful experimentation, different materials from each specialty industry represented by Byzantine Design, TSAR Carpets and Luke Furniture have been brought together and placed in novel, unexpected settings. A range of textures, layers and colours are used to emulate and tell a story themed around our fascination with ‘Deep Sea’ corals, creatures and flows. The blending of materials transitions smoothly with the eye, creating curious experiences to engage and delight.
The carpet pieces use a variety of construction techniques including beveling, carving, sculpting, thick loop piles and tufting with different pile heights to translate details in sand, the ocean floor and coral surfaces effectively. Byzantine Design uses tiling to contrast against soft carpet, elevating details and adding pops of colour and pattern to the piece. Luke Furniture combines soft, curved lines through carefully curated furniture pieces to suit the scenes, extending the experience of materiality.
An inspired project and thoughtful merging of materiality that combines a passion for design and expert craftsmanship between three leading interior suppliers.
TSAR Carpets Showroom Exhibit:
Where the shore meets the sea, details unique to the ocean have been transformed into sculpted textiles, richly detailed tiling and soft furnishings to create a calming interior scene.
Luke Furniture Showroom Exhibit:
The lively beauty of deep sea corals and creatures have been captured in the textured rug, patterned tiles, pendant lighting and furniture to create a playful scene filled with amusing details inspired by sea-life.
Products on display can be purchased or made to order, for more information please contact Annie – firstname.lastname@example.org
Photography by Lillie Thompson. @lillie_thompson lilliethompson.com
Exhibition Details: Location: The installations will be exhibited at the TSAR Carpets Showroom – 250 High Street, Windsor and the Luke Furniture Showroom – 214 High St, Windsor (approx. 2 minute walk down the street) Exhibition dates: Over MDW19, March 18 – 24 2019. To be extended until mid April. Hours: Mon-Fri, 9am-5.30pm & Sat, 10am-4pm.
Part of Melbourne Design Week 2019, an initiative by Creative Victoria in partnership with NGV.
Every May, the New York design industry showcases what’s new and next – taking over the city’s boroughs in a marathon month that encompasses five fairs (ICFF, Wanted Design Brooklyn and Manhattan, Sight Unseen, and Brooklyn Designs) and countless events, in what seems more like a cultural event than a trade show. This year’s edition saw cross-disciplinary collaborations, show stopping showroom installations, emerging independent work and passionate debates amongst industry thought leaders – the most ambitious yet! A non-stop party for the eyeballs and constant inspiring “aha!” moments — we’ve distilled the whole spectrum of events into our top four lasting impressions. Let’s begin.
1. BLURRING THE LINES BETWEEN INDOOR, OUTDOOR AND BEYOND
Lighter, brighter surrounds to enhance productivity and wellbeing is the resounding focus for interiors this year. We saw strong botanical influences in lighting, flooring and furniture throughout showrooms and installations, combining natural elements with conventionally indoor settings and products to give environments a new and fresh perspective.
The “mash up” of different environments creates a fully realised experience and we’re seeing this approach extend further with selected elements from spaces such as work, theatre, hospitality and outdoor combining and coexisting to reflect a more connected and integrated environment. Spaces are evolving to enhance our experience and benefit our wellbeing and lives.
2. MEMPHIS MAXIMALISM
In case you’ve been living off the grid the past year, the 80s Memphis design movement has reemerged featuring loud colours and punchy graphics with maximum appeal to the visual currency of Instagram. As in the past, it seems this resurgence of maximalism is reactive to the abundance of sleek, “tasteful”, mid-century minimalism which has become so repetitive. The look has extended beyond fashion to become extensive installations seen at Sasha Bikoff’s technicolour staircase, Raquel’s Dream House and Camille Walala’s monolithic mural of an Industry City building facade… amongst others.
An emerging theme at the Kips Bay Designer Showhouse – Maximalism is also taking on a 70s retro glamour look with chunky geometries, clean lines, tubular forms, soft furnishings and graphic patterns in muted, pastel colours such as peachy terracota, sage, olive green and mustards. We’re also seeing spots of bold retro colour and metallic finishes to add more luxury and glamour – taking strong influences from the fashion industry. Many cross-disciplinary collaborators this year included trendy downtown boutiques such as Opening Ceremony, Creatures of Comfort and Philip Lim in Sight Unseen’s curatorial project, further emphasising fashion’s collide with furniture and interiors this year.
3. EXPRESSION, MOVEMENT & PERSPECTIVES
Its been a tough year for brick and mortar retailers, with a string of closures on previously bustling streets, which explains showrooms and retail spaces thinking deeper and exploring the potential of the physical space. Kartell, Tom Dixon and MOOOI (just to name a few) covered every inch of their space with sensorially magical compositions through colour, form, materiality and sound. It was an organised flow through the set-ups, a journey of exploration to uncover moments of surprise and delight. The time spent in the space was memorable, conversations were created and connections were formed not only with each other but with the uniquely designed environment.
Designs are more expressive with familiar products now in motion and changing to redefine our experiences. Objects need to be observed from different angles to see the entire perspective and its varying forms such as Tom Dixon’s new MELT range – giving birth to completely new designs and expressions. We attended an exhibit of upcoming artists who created multi-disciplinary works with emotion and expressions of feeling as the core function – re-thinking built constructs.
New developments such as OLED and 3D-knitting technology allows common products to be flexible, with new possibilities to bend and move. The Spun Chair phenomenon by Thomas Heatherwick for Magis gives conventional materials a twist and adds rotational movement to the sitting experience. Technology is advancing traditional materials, manufacturing and application, allowing us to rethink and experiment to provoke change, more expression and dynamic uses.
4. INTERGALACTIC WONDERS
If Elon Musk is doing it, it must be worth exploring! The moon, stars, space and beyond have always been sources of inspiration but there seems to be a larger focus on the subtle textures, forms and abstract interpretations this year. We saw cosmic drivers throughout our visit in installations, lightings and furnishings – an influence we’re interested to see develop into the stupendous wonder and mystery that our galaxy inhabits.
… and some more splendid moments from NYCxDESIGN below.
What an absolute feast for the senses! It was a trip that made us wish for more hours in the day AND collapse from over stimulation at the same time – so many inspiring and motivating moments to take away.We’ve tried our hardest to condense our thoughts into four main takeaways but if you’d like more information please get in touch via email@example.com.
To celebrate International Women’s Day on March 8, TSAR co-founder Kerrie Sharpley reflects on her journey as a textiles artist, business partner and most importantly a mother.
Tell us your story. What path lead you to textiles and then to start your business?
Everyone had a hobby when I was growing up – knitting, cake decorating, wood work, china painting. It was the women mentors in my life that were the greatest influence. Being shown the art of doiley embroidery at the age of 7 was the beginning of a long love affair with stitching and textiles.
I became a textiles teacher after studying the subject at university, then took a solo one-year backpacking trip through Asia. Indigenous textiles dictated my travel destinations – I worked with Batik Artists in Indonesia, embroidered with tribes in the Golden Triangle, wove on a backstrap loom with women in the Philippines, knotted rugs in Nepal, block printed and made felt in India and wove string bags in Papua New Guinea. The traditional textile creators were almost exclusively women. They were generous, fun-loving and caring.
My obsession with textiles took me in all sorts of directions – working as an artist-in-residence at schools and hospitals, exhibiting original works, designing costumes, teaching millinery and tailoring and dress-making for brides, before meeting David in 1987. This was when I began my 30-year career in custom designed and made rugs and carpets, drawing and colouring my designs by hand whilst David made the rugs himself – a very different time.
We moved to Granada, Spain when my first son was two to set up and train in hand tufting in an 80 year old rug making business. I was extremely fortunate to work with Antonio Molyon, a designer of classical style hand-knotted rugs with 44 years of experience. When we returned to Australia I found that I was one of a few who knew how to design European classical style rugs. It was a bonanza.
TSAR expanded beyond Australian shores in 2014, a resurgence of the business that took us on another great adventure. We took our family to live in New York for two years simply because we could! Life in New York is an endless opportunity and an Aladdin’s cave for the creative spirit.
What’s been your favourite aspect about TSAR and being part of the textiles industry?
I have always loved the next challenge. It has not always been directly related to design or textiles but it has led to my ever-expanding skillset and developing interests in data, analytics and business management. I love finding ways to streamline work practises, to make the workplace a more productive but less stressful place to be. We all spend a great proportion of our lives in a workplace, so my goal is to make it an enjoyable place to excel (literally, I love an excel sheet).
You’ve been in the industry for many years, do you think being a woman and a mother has impacted your career?
I’ve had the privilege of being able to tailor my work-life to fit around raising three wonderful children. David and I decided early on that my responsibilities in the business would match my need to be a mother first and foremost. I was very lucky. I didn’t ever feel that gnawing guilt and frustration that many women who lack flexibility in their workplace experience. Whichever way a woman chooses – to work full-time, be a full-time mother, strike a balance between both or not have children, she will be faced with the challenges of people’s opinions, societal norms and pressures as well as staying true to themselves.
How have you seen the role of women in the industry evolve over your career? What are the shifts you’ve noticed?
It seems to me that in the last 50 years there has been a total flip. There’s a much more sophisticated understanding of a woman’s many roles in life and the choices we make. There is more compassion, support and the path in business, motherhood, whatever it may be has less obstacles. A lot of very lucky women today have the choice to design their own lives – but of course, there is still a long way to go. Unsupported interrupted careers, glass ceilings, unequal pay are a blight in a woman’s life pursuit.
Beyond the workplace, I think we are seeing profound shifts in the paradigm of women’s rights. Women today are more united than ever! The result of truly unfortunate and deeply disturbing events in politics and the entertainment industry has led to the next uprise – we’re smashing and questioning the behaviours of the powerful, the rich and the system as a whole, this time with different tools that reach world wide. Women are coming together to support each other more than ever – it’s an exciting time.
What are the biggest lessons you’ve learnt in your career?
If you can – love your work, always set a challenge, acknowledge your successes and don’t be afraid of not being perfect or the best.
You don’t have to go to war to speak out.
What are some of your rituals that keep you grounded, motivated, focused and continuously creative?
I have always had a studio or a corner at home. It’s the reverie of time in the creative zone that is addictive and clears the way to make the most of life. I weave creativity into our lives at all levels.
Apart from that, I think I was born creative so can’t help it.
Who and what inspired/influenced you to be the creative you are today? Who do you admire?
Colour. My earliest memory was being mesmerised by the sun illuminating scarlet roses outside our kitchen window. I was very young. Then there were the flowers that my aunt grew. She taught me about gardening, a passion I still have. Then there were the parrots my father kept, I collected the feathers for their brilliant colours.
As for my biggest inspirations, I admire people who are able to be true to themselves – despite societal pressures, any imposed rules or consequences. I meet these people every day, and they come from a myriad of backgrounds and professions. What truly inspires me is seeing a person following the beat of their own drum.
What’s next? Can you share some of your current projects/visions/goals?
I have just spent the summer revisiting a technique that I learned over 35 years ago. Stay tuned on that one, I will be unveiling a very exciting project in the near future.
I also love hanging around young people, they are so inspiring and quite frankly much funnier than most people my age. I want to share my skills with those who yearn for a creative voice so am working on my dream of an open studio where people can come hang out, create and learn about textiles.
I’m also deeply concerned about the future of the planet. I know we have the capability to correct our behaviour, to practise more sustainably and focus on making daily improvements. I continue to create, recycle and mend my own clothes to avoid destructive fast fashion. I believe that nurturing creativity to develop inner strength and resilience will provide the tools to make choices for the good of all.
If you could sum up your view of the world in 5 words?
“The deeper the blue becomes, the more strongly it calls man towards the infinite, awakening in him a desire for the pure and, finally, for the supernatural...” Wassily Kandinsky
Until relatively recently in human history, “blue” didn’t exist- at least not in the way we think of it. Early mankind yearned to speak the language of the sky and ocean, but had no way to render the color with meager earthbound pigments. It was only just a matter of time until the color blue; elusive, soothing, and supernatural, would change the course of human vision forever.
In the Ancient Greek tale“The Odyssey,” Homer famously fumbles at identifying the color blue as the “wine-dark sea.” Even though Homer’s words beguiled readers, the color still remained beyond imagination. Ancient Greece was a muddled, murky world. Whites, yellows, metallics, and browns were the only utterances of colorful jargon in their civilization. That is until the Lapis Lazuli slowly meandered through the trade routes of Afghanistan, landing into the hands of one of the Ancient World’s most powerful queens.
It took 6,000 years to travel onto the eyelids and embellished gowns of Cleopatra. When she wasn’t powdering her eyes with ground up Lapis Lazuli pigments, she ordered the color be adorned on the tombs of her most powerful colleagues to protect them in the afterlife. But she wasn’t the only one to covet and capture the already millenia old tinctures.
The maverick Marco Polo, inspired by Homer and Cleopatra’s exploits, journeyed to Afghanistan in the 13th century only to discover mysterious blue-tinged pigments inside the mines of the Kokeha Valley. Fascinated, the young explorer collected an insurmountable supply of the variegate. It’s as if he somehow knew the color would change the course of art, trade, and commerce forever.
“Camel Market in Tanger” – Ferdinand Willaert
With that, Marco Polo swiftly trekked home wowing Venetian revelers and silencing his naysayers by delivering an astronomical supply of what he coined “ultra-marine” pigments to the ports of Venice.
Ultramarine, literally meaning ‘over-seas’-forever impacted Western Europe’s most innovative artists, merchants, and craftsmen of Marco Polo’s time and beyond. Thus, began the modern age of ultramarine’s transformation into blue.
Whether its Krishna dancing comfortably in his own blue skin, or worn as a symbol of public service in ancient Rome, its historical presence is hard to deny.
From the Industrial Revolution deep into the 21st Century, blue has syphoned itself onto the uniforms of international militaries, the navy, and on international peacekeeping troops.
As late as 1915 “Bright Blue” became an official color in Britain. Former Editrix of Vogue, Diana Vreeland, said “Blue jeans are the most beautiful things since the gondola.”
“The Blue Room” by Pablo Picasso
Picasso paid homage to the color with his Blue Period, and now in the 21st Century, Damien Hirst’s “No Love Lost, Blue Paintings,” has further immortalized the color into it’s own coming of age.
Today, TSARhas given the color that symbolizes peace, universal dignity, blue note jazz, and loyalty its own decorative and bespoke voice.
Any shade of blue, ultramarine, lapis, cobalt, or azure can be obtained from the Tsar House Collection, or custom made to compliment your artworks, interiors, and soft furnishings.
At TSAR we admire how blue has weaved its cacophonous web of scarcity and celebration throughout human history. That’s why as TSAR’s Color of the Monthfor June, we venture to unleash and unveil the mystery that is blue under your feet and into your imagination today, tomorrow, and for the future to come.
We spoke to David Sharpleyof Tsar Carpetsto get the low down on why there’s a huge discrepancy in rug prices on the market. He points out the five main elements that affect cost and what to look for when it comes to quality, cost, and materials.
For every fiber, the price depends on the level of quality.
For example, even 100% New Zealand wool can be of high quality and higher price range-and also of a low price rang. If the customer is willing to compromise quality for the sake of cost, then so be it!
Choosing New Zealand wool of the highest grade will ensure that the lanolin content of the wool is high. Lanolin gives a natural water protective layer to the fibers, making the rug stain resistant. High quality New Zealand wool also has longer strands that make up the thread, meaning the yarn is stronger. These longer strands are the secret to making sure a rug retains its original quality for longer, and aids in the reduction of fluffing and shedding.
Some other fibers that are used include silk, bamboo silk, viscose and nylon.
Silk is usually the most expensive fiber, and nylon and viscose are usually the least expensive. Wool and Bamboo Silk combinations are very popular among those looking at mid-range prices for a high-end product.
Each of these fibers has its place in designing a rug.
Talk to a consultant at TSAR about which fibers best suits your style and practicality requirements.
2. MANUFACTURING TECHNIQUE
While both techniques produce high quality products, hand-tufting is a less costly option than hand-knotting. This is due to the amount of time, excellence and mastered technique required to create a hand-knotted rug.
For this reason, hand-knotted rugs are often seen as a more sentimental investment. The same price difference exists in the cost of craftsmanship- lower quality craftsmanship is cheaper than artisan craftsmanship.
The intricacy of your chosen design will dictate how long the manufacturing process will take, plus the level of craftsmanship required to produce the rug. These factors will ultimately affect the final price.
A more detailed design, such as using multiple colors and/or fibers, will have a higher price than a rug of a single color and basic pattern.
4. PILE HEIGHT AND WEIGHT
Pile height is another contributing factor to the price of a rug. The thicker the rug and the more raw material required to make it, the higher the overall price.
The weight of a rug is also an important factor in determining the cost of the product. The more densely a rug is tufted or knotted, the more expensive it will be in relation to its pile height.
High density rugs are sturdier, so they are perfect for high traffic areas like foyers, hallways or under dining room tables where you want to minimize indentation.
5. QUALITY OF FINISH
Other prices variations between suppliers can indicate quality of latex (for tufted rugs), quality of backing material, and quality of finishing.
Each of these five factors affect the longevity and beauty of your rug, along with the price.
The best and most useful advice for our customers?
Buy the best you can afford. A higher quality rug will last a longer time, and retain its original texture and design.
Contact TSAR for any questions, concerns, or to speak with one of their design consultants anywhere in the world.
We spoke to David Sharpley CEO and founder of Tsar Carpets to find out what’s what in rug manufacturing techniques. With 30 years experience he is well qualified to break it down for us!
Trixi Design – Hand-Tufted with natural undyed NZ Wool, and dyed Bamboo Silk”
Generally, there are two main techniques used in rug and carpet manufacturing: hand knotting, and hand tufting.
Hand-tufting is a relatively modern technique by which the fibers are punctured through a large canvas to create the rug.
TUFTED – Hand-Tufted Front
The threads on the back are then secured by a latex backing, and the front is hand-shorn and sculpted as required.
TUFTED BACK-Hand-Tufted Back
It is an impressively fast process in comparison to hand knotting, and the level of complexity that can be achieved in design is unbeatable.
It is a great option for custom carpets and rugs where excellence of fiber and a speedy delivery are priorities.
Hand-knotted rugs are the original way of weaving rugs. Cotton threads are strung up on a loom and the fibers are woven and knotted through by hand.
Traditionally, the knotting technique used differs from region to region, and is carried out by specialized artisans, as it is an extremely intricate technique that requires a great level of expertise.
It is a slow process, but the end result is a worthy investment. As no glues are used, the rug can be washed, and will last for centuries.
Both techniques have their place in finding the perfect rug for your home. Chat to one of the in-house designers at TSARabout which technique works best for you!
For more tips on what to look for when buying a rug visit TSAR NEWS.
Finding a foothold on visions and dreams is never as easy as it seems. With a passion for the French countryside and plenty of will power to boot, two determined Aussie couples embarked on the tireless quest of acquiring a breathtaking property. After an arduous hunt, Ian and Ruth Bird decided it was time to go back to their home in the U.K. while Ian’s brother David and his wife Marie returned to Australia from France. Once home Marie discovered an email highlighting clues to an undiscovered gem. With some deliberation, they decided it was time to take the irresistible, yet challenging opportunity to purchase a magnificently positioned property.
The glorious house appropriately titled La Maison Oiseux (House of Bird), is made up of two residences, and quietly nestled in the French countryside located in Cordes-Sur-Ciel. After signing on the dotted line, both couples realized that was only half the battle. Ultimately, they would have to begin the herculean task by designing the interiors remotely.
Faced with a major renovation, they decided to stay away from dark rooms with little daylight, mixed with garish color contrasts they had previously seen in the area. “The house has that special something that makes you throw caution to the wind,” says Ruth. That meant renovating from a distance and calling on the services of TSAR.
With the help of an architect, space was redesigned in order to maximize the views across the front of the property. Each of the partners relished the task of designing the interiors.
Paint colors were chosen to reflect the view and with the help of the design team at TSAR, two gorgeous rugs were designed to invite the colours from the magnificent countryside inside. One rug features wonderful sunflowers that are abundant in the fields nearby.
One could say that the property offers a home away from home, encompassing the epitome of true Joie de Vivre! Coupled with the secret essence of the beautiful French countryside, history, food and culture, TSAR has truly brought the bon vivant outside to the inside of La Maison Oiseaux.
“The Cetak collection is another example of our relentless pursuit to create the ultimate rugs with matching texture and feel to meet the expectation we have when looking at the ancient, timeless and beautiful designs.” – David Sharpley, CEO TSAR Carpets and Rugs
This collection pays homage to the aesthetic of Indonesian textiles. Although rug-making is traditionally a laborious and exacting process, the Cetak Collection challenges and celebrates spontaneity in craft and design.
Drawing on the art of woodblock printing, natural accidents in this ancient tradition are fully embraced, giving Cetak designs a beauty of serendipity, that give way to natural patterns and organic elements. The result is a raw, breezy and playful rug collection, perfect for contemporary and rustic inspired interiors.
“In real life the rugs are tactile and exceed the perception we adopt when seeing the beautiful designs. The actual texture are not industrious and don’t feel manufactured. The result is rewardingly remarkable.” David Sharpley, CEO TSAR Carpets