Potter-turned-home-design guru Jonathan Adler is a man with a peripatetic mind, inspired in equal parts, it seems, by classic modern design, Surrealism and pop culture.

Although his namesake company has expanded into a mini empire touching just about every aspect of modern living — chairs and ice buckets, wallpaper and menorahs, chandeliers and rugs — made in myriad materials, Adler still creates almost every object in clay first. His guiding principle is a simple one: “I make the stuff I want to surround myself with, and I surround myself with it.”

Adler grew up in a New Jersey farm town. His grandfather became a local judge, and his father returned home after graduating from the University of Chicago. “My pop was a brilliantly talented artist. At one point, he had to decide whether to become an artist or a —,” he pauses, searching for the right word, “person.” His father became a lawyer but spent all his free time in his studio, “making art, unencumbered by the need to make money from it. It was a totally pure pursuit.” Adler’s mother, who had worked at Vogue and moved to the rural town reluctantly, was also creative, and both parents encouraged their three children’s creativity.

When he was 12, Adler went to sleepaway camp, where he threw his first pot. “And it was on,” he says. His parents bought him a pottery wheel, and he spent the remainder of his adolescence elbow-deep in clay. Even while majoring in semiotics and art history at Brown University, he hung out at the nearby Rhode Island School of Design, making pots.

Adler moved to New York City, worked briefly in entertainment, and in 1993 returned to his true love, throwing pots (in exchange for teaching classes) at a Manhattan studio called Mud Sweat & Tears. One day, at Balducci’s food market, he ran into Bill Sofield, an old friend who had recently cofounded, with Thomas O’Brien, the now-legendary Aero Studios, a design firm and shop. Sofield paid a studio visit and promptly gave him an order. Then, another friend introduced Adler to a buyer at Barneys New York, who also wrote an order.

For about three years after Adler began devoting himself to ceramics full-time. Despite the street cred of both Aero and Barneys, he also wasn’t really making enough money to live on. Then, in 1997, he teamed with Aid to Artisans, a nonprofit aimed at creating economic opportunity for skilled artisans in developing countries, and traveled to Peru to hire potters who could follow his designs, thus increasing production.

Adler’s first store opened in 1998, in the Soho shopping mecca in Manhattan. He now operates about two dozen shops, as far-flung as London and Bangkok. During Adler’s trip to Peru, he connected not only with potters but also with several talented weavers and decided to branch out into textiles. Other categories followed, leading him to travel the world in search of artisans who could execute his endless supply of ideas. In India, Adler found a man who’s expert at beadwork; he has his limed furniture made in Indonesia, his honey-colored wood pieces in Vietnam.

After a friend asked him to decorate her house, Adler expanded to interior design, taking on hotels as well as private residences — projects for which he remains “agnostic,” using pieces by other designers. “I really try to get to know my clients and then make them seem more glamorous and more eccentric than they think,” he says. “I see myself as a slimming mirror for them.”

Find Jonathan Adler seating, case pieces, decorative objects and other furniture on 1stDibs.

A Close Look at brutalist Furniture

The design of brutalist furniture encompasses that which is crafted, hewn and worked by hand — an aesthetic rebuke (or, at least, a counterpoint) to furniture that is created using 21st-century materials and technology. Lately, the word “brutalist” has been adopted by the realms of furniture design and the decorative arts to refer to chairs, cabinets, tables and accessory pieces such as mirror frames and lighting that are made of rougher, deeply textured metals and other materials that are the visual and palpable antithesis of the sleek, smooth and suave.

ORIGINS OF BRUTALIST FURNITURE DESIGN

Brutalism emerged during the mid-20th century
Term coined by architecture critic Reyner Banham
Originated in the United Kingdom
Brutalist architecture gained popularity in the United States beginning in the early 1960s
Inaugural brutalist projects include Unité d'habitation and the city of Chandigarh, India, both of which owe to influential architect Charles-Édouard “Le Corbusier” Jeanneret
Le Corbusier’s cousin, Pierre Jeanneret, designed hundreds of chairs, tables, cabinets and lamps for Chandigarh
Informed by the Bauhaus, constructivism, modernism and the International Style; part of mid-century modernism
Contrasted starkly with Beaux Arts style

CHARACTERISTICS OF BRUTALIST FURNITURE DESIGN

Use of industrial materials — tubular steel, concrete, glass, granite
Prioritizes functionalism, minimalism and utilization of negative space
Spare silhouettes, pronounced geometric shapes
Stripped-down, natural look; rugged textures, modular construction
Interiors featuring airy visual flow and reliance on neutral palettes

BRUTALIST FURNITURE DESIGNERS TO KNOW

VINTAGE BRUTALIST FURNITURE ON 1STDIBS

The term brutalism — which derives from the French word brut, meaning “raw” — was coined by architecture critic Reyner Banham to describe an architectural style that emerged in the 1950s featuring monumental buildings, usually made of unornamented concrete, whose design was meant to project an air of strength and solidity.

Le Corbusier essentially created the brutalist style; its best-known iterations in the United States are the Whitney Museum of American Art, which was designed by Marcel Breuer, and Paul Rudolph's Yale Art and Architecture Building. The severe style might have been the most criticized architectural movement of the 20th century, even if it was an honest attempt to celebrate the beauty of raw material. But while the brutalist government buildings in Washington, D.C., seemingly bask in their un-beauty, brutalist interior design and decor is much more lyrical, at times taking on a whimsical, romantic quality that its exterior counterparts lack.

Paul Evans is Exhibit A for brutalist furniture design. His Sculpture Front cabinets laced with high-relief patinated steel mounts have become collector's items nonpareil, while the chairs, coffee table and dining table in his later Cityscape series and Sculpted Bronze series for Directional Furniture are perhaps the most expressive, attention-grabbing pieces in American modern design. Other exemplary brutalist designers are Silas Seandel, the idiosyncratic New York furniture designer and sculptor whose works in metal — in particular his tables — have a kind of brawny lyricism, and Curtis Jere, a nom-de-trade for the California team of Curtis Freiler and Jerry Fels, the bold makers of expressive scorched and sheared copper and brass mirror frames and wall-mounted sculptures.

Brutalist furniture and sculptures remain popular with interior designers and can lend unique, eccentric, human notes to an art and design collection in any home.

Find authentic vintage brutalist chairs, coffee tables, decorative objects and other furniture on 1stDibs.

Materials: brass Furniture

Whether burnished or lacquered, antique, new and vintage brass furniture can elevate a room.

From traditional spaces that use brass as an accent — by way of brass dining chairs or brass pendant lights — to contemporary rooms that embrace bold brass decor, there are many ways to incorporate the golden-hued metal.

“I find mixed metals to be a very updated approach, as opposed to the old days, when it was all shiny brass of dulled-out silver tones,” says interior designer Drew McGukin. “I especially love working with brass and blackened steel for added warmth and tonality. To me, aged brass is complementary across many design styles and can trend contemporary or traditional when pushed either way.”

He proves his point in a San Francisco entryway, where a Lindsey Adelman light fixture hangs above a limited-edition table and stools by Kelly Wearstler — also an enthusiast of juxtapositions — all providing bronze accents. The walls were hand-painted by artist Caroline Lizarraga and the ombré stair runner is by DMc.

West Coast designer Catherine Kwong chose a sleek brass and lacquered-parchment credenza by Scala Luxury to fit this San Francisco apartment. “The design of this sideboard is reminiscent of work by French modernist Jean Prouvé. The brass font imbues the space with warmth and the round ‘portholes’ provide an arresting geometric element.”

Find antique, new and vintage brass tables, case pieces and other furnishings now on 1stDibs.

Finding the Right mantel-mirrors-fireplace-mirrors for You

Antique and vintage fireplace mirrors and mantel mirrors are sophisticated, classic pieces of decor, with the large size of fireplace mirrors making them centerpiece objects. They add character to any room and also create the appearance of space. Fireplace mirrors and mantel mirrors, like any well-placed antique or vintage mirror, can act as a source of light and make a room seem bigger than it is.

Fireplace mirrors were once a status symbol, as only the wealthiest could afford these big, beautiful pieces for their homes. In the 1500s and 1600s, the Venetian glass industry produced mirrors that were luxury items. Their painstaking creation was the result of a secretive process using melted tin, limiting their size and availability.

In the late 17th century, French glassmaker Bernard Perrot radically transformed mirrors. By casting glass into large, flat slabs, his work grew into an international market for mantel mirrors. These mirrors were often set in decorated frames.

French homes transitioned to lower fireplaces and mantels so tall mantel mirrors could fit above them. The design of fireplace mirrors reflected architectural trends. Some in the mid-18th century featured paintings, while others had delicate carvings.

By the 1800s, mantel mirrors had become more widely available. This reflected a dramatic change in glass mass-production technology, which made oversize mirrors more accessible, leading to their proliferation across the globe.

Today, mantel mirrors are still highly regarded statement pieces with an enduring reputation for elegance. Their versatility has allowed them to branch out beyond the fireplace. Their reflectiveness allows them to amplify a sumptuous painting in a bedroom or capture the tiling of a bathroom.

From mid-century modern designs to pieces created in Louis XVI style, there is a mirror for every room and every occasion on 1stDibs.