Reform Hammered Brass Credenza

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.

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

• Le Corbusier
• Marcel Breuer
• Paul Evans
• Oscar Niemeyer
• Paul Rudolph
• Tom Greene

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.

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.

For get-togethers or large celebratory meals in your already sumptuous dining area, a charming and durable vintage, new or antique buffet, with its decorative and practical features, can truly elevate the experience.

Although often used as a synonym for “sideboard,” a buffet technically possesses a tiered or shelved superstructure for displaying decorative kitchenware. The term derives from buffet à deux corps, a piece that is seen mostly in French Provincial furniture. And while the terms “case pieces” and “case goods” may cause even the most decor-obsessed to stumble, these furnishings — which include buffets, credenzas, cupboards and other must-have items — have been a vital part of the home for centuries.

Buffets are the ideal place to keep serveware and larger serving pieces that you’d rather have tucked away when not in use. They’re typically long and low and can be the perfect option for serving food as well as storing your porcelain and making your space tidy and organized. Feel free to dress up your buffet between meals with decorative objects or stacks of art books.

A buffet can be positioned in your living room, entryway or hall if space allows. But if you intend to permanently pair your case piece with your dining room table, when shopping for your vintage buffet you’ll definitely want to think about your dining room’s space restrictions. Allow for at least two feet of space between your buffet and your table so that guests can easily move to and fro as needed, and a buffet that is convenient for serving food should be as high as a kitchen counter if possible.

If you’re looking for inspiration for your home bar or dining area, find Art Deco buffets, mid-century modern buffets, Hollywood Regency buffets and other varieties on 1stDibs today.