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kalonstudios
Kalon
Sustainable design practice for contemporary furniture and home goods.
Rooted in the emotive power of everyday objects.
Crafted regionally.
Every few years, we take a beat to reintroduce ourselves.
Kalon started in 2007 in a driveway in Los Angeles, with two people, Johann Pauwen and Michaele Simmering, who believed that how something was made mattered as much as how it looked.
For several years, that driveway was the studio. We made pieces there with the help of fellow art school students. Swipe through for baby us.
From the beginning, we built Kalon around the idea of sustainability. Not as a marketing position, but as a way of making a company that reflected our own ideals. Every decision passed through that lens. It still does.
For us, sustainability means looking at the full ecology of a product: the materials, forests, farms, animals, craftspeople, workshops, economies, and communities touched along the way. It means designing for long life, responsible production, and a net positive impact wherever possible. Some days, that goal feels impossible. We have been stubborn about it anyway.
Kalon is, and has always been, a small team. Today, there are four of us in our Los Angeles studio. We produce our work for North America with independent workshops across the United States, including long-standing Mennonite workshop partners. For Europe, we produce with workshops in Germany and Bosnia.
We stand behind the products we make. No compromises in materials, construction, or care. Everything is made with integrity, intention, and the belief that objects should be worthy of the lives they enter.
-Michaele & Johann
Every few years, we take a beat to reintroduce ourselves.
Kalon started in 2007 in a driveway in Los Angeles, with two people, Johann Pauwen and Michaele Simmering, who believed that how something was made mattered as much as how it looked.
For several years, that driveway was the studio. We made pieces there with the help of fellow art school students. Swipe through for baby us.
From the beginning, we built Kalon around the idea of sustainability. Not as a marketing position, but as a way of making a company that reflected our own ideals. Every decision passed through that lens. It still does.
For us, sustainability means looking at the full ecology of a product: the materials, forests, farms, animals, craftspeople, workshops, economies, and communities touched along the way. It means designing for long life, responsible production, and a net positive impact wherever possible. Some days, that goal feels impossible. We have been stubborn about it anyway.
Kalon is, and has always been, a small team. Today, there are four of us in our Los Angeles studio. We produce our work for North America with independent workshops across the United States, including long-standing Mennonite workshop partners. For Europe, we produce with workshops in Germany and Bosnia.
We stand behind the products we make. No compromises in materials, construction, or care. Everything is made with integrity, intention, and the belief that objects should be worthy of the lives they enter.
-Michaele & Johann
Every few years, we take a beat to reintroduce ourselves.
Kalon started in 2007 in a driveway in Los Angeles, with two people, Johann Pauwen and Michaele Simmering, who believed that how something was made mattered as much as how it looked.
For several years, that driveway was the studio. We made pieces there with the help of fellow art school students. Swipe through for baby us.
From the beginning, we built Kalon around the idea of sustainability. Not as a marketing position, but as a way of making a company that reflected our own ideals. Every decision passed through that lens. It still does.
For us, sustainability means looking at the full ecology of a product: the materials, forests, farms, animals, craftspeople, workshops, economies, and communities touched along the way. It means designing for long life, responsible production, and a net positive impact wherever possible. Some days, that goal feels impossible. We have been stubborn about it anyway.
Kalon is, and has always been, a small team. Today, there are four of us in our Los Angeles studio. We produce our work for North America with independent workshops across the United States, including long-standing Mennonite workshop partners. For Europe, we produce with workshops in Germany and Bosnia.
We stand behind the products we make. No compromises in materials, construction, or care. Everything is made with integrity, intention, and the belief that objects should be worthy of the lives they enter.
-Michaele & Johann
Every few years, we take a beat to reintroduce ourselves.
Kalon started in 2007 in a driveway in Los Angeles, with two people, Johann Pauwen and Michaele Simmering, who believed that how something was made mattered as much as how it looked.
For several years, that driveway was the studio. We made pieces there with the help of fellow art school students. Swipe through for baby us.
From the beginning, we built Kalon around the idea of sustainability. Not as a marketing position, but as a way of making a company that reflected our own ideals. Every decision passed through that lens. It still does.
For us, sustainability means looking at the full ecology of a product: the materials, forests, farms, animals, craftspeople, workshops, economies, and communities touched along the way. It means designing for long life, responsible production, and a net positive impact wherever possible. Some days, that goal feels impossible. We have been stubborn about it anyway.
Kalon is, and has always been, a small team. Today, there are four of us in our Los Angeles studio. We produce our work for North America with independent workshops across the United States, including long-standing Mennonite workshop partners. For Europe, we produce with workshops in Germany and Bosnia.
We stand behind the products we make. No compromises in materials, construction, or care. Everything is made with integrity, intention, and the belief that objects should be worthy of the lives they enter.
-Michaele & Johann
It took two years to design a chair we wanted to put next to this table. Indoors the sugar pine holds its color. Outdoors it selves, like the outdoor furniture we grew up with.
It took two years to design a chair we wanted to put next to this table. Indoors the sugar pine holds its color. Outdoors it selves, like the outdoor furniture we grew up with.
It took two years to design a chair we wanted to put next to this table. Indoors the sugar pine holds its color. Outdoors it selves, like the outdoor furniture we grew up with.
Look closely at where the seat meets the frame. Everything happens there.
Material Studies I Dining Chair. On view at The Residence through NY Design Week.
Look closely at where the seat meets the frame. Everything happens there.
Material Studies I Dining Chair. On view at The Residence through NY Design Week.
Look closely at where the seat meets the frame. Everything happens there.
Material Studies I Dining Chair. On view at The Residence through NY Design Week.
Until now, Rugosa’s two material languages had never shared an object. Sugar Pine indoors. Powder-coated aluminum outdoors.
The Material Studies I Dining Chair is where they meet: aluminum where the chair meets the ground, Sugar Pine where it meets the body.
First shown at The Residence for NY Design Week. 144 Vanderbilt.
Photos by @ben__dehaan
Until now, Rugosa’s two material languages had never shared an object. Sugar Pine indoors. Powder-coated aluminum outdoors.
The Material Studies I Dining Chair is where they meet: aluminum where the chair meets the ground, Sugar Pine where it meets the body.
First shown at The Residence for NY Design Week. 144 Vanderbilt.
Photos by @ben__dehaan
Until now, Rugosa’s two material languages had never shared an object. Sugar Pine indoors. Powder-coated aluminum outdoors.
The Material Studies I Dining Chair is where they meet: aluminum where the chair meets the ground, Sugar Pine where it meets the body.
First shown at The Residence for NY Design Week. 144 Vanderbilt.
Photos by @ben__dehaan
Until now, Rugosa’s two material languages had never shared an object. Sugar Pine indoors. Powder-coated aluminum outdoors.
The Material Studies I Dining Chair is where they meet: aluminum where the chair meets the ground, Sugar Pine where it meets the body.
First shown at The Residence for NY Design Week. 144 Vanderbilt.
Photos by @ben__dehaan
Hunt Club House was built as a forever home. @west_of_west designed a low-slung gabled structure in a clearing in the Portland woods, almost entirely of wood: Douglas fir outside, knotty timber and book-matched oak inside, for a family thinking decades ahead.
The Stump belongs here. Solid wood among solid wood, built to be used and kept. A table that will still be here when the kids come home from college.
Photography by @pablo.enriquez. Featured in @the_local_project.
Hunt Club House was built as a forever home. @west_of_west designed a low-slung gabled structure in a clearing in the Portland woods, almost entirely of wood: Douglas fir outside, knotty timber and book-matched oak inside, for a family thinking decades ahead.
The Stump belongs here. Solid wood among solid wood, built to be used and kept. A table that will still be here when the kids come home from college.
Photography by @pablo.enriquez. Featured in @the_local_project.
Hunt Club House was built as a forever home. @west_of_west designed a low-slung gabled structure in a clearing in the Portland woods, almost entirely of wood: Douglas fir outside, knotty timber and book-matched oak inside, for a family thinking decades ahead.
The Stump belongs here. Solid wood among solid wood, built to be used and kept. A table that will still be here when the kids come home from college.
Photography by @pablo.enriquez. Featured in @the_local_project.
Hunt Club House was built as a forever home. @west_of_west designed a low-slung gabled structure in a clearing in the Portland woods, almost entirely of wood: Douglas fir outside, knotty timber and book-matched oak inside, for a family thinking decades ahead.
The Stump belongs here. Solid wood among solid wood, built to be used and kept. A table that will still be here when the kids come home from college.
Photography by @pablo.enriquez. Featured in @the_local_project.
Hunt Club House was built as a forever home. @west_of_west designed a low-slung gabled structure in a clearing in the Portland woods, almost entirely of wood: Douglas fir outside, knotty timber and book-matched oak inside, for a family thinking decades ahead.
The Stump belongs here. Solid wood among solid wood, built to be used and kept. A table that will still be here when the kids come home from college.
Photography by @pablo.enriquez. Featured in @the_local_project.
In May, we join @leibal at ICFF for The Domestic Artifact. A presentation of six American studios working with clarity, conviction, and close attention to material.
Alongside Mock Studio, Thomas Yang, Onibi, HB-AS, and Vy Voi, we’ll present works from Material Studies II; tables and cubes in mirrored aluminum and stone.
May 17–19 at Javits Center. Booth W1162.
@mock.studio @thomasyangstudio @oni.bi @hbas_co @vyvoistudio
In May, we join @leibal at ICFF for The Domestic Artifact. A presentation of six American studios working with clarity, conviction, and close attention to material.
Alongside Mock Studio, Thomas Yang, Onibi, HB-AS, and Vy Voi, we’ll present works from Material Studies II; tables and cubes in mirrored aluminum and stone.
May 17–19 at Javits Center. Booth W1162.
@mock.studio @thomasyangstudio @oni.bi @hbas_co @vyvoistudio
On May 15, we’re joining @wallpapermag , @hellohuman.us , and @publicrecordsnyc for an evening in Brooklyn. Material Studies II on view alongside site-specific installation from a group of independent designers. Public Records open for the night.
We’d hope to see you there.
@ah.um.studio @alma.designstu @byelenamahno @kalonstudios @ladiesandgentlemenstudio @lichennyc @liyangzhang_studio @nonstudiony @oforo.co @platformstudio.world @studiobaldo @thomasyangstudio @vyvoistudio
On May 15, we’re joining @wallpapermag , @hellohuman.us , and @publicrecordsnyc for an evening in Brooklyn. Material Studies II on view alongside site-specific installation from a group of independent designers. Public Records open for the night.
We’d hope to see you there.
@ah.um.studio @alma.designstu @byelenamahno @kalonstudios @ladiesandgentlemenstudio @lichennyc @liyangzhang_studio @nonstudiony @oforo.co @platformstudio.world @studiobaldo @thomasyangstudio @vyvoistudio
On May 15, we’re joining @wallpapermag , @hellohuman.us , and @publicrecordsnyc for an evening in Brooklyn. Material Studies II on view alongside site-specific installation from a group of independent designers. Public Records open for the night.
We’d hope to see you there.
@ah.um.studio @alma.designstu @byelenamahno @kalonstudios @ladiesandgentlemenstudio @lichennyc @liyangzhang_studio @nonstudiony @oforo.co @platformstudio.world @studiobaldo @thomasyangstudio @vyvoistudio
On May 15, we’re joining @wallpapermag , @hellohuman.us , and @publicrecordsnyc for an evening in Brooklyn. Material Studies II on view alongside site-specific installation from a group of independent designers. Public Records open for the night.
We’d hope to see you there.
@ah.um.studio @alma.designstu @byelenamahno @kalonstudios @ladiesandgentlemenstudio @lichennyc @liyangzhang_studio @nonstudiony @oforo.co @platformstudio.world @studiobaldo @thomasyangstudio @vyvoistudio
On May 15, we’re joining @wallpapermag , @hellohuman.us , and @publicrecordsnyc for an evening in Brooklyn. Material Studies II on view alongside site-specific installation from a group of independent designers. Public Records open for the night.
We’d hope to see you there.
@ah.um.studio @alma.designstu @byelenamahno @kalonstudios @ladiesandgentlemenstudio @lichennyc @liyangzhang_studio @nonstudiony @oforo.co @platformstudio.world @studiobaldo @thomasyangstudio @vyvoistudio
„We’ve used Kalon in our projects for years.“ — Colin Stief, General Assembly, in @galeriemagazine
Inside The Residence — a first collaboration with Sarah Zames and Colin Stief of @gen_assembly.
Story by ryanwaddoups · Photos by @ben__dehaan · @assemblylineshop · @galeriemagazine
„We’ve used Kalon in our projects for years.“ — Colin Stief, General Assembly, in @galeriemagazine
Inside The Residence — a first collaboration with Sarah Zames and Colin Stief of @gen_assembly.
Story by ryanwaddoups · Photos by @ben__dehaan · @assemblylineshop · @galeriemagazine
„We’ve used Kalon in our projects for years.“ — Colin Stief, General Assembly, in @galeriemagazine
Inside The Residence — a first collaboration with Sarah Zames and Colin Stief of @gen_assembly.
Story by ryanwaddoups · Photos by @ben__dehaan · @assemblylineshop · @galeriemagazine
„We’ve used Kalon in our projects for years.“ — Colin Stief, General Assembly, in @galeriemagazine
Inside The Residence — a first collaboration with Sarah Zames and Colin Stief of @gen_assembly.
Story by ryanwaddoups · Photos by @ben__dehaan · @assemblylineshop · @galeriemagazine
„We’ve used Kalon in our projects for years.“ — Colin Stief, General Assembly, in @galeriemagazine
Inside The Residence — a first collaboration with Sarah Zames and Colin Stief of @gen_assembly.
Story by ryanwaddoups · Photos by @ben__dehaan · @assemblylineshop · @galeriemagazine
Most furniture belongs to one setting. This piece doesn’t.
Material Studies I in Lime White.
Most furniture belongs to one setting. This piece doesn’t.
Material Studies I in Lime White.
Most furniture belongs to one setting. This piece doesn’t.
Material Studies I in Lime White.
What independent studios share isn’t an aesthetic. It’s discipline. Patience. The freedom to work on their own terms. A refusal to design for a season, and a commitment to make work that outlasts trends, timelines, and expectations.
The Residence gathers a room full of that kind of practice. Curated by @gen_assembly and @assemblylineshop, with work from studios and makers we’ve been watching and thinking about for years.
These are the people we want to keep working near.
Work by @juntosprojects , @incommonwith , @_salamhello_ , @bowenliustudio , @ryedesignstudios , @stevenbukowski , @armadilloandco , @fernhandcrafted , @fort_standard , @h.bigeleisen , @ravenhill__studio , @sibastfurniture , and @yuxuan_huang__
On view at 144 Vanderbilt by appointment, daily. Photos by @ben__dehaan
What independent studios share isn’t an aesthetic. It’s discipline. Patience. The freedom to work on their own terms. A refusal to design for a season, and a commitment to make work that outlasts trends, timelines, and expectations.
The Residence gathers a room full of that kind of practice. Curated by @gen_assembly and @assemblylineshop, with work from studios and makers we’ve been watching and thinking about for years.
These are the people we want to keep working near.
Work by @juntosprojects , @incommonwith , @_salamhello_ , @bowenliustudio , @ryedesignstudios , @stevenbukowski , @armadilloandco , @fernhandcrafted , @fort_standard , @h.bigeleisen , @ravenhill__studio , @sibastfurniture , and @yuxuan_huang__
On view at 144 Vanderbilt by appointment, daily. Photos by @ben__dehaan
What independent studios share isn’t an aesthetic. It’s discipline. Patience. The freedom to work on their own terms. A refusal to design for a season, and a commitment to make work that outlasts trends, timelines, and expectations.
The Residence gathers a room full of that kind of practice. Curated by @gen_assembly and @assemblylineshop, with work from studios and makers we’ve been watching and thinking about for years.
These are the people we want to keep working near.
Work by @juntosprojects , @incommonwith , @_salamhello_ , @bowenliustudio , @ryedesignstudios , @stevenbukowski , @armadilloandco , @fernhandcrafted , @fort_standard , @h.bigeleisen , @ravenhill__studio , @sibastfurniture , and @yuxuan_huang__
On view at 144 Vanderbilt by appointment, daily. Photos by @ben__dehaan
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