Noriyuki Saitoh’s (previously) fascination with insects and painstaking attention to detail transforms delicate pieces of wood into intricate sculptures. Using a range of bamboo materials, including thin paper, he carefully carves the architecture of dragonfly wings, mantis legs, and beetle antennae. While primarily made from wood, he sometimes adds other tiny materials like stone to accentuate the specimens’ eyes.
Explore an ever-growing ecosystem on Saitoh’s website, where he often documents biological facts about each animal and photographs their dramatic interactions.
Left: Tenodera sinensis (Chinese mantis), bleached bamboo, 90 x 92 x 67 millimeters. Right: Aporia crataegi (Black-veined white), bamboo and bamboo paper, 30 x 40 millimetersTenodera aridifolia (Japanese giant mantis) holding Auritibicen bihamatus (cicada), bambooAnoplophora malasiaca (citrus long-horned beetle), bamboo, 40 x 48 millimeters (antennae length: 80 millimeters)Sinictinogomphus clavatus (golden flangetail), bamboo, 100 x 125 x 60 millimetersCeratocrania macra (Malaysian ghost mantis), bambooCyclommatus elaphus (deer stag beetle), bamboo, bamboo paper, and blue tiger eye, 100 x 95 x 40 millimetersCyclommatus elaphus
Spanning 3,500 years of art, science, culture, and history, Tree: Exploring the Arboreal World surveys the awe-inspiring beauty and romance of trees.
Forthcoming from Phaidon, the volume includes more than 300 illustrations ranging from ancient wall paintings and botanical illustrations to captivating photography and multimedia work by today’s leading artists.
Lori Nix and Kathleen Gerber, “Library” (2007), archival pigment print, 48 x 60 inches. Image courtesy of Columbus Museum of Art, Ohio, and Harn Museum of Art, Gainesville, Florida
Tree takes an expansive approach to the topic, introducing scientific and historical inquiry alongside artistic expression and documentation of the planet’s wide variety of species. From a meticulous diorama of an overgrown library by Lori Nix and Kathleen Gerber and patinated metalwork by Shota Suzuki to ancient Egyptian tomb paintings and stunning dragon blood trees photographed by Beth Moon, the book celebrates the myriad ways we are interconnected with trees.
Charles K. Wilkinson, “Funeral Ritual in a Garden” (1921), tempera on paper, 28 × 48 inches. Image courtesy of Metropolitan Museum of Art/Rogers Fund, 1930Shota Suzuki, “Heaven and Earth” (2023), copper, brass, nickel silver and patina, 8 × 8 × 8 1/2 inches Image courtesy of the artistMaria Magdalena Campos-Pons, “Secrets of the Magnolia Tree” (2021), watercolor, ink, gouache, and photograph on archival paper, triptych, overall 132 x 90 inches. Image courtesy of Museum of Modern Art, New York, and Gallery Wendi Norris, San FranciscoGary Fabian Miller, “Breathing in the Beech Wood, Homeland, Dartmoor, Twenty-Four Days of Sunlight” (2004), dye destruction prints, 64 x 64 inches. Image courtesy of the artist and Victoria and Albert Museum, LondonTosa Mitsuoki, “Autumn Maples with Poem Slips” (c.1675), ink, colours, gold leaf and gold powder on silk, 56 x 108 inches. Image courtesy of Art Institute of ChicagoSheikh Zain-al-Din, “Brahminy Starling with Two Antheraea Moths, Caterpillar and Cocoon on Indian Jujube Tree” (1777), opaque colors and ink on paper, 30 × 38 inches. Courtesy of Minneapolis Institute of Art
As a child, Ashley Suszczynski used to draw copiously in her school notebooks and escape into the chimerical worlds of books. “I loved the imaginative illustrations,” she tells Colossal. “Each story sent me into a new world, and I kind of dissociated from my own… Every page was full of magic and mystery—an immersive adventure into lands of mythical monsters, talking animals, the weird and the wonderful.”
The fascination with legends and supernatural creatures persisted into adulthood, forming the basis of Suszczynski’s love for photography, folklore, and cultures around the world. “Several years ago, I learned about a masquerade in the north of Spain called La Vijanera,” she says. “The characters looked like those I had imagined from the pages of my childhood stories.” Anthropomorphic, fur-covered creatures met tree nymphs and spirits of the woodlands, all enrobed in remarkably elaborate handmade costumes.
“Startsi,” Voynyagovo Village, Karlovo Municipality, Plovdiv Province, Bulgaria
Suszczynski delved into further research about European masking rituals and rites, learning about the range of characters, history, and symbolism unique to each tradition. Festivals throughout the continent often centered on common themes, like the cycle of the seasons, life and death, or fertility, while expressing themselves through distinctive costumes. “It seemed as though every tiny village had their own unique ancient rituals that were still thriving in our modern society,” she says.
Language barriers are often the primary obstacle Suszczynski encounters as she travels around the world to meet those who preserve their local customs. In small, rural communities, people often only speak their native language. “There isn’t really any information on the internet about these groups,” she says. “Finding them is always like a treasure hunt. Sometimes I would just drive to a village, go to their town hall with my phone, and Google Translate to the mayor, asking if they had masks there. The townspeople were extremely helpful; they’d often organize the village group with only a day or two notice.”
Some of the characters Suszczynski meets in her ongoing travels include the Bulgarian Kukeri, variations on which may be called Startsi or Chaushi, among others. Elaborate headdresses and costumes made from wool, animal horns, embroidered fabric, bells, and other ornaments invoke the mystical power to usher in new seasons and scare away evil spirits.
“Kukeri,” Kolarovo Village, Petrich Municipality, Blagoevgrad Province, Bulgaria
Capturing the right image poses the next major challenge, as Suszczynski works hard to make people comfortable despite not speaking the same language, and she has formed close friendships in the process. “After nearly every photoshoot, we would wind up in someone’s living room, sharing food and brandy together, looking through old photos, laughing, and learning,” she says.
Suszczynski emphasizes that her role, akin to the people she photographs, is that of a storyteller. Through a visual medium, she hopes to share knowledge and understanding of age-old customs to further the preservation efforts of their bearers. “I want to show people how lesser-known cultures, relics, rites, and rituals have withstood time and evolved in our ever-changing world,” she says.
“Kukeri,” Village of Opanets, Pleven Municipality, Bulgaria
This winter, Suszczynski is planning to photograph some festivals in Mexico and Latin America, and she just finished up documenting the festival of Virgin del Carmen in Paucartambo, Peru. “I am so thankful for each and every person I have photographed,” Suszczynski says. “I couldn’t do any of this without their passion and willingness to share their time, energy, and culture.”
Find more on the artist’s website and Instagram. And you might also enjoy Killian Lassablière’s short documentary “Kukeri” or Roberto de la Torre’s portraits of elaborately masked characters in northern Spain’s Entroidos.
“Chaushi,” Razlog, Blagoevgrad Province, Bulgaria“Harramacho,” Navalacruz, Avila, Spain“Vazovski Jumal,” Ivan Vazovo Village, Kaloyanovo Municipality, Plovdiv Province, Bulgaria“Tranga,” Bielsa, Huesca, Spain
As a child, Ashley Suszczynski used to draw copiously in her school notebooks and escape into the chimerical worlds of books. “I loved the imaginative illustrations,” she tells Colossal. “Each story sent me into a new world, and I kind of dissociated from my own… Every page was full of magic and mystery—an immersive adventure into lands of mythical monsters, talking animals, the weird and the wonderful.”
The fascination with legends and supernatural creatures persisted into adulthood, forming the basis of Suszczynski’s love for photography, folklore, and cultures around the world. “Several years ago, I learned about a masquerade in the north of Spain called La Vijanera,” she says. “The characters looked like those I had imagined from the pages of my childhood stories.” Anthropomorphic, fur-covered creatures met tree nymphs and spirits of the woodlands, all enrobed in remarkably elaborate handmade costumes.
“Startsi,” Voynyagovo Village, Karlovo Municipality, Plovdiv Province, Bulgaria
Suszczynski delved into further research about European masking rituals and rites, learning about the range of characters, history, and symbolism unique to each tradition. Festivals throughout the continent often centered on common themes, like the cycle of the seasons, life and death, or fertility, while expressing themselves through distinctive costumes. “It seemed as though every tiny village had their own unique ancient rituals that were still thriving in our modern society,” she says.
Language barriers are often the primary obstacle Suszczynski encounters as she travels around the world to meet those who preserve their local customs. In small, rural communities, people often only speak their native language. “There isn’t really any information on the internet about these groups,” she says. “Finding them is always like a treasure hunt. Sometimes I would just drive to a village, go to their town hall with my phone, and Google Translate to the mayor, asking if they had masks there. The townspeople were extremely helpful; they’d often organize the village group with only a day or two notice.”
Some of the characters Suszczynski meets in her ongoing travels include the Bulgarian Kukeri, variations on which may be called Startsi or Chaushi, among others. Elaborate headdresses and costumes made from wool, animal horns, embroidered fabric, bells, and other ornaments invoke the mystical power to usher in new seasons and scare away evil spirits.
“Kukeri,” Kolarovo Village, Petrich Municipality, Blagoevgrad Province, Bulgaria
Capturing the right image poses the next major challenge, as Suszczynski works hard to make people comfortable despite not speaking the same language, and she has formed close friendships in the process. “After nearly every photoshoot, we would wind up in someone’s living room, sharing food and brandy together, looking through old photos, laughing, and learning,” she says.
Suszczynski emphasizes that her role, akin to the people she photographs, is that of a storyteller. Through a visual medium, she hopes to share knowledge and understanding of age-old customs to further the preservation efforts of their bearers. “I want to show people how lesser-known cultures, relics, rites, and rituals have withstood time and evolved in our ever-changing world,” she says.
“Kukeri,” Village of Opanets, Pleven Municipality, Bulgaria
This winter, Suszczynski is planning to photograph some festivals in Mexico and Latin America, and she just finished up documenting the festival of Virgin del Carmen in Paucartambo, Peru. “I am so thankful for each and every person I have photographed,” Suszczynski says. “I couldn’t do any of this without their passion and willingness to share their time, energy, and culture.”
Find more on the artist’s website and Instagram. And you might also enjoy Killian Lassablière’s short documentary “Kukeri” or Roberto de la Torre’s portraits of elaborately masked characters in northern Spain’s Entroidos.
“Chaushi,” Razlog, Blagoevgrad Province, Bulgaria“Harramacho,” Navalacruz, Avila, Spain“Vazovski Jumal,” Ivan Vazovo Village, Kaloyanovo Municipality, Plovdiv Province, Bulgaria“Tranga,” Bielsa, Huesca, Spain
While a seaweed known as bladderwrack might not sound like something you’d want to eat, the unique kelp is in fact quite tasty and gets its name from small air pockets in its leaves akin to tiny bladders. For glass artist Andrea Spencer, the tendrils, bulbs, fronds, and combinations of organisms provide the starting point for an ongoing series of elegant sculptures.
Just inland of the rugged North Antrim coastline in Northern Ireland, Spencer and her husband, glassblower Scott Benefield, work in studios set up in outbuildings of a former farm. “My process usually starts with collecting or recalling something seen or found in the natural world,” Spencer says. “This becomes a point of departure, and I proceed by manipulating and transforming the material: creating, assembling, and arranging forms.” Back in her studio, she displays the items she’s collected by suspending or pinning them into layered compositions and capturing them in drawings or glass.
“Siren’s Song”
Spencer first became interested in the medium during a two-year program focused on constructed textiles, when her research led her toward stained glass. She became enthralled by the work of John Piper and Patrick Reyntiens, and she traveled around England to document as much of their work as she could find. The artist then enrolled in the Architectural Glass program at the University of Edinburgh before moving to Northern Ireland and devoting time to studio work as much as possible.
The challenge of portraying realistic botanicals is matched by Spencer’s interest in physical fragility. “I am intrigued with how the material behaves when it is pushed to the extreme and how glass will display the evidence of that behaviour,” she says. “Often the pieces I make are exceedingly fragile.” The walls of hollow forms can sometimes be as thin as an eggshell, and suspended pieces hang by glass threads less than a millimeter thick.
“Seaweed Bladderwrack”
“My pieces are more than mere botanical or sea life models, though,” she says. Her sculptures often take the form of flowers or foliage found on land, inspired by interactions with light and conceptually linking nature to humanity. “Leaf veining recalls our own circulatory system; a mermaid’s purse becomes a womb,” she says. “The fragility of the natural object aligns with the delicacy of the glass object, which speaks to the perilous aspects of life in general.”
Spencer is currently focused on teaching, preparing work for forthcoming group shows in London and Belfast and designing a custom glass ornament commissioned by a Royal establishment. Keep an eye on the artist’s website and Instagram for updates, and purchase pieces directly from Benefield Spencer Glass Shop.
Detail of “Flotsam and Jetsam.” Photo by Studio David Pauley“The Shallows I”“We the Drowned.” Photo by Simon MillsDetail of “We the Drowned.” Photo by Simon Mills“Seaweed Irish moss”“The Shallows III”
When artist Lee ShinJa was born in 1930 in Uljin, Korea, during a period of Japanese colonial rule, textile traditions were largely rooted in domestic uses and craft. But for Lee, who took in her mother’s and grandmother’s lessons in sewing and weaving, fiber proved to be a material of experimentation and innovation.
Weaving the Dawn, the artist’s New York debut at Tina Kim Gallery, showcases several decades’ worth of tapestries that challenge the boundaries of the art form. On view are preliminary sketches, research, and works that highlight the evolution of her techniques and style.
“Screen” (1979), cotton thread on linen cloth, 52 x 35 1/2 inches
Early pieces like “Image of City” punctuate smooth cotton cloth with patches of loose, meandering threads in neutral tones, while later works like “Spirit of Mountain” are rendered in full color. A bright turquoise sky spans the tapestry with monumental landforms rising in the foreground. Part of a larger series evoking the topography of Lee’s hometown, the piece emerged from a desire to capture the unparalleled beauty of her birthplace. The artist explained:
Growing up in a rural area, I vividly remember the intense sunlight at sunrise and sunset. I have cherished memories of climbing mountains with my father every morning to witness these moments. The sunlight rising from the East Sea left a lasting impression on me. I have always believed in creating nature as I see it. However, I still feel that my work has yet to match the beauty of my hometown.
Lee is often lauded for her technical innovation and commitment to exploring the possibilities of fiber. The aforementioned “Image of City” is one such example. “She unraveled the plain weave of the base fabric and twisted subtly colored threads to the loosened ones to create a structural tension previously unseen in traditional textiles,” a statement from the gallery says.
“Dawn” (c.1980s), wool thread, 88 5/8 x 57 1/8 inches
In addition to her inventive approaches, Lee also introduced unconventional materials, including thin metal dowels that bisect abstract landscapes and geometric forms in works like “Hope.” She also incorporated burlap sacks and unraveled wool sweaters, a practice she developed while studying at Seoul National University in 1955 while Korea was recovering from the war.
“I love creating new things, and there were no teachers to learn from at university, so I worked independently,” Lee told Artsy. “I wanted to do something different from what others were doing. The establishment of textiles as an academic field in Korea didn’t come until much later.”
Given her autobiographical subject matter—which includes the landscapes of her childhood and also her responses to her husband, the painter Jan Woonsang, being credited with making her early work—Lee’s tapestries can be read as a feminist infusion of personal experience and critique. That she’s helped to garner art-world recognition for what’s long been considered a domestic craft firmly secures her place among 20th-century pioneering women artists.
Weaving the Dawn runs through September 28.
“Image of City” (1961), cotton, linen, and wool thread on cotton cloth, 46 7/8 x 29 1/2 inches“Wall Hanging” (1976), cotton and wool thread, 59 7/8 x 32 3/4 inches“Hope” (2001), wool thread and metal, 28 3/4 x 30 inchesLee ShinJa in her studio in Icheon, 2011. Photo courtesy of the artist
In terms of genes, humans are actually more closely related to mushrooms than plants! That’s because key characteristics—how we store energy, how our cells are built, and our ability to produce Vitamin D when exposed to the sunlight—are found in fungi but not trees or grass. And that’s only the beginning of our fascination with the mycological world, which yields an endless source of inspiration for avid forager, educator, and artist Julie Beeler.
Beeler’s new book, The Mushroom Color Atlas: A Guide to Dyes and Pigments Made From Fungi, dives into the chromatic world of mushrooms. Published by Chronicle Books, the volume is part field guide and part how-to, shepherding readers through identifying different species, harvesting, and distilling a range of hues. The author has collected 500 swatches to illustrate the phenomenal range of natural colors that can be made from different varieties.
While Beeler provides step-by-step instructions for making your own hues, above all The Mushroom Color Atlas emphasizes foraging and hand-processing pigments as a way to more intimately connect with nature, sparking the joy of discovery through creativity and exploration. Grab your copy in the Colossal Shop, and you might also enjoy browsing through the chromatic world of fungus on the project’s website.
While rays live alone for most of the year, they gather during breeding or migration into groups known as fevers, which number in the hundreds and sometimes thousands. Mobula rays, like those captured in an aerial view by Laura Leusko off the coast of Baja California Sur, Mexico, demonstrate a timeless behavior while reminding us that industrial fishing and pollution continue to take a toll on marine wildlife globally.
Ocean Photographer of the Year (previously) highlights what makes our planet’s largest bodies of water so spectacular—and so critically in need of protection. Co-presented by Oceanographic Magazine and Blancpain Ocean Commitment, the annual competition invites amateur and professional photographers from around the world to share images showcasing the spectacular wildlife, cultures, scientific inquiry, and conservation efforts in and around our oceans.
This year’s submissions include images of dramatic encounters, maritime history, enduring cultural traditions, the violent and critical effects of human actions, and significant restoration efforts. From Mizael Palomeque Gonzalez’s up-close view of a spotted eagle ray to Celia Kujala’s distressing photo of a polar bear with a piece of plastic in its mouth to Tobias Friedrich’s interaction with a sunken ship, the finalists’ images survey the diversity of our oceans and the urgent need to conserve their fragile ecosystems.
See some of our favorite photos here, and keep an eye out competition’s website and Instagram, where winners will be announced on September 12. An exhibition is also slated to open on November 28 at the Australian National Maritime Museum in Sydney before it travels to several more venues.
Andrey Shpatak. A giant Pacific octopus in the shallows, Russia. Wildlife category finalistMerche Llobera. A hunt for sardines, Baja California Sur, Mexico. Wildlife category finalistLaura Leusko. A fever of mobula rays from above, Baja California Sur, Mexico. Wildlife category finalistCelia Kujala. A polar bear plays with a piece of plastic, Kiepert Island, Svalbard, Norway. Conservation (IMPACT) category finalistMizael Palomeque Gonzalez. A spotted eagle ray’s natural pattern, Quintana Roo, Mexico. Fine Art category finalistMerche Llobera. A puffin carries fish to feed its chicks, Saltee Islands, Ireland. Fine Art category finalistGiacomo d’Orlando. Juvenile common clownfish in a hatchery, Jakarta, Indonesia. Conservation (HOPE) category finalistPavlos Evangelidis. Traditional Sri Lankan stilt fishermen at sunset, Koggala, Sri Lanka. Human Connection category finalistTobias Friedrich, Bahamas, Caribbean Sea, Atlantic Ocean. Adventure category finalist
One of the brightest and densest meteor showers of the year, the Perseids pour down every August, leaving glowing streaks in their wake. Photographer Josh Dury captured this year’s stellar spectacle near Stonehenge, showing the fireballs illuminating the sky above the prehistoric grounds in Wiltshire, England.
On August 9, Dury camped out at the ancient monument—which aligns the sunrise on the summer solstice and the sunset on the winter solstice—to capture 46 images he later stitched together into the stunning composite above. Between 50 and 100 meteors are typically visible per hour when the Perseids arrive, and the photographer spent about three hours on location.
With the brilliant Milky Way bisecting the frame, the resulting image is a striking tribute to celestial wonders past and present. “For me, the pertinent narrative of this ancient firework display, formed by some of the most ancient astronomical material of our solar system seemed a fitting tribute to the world-famous astronomical monument that is Stonehenge,” he told PetaPixel.
Creating an inviting kitchen is essential for the entire family because it promotes togetherness and improves the overall atmosphere of the home. An appealing kitchen encourages family members to gather, share meals, have meaningful conversations, and simply hang out together. It becomes the center of a busy home life, where everyone feels at ease and welcome, strengthening family bonds and improving the quality of life together.
Making your kitchen inviting is more important than ever because kitchens are frequently multi-purpose spaces used for cooking, eating, studying, resting, and socializing. Creating a space that can accommodate all of these functions will bring your family and guests together in one location.
Investing in comfortable seating options in your kitchen is one of the most critical ways that you can make your kitchen more welcoming. Cushioned chairs and bar stools will encourage family members to sit and linger. Look for unique ways to add seating, such as a banquette around a table in the corner or extra stools that can be pulled out when you have extra guests.
To encourage face-to-face interaction, arrange seating in conversational groups whenever possible. This will facilitate conversation while also making your kitchen feel more organic and natural.
Lighting has a significant impact on how inviting your kitchen feels. Pendants, sconces, chandeliers, undercabinets, and inset lighting will provide ample lighting for whatever tasks people want to perform in the space. Make sure the lights have a warm temperature, which feels cozier than cool light but is bright enough to keep the kitchen functional.
Everyone is drawn to natural light. Enhancing the natural light in the kitchen will make it feel more open and cheerful. Invest in window coverings such as Roman shades, cafe curtains, or roller blinds that provide privacy while still allowing for natural light.
Accents like personal pictures, mementoes, heirloom dishware, and collections will not only make your kitchen a more distinctive place, they will also make it feel warmer and more welcoming. These elements tell a story that grounds the family members in a unique and personal narrative that elevates the kitchen beyond its function as a mere cooking space.
Functional Layout
Everyone understands why a functional kitchen layout improves efficiency, but it can also make the space more inviting. Ensuring a user-friendly kitchen layout will make any task more enjoyable and accessible to all. It can accommodate multiple household members working together in the same space without getting in each other’s way.
Open shelving enhances the character of your kitchen by creating a warm and welcoming atmosphere while also improving accessibility. Displaying colorful dishware, artwork, and decor improves its aesthetic appeal and gives the kitchen a more casual appearance than closed storage. Open shelves ensure that items are easier to reach, making the kitchen more convenient for all household members and guests to use. Curate your shelf items carefully. Display colorful and attractive items for aesthetic purposes, as well as commonly used items such as mugs, bowls, and plates.
A warm color scheme is essential to designing a comfortable kitchen. A kitchen can benefit from the use of bright colors as well as gentle, neutral hues. Warm neutrals such as off-white and greige are popular for creating a relaxing kitchen environment. Brighter earth tones, such as blue and green, can boost energy and cheerfulness. Avoid using cool grays and bright whites in the kitchen, as they can give the space a cold, clinical feel.
Though it might seem paradoxical, keeping your area tidy and clutter-free as well as organizing your space, will encourage more people to gather in your kitchen. Making sure to optimize your cabinets, drawers, and pantry space to store and organize your essentials will make the space more usable and improve your ability to find items quickly. Also, a clean space is more relaxing than one that is cluttered, so make sure your storage is in order and the countertops are free of clutter so that it is visually appealing.
Biophilic design is a popular trend right now because it connects the indoors and outdoors, grounding us and enhancing the beauty of the space. The natural world is both attractive and calming, and incorporating fresh greenery into your kitchen can give it the same qualities. Consider growing herbs on your windowsill, keeping succulents on the counter, or buying a tree for the kitchen corner. Small children will enjoy helping to care for the plants, and everyone will appreciate their soothing qualities.
Setting up a music system and creating an open space for board games and puzzles are easy ways to make the kitchen more alluring for household members and guests. Music can set the tone for different activities, such as food prep, or create a relaxing backdrop for breakfast or family dinners.
Soft textiles, such as a rug or comfortable cushions, will add to the kitchen’s cozy and welcoming atmosphere. Instead of selecting a small rug, consider adding a large area rug or runner to your kitchen. This will enhance the appearance of the kitchen by adding color and interest to the space, as well as allowing more people to use the rug. Choose rugs that are both durable and easy to maintain, as these will withstand heavy use and traffic. Rug pads can help secure the rug to the floor and provide extra comfort.
Look for ways to incorporate natural materials into your kitchen, particularly those with warm colors and textures. Wood is a natural element that works well in creating inviting kitchens. Even if you do not have wood floors, cabinets, or countertops, you can add texture to your kitchen with wood accessories such as cutting boards, bowls, and storage containers. Terracotta, stone, cork, leather, natural textiles, and gleaming metals are some other natural materials you might consider using.
Making an open pathway between your kitchen and the outdoors will make it more inviting, and it will also increase your entertainment area. Installing large glass sliding doors, folding doors, or french doors onto a porch, deck, or patio provides a visually appealing view that calms and refreshes and allows al fresco eating during the warm season.
Using pleasant aromas in the kitchen can provide a warm and stimulating sensory experience. The smell of fresh herbs, simmering soup, or baking bread will draw everyone into the kitchen, promising food and perhaps even a communal gathering. Aromatic diffusers, scented candles, and fresh flowers can also be used to add inviting scents to the kitchen, evoking positive emotions and memories and creating a space where people enjoy gathering.
