design

WASHINGTON — The U.S. Commission of Fine Arts on Thursday approved the design for the triumphal arch that President Trump wants built at an entrance to the nation’s capital.

Commissioners, all of whom were appointed by Trump, approved the design despite overwhelming opposition from the public. Approval is a key step in the project’s process.

The proposed arch is one of several projects the Republican president is pursuing alongside a White House ballroom to leave his imprint on Washington.

He has said some of his other projects, such as adding a blue coating to the interior of the Lincoln Memorial Reflecting Pool, will beautify the city in time for July 4 celebrations of America’s 250th birthday.

The U.S. Commission of Fine Arts approved the concept for the arch at its monthly meeting in April.

As presented to the federal agency, the arch itself would stand 250 feet tall from its base to a torch held aloft by a Lady Liberty-like figure on top of the structure. The statue would be flanked on top by two eagles and guarded at the base by four lions — all gilded. The phrases “One Nation Under God” and “Liberty and Justice for All” would be inscribed in gold lettering atop either side of the monument.

A public observation deck on top would provide 360-degree views of the surroundings.

The commission’s vice chairman, architect James McCrery II, said in April that he preferred the arch without the figures on top. Removing them would significantly reduce the arch’s height by about 80 feet. Critics of the project, including an overwhelming number of people who submitted public comment in April, said the arch would be taller than any other monument in the capital city and dominate the skyline.

At a height of 250 feet, the arch would dwarf the Lincoln Memorial, which is 99 feet tall, and be close to half the height of the Washington Monument, an obelisk that is about 555 feet tall.

McCrery also recommended that the lions on the base be removed because that animal is “not a beast natural to the North American continent.” And he objected to plans for an underground tunnel for pedestrians to get to the arch, which would be built on a traffic circle between the Lincoln Memorial and Arlington National Cemetery in Virginia.

Preliminary surveys and testing of the site began last week.

A group of veterans and a historian have sued the Trump administration in federal court to block construction on grounds that the arch would disrupt the sightline between the Lincoln Memorial and Arlington House at Arlington National Cemetery, among other reasons.

Trump and Interior Secretary Doug Burgum have argued that Washington is the only major Western world capital without such an arch. Burgum’s department includes the National Park Service, which manages the plot where Trump wants to put the arch.

Trump’s rehab of the Lincoln Memorial Reflecting Pool is also the subject of a court challenge brought by the Cultural Landscape Foundation, which said the administration’s moves to repaint the bottom of the Reflecting Pool blue without first undergoing relevant reviews ran afoul of federal preservation laws governing historic sites.

The nonprofit group argued in a lawsuit filed last week that the changes at the Reflecting Pool are part of Trump’s broader effort to push through dramatic renovations in Washington without proper reviews and undermine the tone of the area.

A hearing in the case was scheduled for Thursday afternoon in federal court in Washington.

Superville writes for the Associated Press.

Sweden has chosen its future surface combatant, the Luleå class, its largest in decades, in the shape of the French FDI frigate. The unusual design, with its inverted bow, won out against rival warships from the United Kingdom (a vessel based on the Type 31 frigate) and Spain (the all-new ALFA 4000 frigate).

The announcement was made today on the deck of the stealthy Visby class corvette Härnösand. The Visby class is currently the largest surface combatant used by the Swedish Navy, but it will be dwarfed by the Luleå class. While the Visby class has a displacement of 705 tons and a length of 238 feet 6 inches, the French design has a displacement of 4,390 tons and is 400 feet 3 inches long.

According to reports, the Defense Materiel Administration (FMV), Sweden’s defense procurement organization, chose the French design primarily based on its advanced integrated combat systems and the maturity of the design. As you can read about here, the first example for the French Navy began sea trials in late 2024.

15.09.2025 : Départ de la FDI Amiral Ronarc’h de Lorient

Thirdly, Sweden factored the speed of delivery into the equation. This last point reflects the urgency of the requirement, as the country looks to rebuild its naval power since joining NATO and against the resurgent Russian threat.

While Sweden had long been looking for a next-generation warship to follow on from the Visby class, it originally envisaged a more modest design, with four air defense corvettes based on the Visby design. Since then, the Russian full-scale invasion of Ukraine and Sweden’s joining NATO have changed the security landscape dramatically.

When it first pitched its FDI frigate for the program, France had offered to supply Sweden with the first fully equipped warship in 2030, a notably bold timeline. Unlike the rival offers, Naval Group is already building the FDI warships — meaning Frégate de Défense et d’Intervention, or Defense and Intervention Frigate — at its yard in Lorient. Sweden expects to receive one vessel per year starting in 2030.

Despite choosing an off-the-shelf foreign design, there will be industrial benefits for Sweden, with local defense contractors, in particular, Saab, involved in kitting out the warships.

Swedish Prime Minister Ulf Kristersson today heralded the selection of the new warship as “tripling the Swedish [ground- and surface-based] air defenses.” The frigates were always expected to focus heavily on anti-air warfare capabilities, something that’s of growing interest to the Swedish Navy and the importance of which has been underscored by recent conflicts.

For Sweden in particular, a new frigate with enhanced anti-air warfare capabilities will be better able to protect itself, other vessels, and even shore areas or islands, against threats from the air. The overwhelming numbers of crewed aircraft, drones, and missiles that Russia could potentially put up in a conflict involving Sweden have been a significant concern even before the country joined NATO.

The Luleå class will swap out some of the original French combat systems found in the baseline FDI frigate and replace these with locally made equipment.

However, for its critical air defense role, Swedish Minister of Defence Pål Jonsson confirmed that the Luleå class will be armed with two types of missiles from the pan-European MBDA. The first of these is the Aster 30, which, as we have described in the past, is the primary anti-air weapon of the French FDI. In its baseline form, the FDI hull can accommodate 16 Aster missiles in a pair of eight-cell launchers — later vessels will be able to carry 32 by doubling the number of launchers.

The Aster 30 is able to engage targets at more than 75 miles. Recent improvements to the Aster 30 include enhancing its capabilities against anti-ship ballistic missiles (ASBMs), a relatively new type of threat.

Aster 30 will be complemented by the CAMM-ER, the extended-range version of the Common Anti-air Modular Missile that is being added to the five Visby class corvettes, to expand their anti-air warfare capabilities. The CAMM-ER surface-to-air missile can engage a wide variety of threats out to a range of around 25 miles.

In terms of anti-ship missiles, the Swedish boats will carry the locally made RBS 15 instead of the MM40 Exocet on the French ships.

Polish Navy demonstrates the excellence of RBS15

As well as an onboard helicopter, anti-submarine firepower will be entrusted to the Swedish Torped 47 instead of the MU90. This new, lightweight torpedo has recently been tested by the Swedish Navy, being fired from a corvette, and during live-fire exercises from a submarine, as seen in the video below.

Torped 47 – den nya lätta

With its long track record of naval artillery, Sweden will provide the Bofors 57mm instead of the OTO 76mm, while the Bofors 40 Mk 4 will be used as the close-in weapon system (CIWS) in place of the 21-tube RIM-116 Rolling Airframe Missile (RAM). The Bofors 40 Mk 4 can fire Bofors 3P (Pre-fragmented, Programmable, Proximity-fused) ammunition, which can be programmed in six different modes to provide
optimised effect against different targets, including airbursts against aerial drones.

BAE Systems Bofors 3P Counter UAS ammunition

Smaller-caliber guns will be fitted in the form of the Saab Trackfire 12.7mm remote weapon stations (RWS), replacing the Lionfish 20 or Narwhal 20mm.

At this stage, it appears that the French-made SETIS combat management system will be retained on the Swedish warships and not replaced with a local equivalent, such as the Saab 9LV. However, the Sea Giraffe 1X radar, from the same firm, will reportedly be included in the sensor array. This would displace the original Thales Sea Fire radar found in the baseline FDI design and would extend air defense surveillance out to a significant range.

Choosing an existing French design means that Sweden will be able to share some of the costs of the program with other operators. As well as France, Greece is ordering the FDI design, and other potential customers include Sweden’s neighbor, Denmark. At the same time, operating common or very similar warship designs enhances interoperability, especially during joint operations.

The decision also further cements the military relationship between France and Sweden. Welcoming the Swedish choice, President of France Emmanuel Macron today wrote on X that it reflected the burgeoning defense partnership, which has also seen France select the Saab GlobalEye airborne early warning and control (AEW&C) to replace its E-3F Sentry Airborne Warning & Control System (AWACS) fleet, as well as Swedish participation in advanced deterrence. The latter refers to the forward deployment of nuclear-capable French Rafale fighters to Sweden, as European NATO members look at bolstering their deterrence capabilities independent of the United States.

For the Swedish Navy, the primary area of operation has been the Baltic theater, an area of resurgent strategic relevance, as the host to regular and sometimes hostile Russian military activity, maritime, airborne, and also increasingly in the ‘gray zone’ or hybrid warfare.

Once the new Luleå class frigates arrive, starting in 2030, according to plans, the improved capabilities of these powerful vessels will not only bolster Swedish Navy operations in its traditional Baltic area of operations but also out into the wider North Atlantic region, reflecting Sweden’s developing military ambitions as it becomes a more established NATO member.

Contact the author: thomas@thewarzone.com

I’m haunted by the perfection of Roxy board shorts from the early aughts. As a teen surfer girl in El Porto, they were my holy grail. In those years, all the cool surf brands made cute surf clothing, but the emphasis was decidedly more on the aesthetic than the function, which was a bummer when it came to, you know, surfing. Roxy board shorts changed that, especially the particular style I’m thinking of: slightly longer to actually prevent thigh chafe from the board, they sat perfectly on my hips and stayed on with their Velcro and lace-up fly. Unlike when I tried to borrow from the boys section, the board shorts weren’t comically long or baggy or cut straight across the waist. These were made for girls who actually surfed. I bought them in every (very cute) color I could find and surfed them until I couldn’t any longer.

Sonia Kasparian, the original designer of Roxy’s board shorts back in the mid-’90s, smiles in our recent conversation when I recount my astonishment at their discovery. She’s grinning because of course they fit — that was the ethos behind her design. “I wanted [the board shorts] to be totally functional, exactly to the same standards that the men’s were, but designed for women. There was a completely different fit for women than men.” And true to Roxy’s style bona fides, the board shorts looked good enough to pair with a T-shirt. “Everything was designed with the idea of being something that women would not only want to wear in the water, but just wear out walking around in everyday life,” Kasparian explains. “But if you were to go out in the water, those shorts would stay put. They would be comfortable — and they would be completely authentically built.” The brand was testing prototypes in the surf, eventually with pros like longtime Roxy team rider Lisa Andersen, but initially with Kasparian and her fellow Roxy and Quiksilver colleagues Lissa Zwahlen, Melissa Martinez and Amy Grace Patrick, among others. They’d paddle out in the board shorts in the morning to try out their designs before heading into the office, their noses dripping saltwater later in the day as they bent over fabric bins and sales reports.

Some of the first pairs of Roxy board shorts from designer Sonia Kasparian’s personal archive.

(Sonia Kasparian)

The functional ethos was always part of Quiksilver too. For the uninitiated, Roxy is the women’s brand of Quiksilver, the legendary Australian company that began in 1969 and made board shorts that performed as well as they looked. Their innovative, stylish design quickly became a nonnegotiable for the best and coolest surfers, and when Angeleno Bob McKnight discovered the board shorts on a surf trip in the early ’70s, he knew they’d become ubiquitous among surfers in California too. But when McKnight brought the brand to the U.S., he was met with skepticism. As McKnight tells it during our conversation at Quiksilver HQ, when he first approached Walter Hoffman, the renowned California maker of Hawaiian print fabric and eventual supplier and mentor, Hoffman exclaimed that board shorts were “the worst idea I’ve ever heard in my life.” The apparel business, according to him, was an impossible one to succeed in. McKnight protested to Hoffman, though: “We’re not in the apparel business. We’re making equipment for surfers.” The distinction paid off with pros and wannabes alike, and by the time Quiksilver launched Roxy with Kasparian in 1990, they were a cultural juggernaut. PacSun, anyone?

When I ask Kasparian about being a part of my personal archives, about being part of the historical surfwear archives, she’s “just so happy.” Despite Roxy’s eventual runaway success — it’s responsible for about 30% of Quiksilver’s sales — it was hard work to convince others in the industry that there was absolutely a need and a desire for fashionable, functional surfwear for girls. “I mean, you would go into the surf shops and you’d see all this men’s product, and you’d see a poster of the Reef girl with her butt in your face, wearing a thong,” Kasparian recounts. It’s not an exaggeration to say that Kasparian and her team made history, not just for teenage me but for countless other girls who wanted to look and feel confident in and out of the surf. “[Roxy board shorts] changed the dynamic of where women fit in the surf industry. They weren’t just the girls that sat on the sideline with the thong and watched their boys out in the water. They were the ones out in the water. And that was huge.”

I haven’t had any luck in finding the grown-up surfer girl version of Roxy board shorts. I still comb thrift racks and bulk bins for something close enough, even trying on the odd pair of early aughts Quiksilver men’s board shorts, as if, just by wanting it enough, I can somehow manifest the completely different fit that Kasparian was so intentional about designing. But board shorts for women these days just don’t hit the same way, especially the longer ones. They read midlife modesty, not stoke; they’re lacking in the joyous, playful audacity that Kasparian and her team infused into their groundbreaking designs. Maybe the board shorts I’m seeing aren’t the vibe because, well, they’re made for women, not girls, and despite my best efforts to never grow up (see: still surfing), I am in fact an adult woman and no longer a girl. And maybe, most of all, when I say I long for those Roxy board shorts from long ago, what I really mean is that I’m nostalgic for a younger version of myself: a surfer girl who was just discovering clothes that made her feel more like herself, with all the evolutions of that person still ahead of her.

“Yellowstone” and “The New World” actor Q’orianka Kilcher has taken legal action against filmmaker James Cameron, Disney and others she says used her likeness in the wildly lucrative “Avatar” film franchise without her knowledge.

Kilcher, 36, filed her complaint Tuesday in California Central District Court and is suing on numerous counts including misappropriation of likeness, invasion of privacy and interfering with possible financial gain. She is seeking an unspecified amount in damages and a jury trial. The parties involved in the making of the “Avatar” film series “commercially exploited [Kilcher’s] likeness in developing and continuing the Avatar franchise” and “systematically avoided alerting or crediting her,” the lawsuit states.

Disney and a legal representative for Cameron did not immediately respond to a request for comment on Thursday. Cameron’s production company Lightstorm Entertainment, a California-based laser scanning studio and a New Zealand-based VFX firm are also among the co-defendants.

The claim at the core of Kilcher’s lawsuit is that Cameron in 2005 “extracted, replicated and commercially deployed her facial likeness” from a photo of a 14-year-old Kilcher as Pocahontas in the Terrence Malick film “The New World” and used it to inform the facial characteristics of Neytiri, a key character in the “Avatar” franchise played by Zoe Saldaña. Cameron spoke of Kilcher’s influence on the character in an interview with French YouTube channel Konbini. In the video, published in 2024 and noted in the lawsuit, James references the original sketch work for Neytiri. “The source for this was a photograph that was in the L.A. Times as part of the promotion for ‘The New World,’” he said. “It’s a young actress named Q’orianka Kilcher, who played Pocahontas in ‘The New World.’”

He adds in the video: “This is actually her lower face. She had a very interesting face. And I wound up meeting her years later and I gave her a signed print of this [sketch].”

The lawsuit alleges that the final look of Neytiri featured in the “Avatar” films “was not a fleeting inspiration or vague homage; it was a literal transplant of a real teenager’s facial structure into a blockbuster movie character.” In the 2024 interview, Cameron said the model of Neytiri had come to resemble Saldaña after she was cast. The first “Avatar” film was released in 2009 and grossed more than $2.9 billion.

The complaint also claims that the design process for Cameron’s Na’vi character moved on without Kilcher’s consent and that she was not compensated for influencing Neytiri’s design, further alleging that the film team’s actions “violated child performer laws and privacy laws designed to protect minors.” According to the lawsuit, the team behind “Avatar” did not “even attempt to have Plaintiff audition for the role of Neytiri” and refused the actor after her agent attempted to book a reading for the sci-fi epic.

Kilcher accuses Cameron of “creating a misleading narrative that she was simply unavailable” to appear in the original “Avatar” film and of leading her on with the idea of potentially appearing in later “Avatar” movies. Cameron released “Avatar: The Way of Water” in 2022 and “Avatar: Fire and Ash” in 2025.

The lawsuit said Cameron and Kilcher crossed paths at a Hollywood environmental charity event in 2010 and he instructed her to later pick up a “surprise gift” at his production offices. According to the lawsuit, Cameron gifted Kilcher a framed and signed print of the original Neytiri sketch with the note: “Your beauty was my early inspiration for Neytiri. Too bad you were shooting another movie. Next time.” Kilcher said she found the note confusing at the time. She had also contacted Cameron over the years, but “nothing concrete materialized,” according to the lawsuit.

The 99-page complaint describes Kilcher as an Indigenous actor-activist, noting she is of Quechua-Huachipaeri heritage. The lawsuit also alleged Cameron’s actions were hypocritical of his films’ messaging and detailed public backlash Cameron and the films faced for its depictions of Native groups.

“The result was a highly lucrative film franchise that presented itself as sympathetic to Indigenous struggles,” the lawsuit said, “all while silently exploiting a real Indigenous youth behind the scenes.”

According to her complaint, Kilcher “learned of the betrayal Cameron had kept from her” in August 2025, after video of the filmmaker discussing Neytiri’s design came across her social media feed. She “was shocked, heartbroken, and felt utterly betrayed,” and was motivated to reexamine and scrutinize archival “Avatar” materials. That included behind-the-scenes footage featured in a recent Blu-ray DVD release and an “Avatar” production art book, which, according to the lawsuit, did not credit the actor. The suit includes several side-by-side photos of Kilcher in “The New World” and various Na’vi characters from “Avatar” material.

In addition to damages and a jury trial, Kilcher seeks a public statement acknowledging her contributions and correcting “any false or misleading statement about her,” and payment of profits attributable to the “unauthorized” use of the actor’s likeness and identity.

Designers Jeanine Hattas Wilson and Julie Hattas Kennedy’s magical transformation of a 4-foot-by-4-foot storage closet at this year’s Pasadena Showcase House of Design almost feels like a metaphor for design showcases themselves: not quite real, but pure fantasy.

“It was inspired by our dad, who used to read to us in Woodstock, Ill.,” Wilson says of their immersive storybook escape, which features a delightful hand-painted mural on the walls and tiny lanterns that, when touched, offer a narrated fairy tale. “We wanted to create a special, intimate space for kids.”

Showhouses are always extravagant, and this year’s event takes place inside the 8,000-square-foot former home of Clara Baldwin Stocker, daughter of land investor and racehorse breeder Elias J. “Lucky” Baldwin. Like her father, Stocker was known for her colorful personality and love of lavish things, including parties that lasted for days. (Baldwin Stocker’s 1929 obituary noted that out of her $10-million estate, about $1.5 million was jewelry, “the collection and wearing of which was her hobby.”)

Many of the 30 revamped interior and exterior spaces in the 1907 shingle-style home include details Baldwin Stocker would have loved. The Midnight Garden Dining Room by the House of Pontovi, for example, has an Italian Murano glass chandelier, feminine Art Deco-style swivel chairs with flapper-style fringe and a gold-leaf ceiling that has replaced Calico Corners fabric. The Entertainment Room by Studio Joshua features statement lighting by Los Angeles designer Jason Koharik, an 11 Ravens custom billiards table and a Champagne cooler built into the marble bar.

And the Bloom Lounge by the Art of Room Design is so large that it can accommodate several different seating areas, a game table and a hidden liquor cabinet — another nod to Baldwin Stocker, who was also known as “the Diamond Princess.”

It’s hard to decide what stands out more at the Baldwin Oaks Estate in Arcadia: the layered interiors that look ready for a shelter magazine, or the smaller spaces, like the closets, mudroom and hidden powder rooms that have been transformed into something special.

Here are a few examples of what to expect at the event, which supports youth music programs throughout Los Angeles County.

The Enchanted Room by Hattas Studios

Identical twins Hattas Wilson and Hattas Kennedy of Hattas Studios transformed a small 4-by-4-foot storage closet into a magical forest with their hand-painted mural depicting characters from stories like “Cinderella,” “The Little Mermaid” and “The Frog Prince.” A young Clara Baldwin appears with her dog, Lucky. You can touch the tiny lanterns to hear a story in each scene or simply curl up in the soft green fuzzy chair, close the velvet curtains and let your imagination wander.

Laundry and Craft Room by Arterberry Cooke Architecture

Architect Barrett Cooke turned laundry into a pleasure in this beautiful room, which doubles as a craft room outfitted with new rose-colored cabinets, playful circular Fireclay Tile, quartzite countertops and stunning views of the San Gabriel Mountains. “I straddled making it utilitarian with how beautiful it can be,” Cooke said of the local artists represented, including ceramics by Jen King, stained glass by Molly Miller, oil paintings by Lareina Holsopple and a print by local artist and Jungalow designer Justina Blakeney. “The art ties it all together.”

The vault in the Family Parlor Room by Jamie Loren Home

The family room is the only space with a television, but with a mah-jongg table, the TV hardly seems necessary. “We wanted to create a room where the family can congregate,” said designer Jamie Loren, describing the cozy parlor painted in the color Viridian Odyssey by Dunn-Edwards Paints. She also turned what used to be a gun closet into a “vault” filled with family heirlooms, including a typewriter, perfume, photos, jewelry and a flask. “This is an ode to Clara,” she said.

Powder Room by Rebecca J. Hansen Design Studio

Details make all the difference in the small powder room by Rebecca J. Hansen, who explains that both the room and the nearby vestibule are focused on mixing patterns while keeping a consistent color palette. Hansen chose patterned terra-cotta tile from Foothill Tile & Stone Co. in Pasadena for the walls, and just outside, she used wallpaper from House of Hackney with mythical animals. Brass hardware from Corston Architectural Detail, chalk pastels and bold wood trim painted a marigold color brought everything together. “It feels like I’m in a castle in England,” she said.

The second floor landing by Blue Brick Design

Designer Lara Hovanessian has transformed the foyer walls of both the first and second floors into a striking display for local artists Blakeney, Susanna Speirs Ali and Lareina Holsopple. The spaces feature the newly released Huntington Collection wall covering by Morris & Co. in the iconic Strawberry Thief motif, pink ceilings and Alberto Giacometti-style lighting from Visual Comfort.

The Mudroom by Gex Designs

Inspired by the shingles of the 1907 home, Noelle Gex Djokovich, known for last year’s playful flower-cutting room, has reimagined this space with custom cabinets, patterned floors and charming details such as a dog bed, a Lewis & Wood fabric skirt and a rag rug from Nickey Kehoe. “Adding layers to a small room makes you feel good when you come home,” she said.

The Magnolia Room by Cordrey Collection

Designer Steven Cordrey says the Magnolia wallpaper reflects his Southern roots and the Phillip Jeffries grasscloth on the walls is practical (“It’s easy to clean,” Cordrey says). He also likes to bring the outdoors in, pointing to the views of the estate’s grand oaks and pool from the second-floor bedroom. There’s a hidden touch too: Rock Zehler’s stylish dressing room, inspired by Art Deco and the 1970s, has a secret closet tucked behind a pocket door.

Luxury hotel designer Tatiana Sheveleva, who has worked with brands such as The Ritz-Carlton and St. Regis, has been involved in some remarkable projects and knows a thing or two about hospitality

A luxury hotel designer has revealed the key feature in every room that guests might miss, but it can make a huge difference.

Tatiana Sheveleva, originally from Kazakhstan but living in Toronto, Canada, has been a luxury hospitality designer, including for hotels, resorts and yachts, for 15 years and runs her company, Chapi Design. During her creative career, she’s worked on incredible projects with major brands, including St. Regis Hotels, The Ritz-Carlton, and The Luxury Collection.

These projects have taken Tatiana all over the world, designing interiors for hotels and resorts in Costa Rica, the Dominican Republic, Mexico, Peru, Antigua, Orlando, Nashville, and Toronto. She’s even designed a luxury yacht for the Ritz-Carlton Yacht Collection, Luminara, which boasts 226 suites with private terraces, five restaurants, seven bars, and a wine vault.

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One of Tatiana’s most recent projects was for St. Regis in Cap Cana, Dominican Republic, which was completed last year. “I like to do big properties, and everything we design [at Chapi Design] is custom-made,” Tatiana told the Mirror, “I have been very fortunate to work on different properties around the world.

“But it’s still so surreal for me that I’m working on the most amazing properties in the world, even though I have been doing this for 15 years.”

With a wealth of expertise on luxury interior designs, Tatiana revealed that there’s one key element in every hotel room that guests regularly miss.

The designer said: “The most money is spent on the headboard. Typically, it’s the most expensive piece as it’s often a feature. How you design the headboard depends on the bed’s location, and it can be a strong element of the project’s narrative.”

Tatiana revealed another important feature of any hotel room. “I would say the bathroom, believe it or not. It always gives the guests a good impression, and it’s the first place they go when they check into the room.

“The bathroom area is important. If you design a very unique layout for the washroom, people will start to talk about it. In the washroom, you can create something very sculptural and unique.

“If you are successful enough to create this interesting washroom, first of all, people will be spending more time there, they will have a bath and feel more relaxed. And actually, we spend a lot of our time in there.”

She added: “The light in the bathroom should be accommodating for different scenarios, bright enough to put on make-up but cosy and romantic at the same time. For me, every single washroom I design is very unique.”

Another feature of a hotel room that Tatania argues warrants attention is the bed.

“The mattress has to be comfortable, and the bedding. Also, there might be special glasses by the bedside table; it’s these details,” she said.

The designer likes to add a special feature inside the closet, such as interesting wallpaper, a splash of color, or a pretty stone.

“That’s a unique element you don’t notice right away, but you notice it after,” she added.

For Tatiana, the joy of the job comes from travelling and working with different people. She said: “The whole process is quite fun, and during this process, you get to meet a lot of interesting people who are passionate about projects. I also like to investigate new locations and new countries, because when I was in Kazakhstan, I didn’t really travel much. So, my first project for St. Regis was in Mexico, and it was my dream to go there.

“Mexico has a very unique culture, it’s very colourful, there’s amazing food, and they use alot of bright colours – there’s a lot of celebrations. It was very different, and I was very excited about that. The Dominican Republic is the same. It’s very comfortable, the people and land, it’s very nice.”

And her travels aren’t stopping anytime soon. Tatiana is currently working on mega interior design projects for St. Regis in Costa Rica, The Luxury Collection Hotel in Mexico, and Luxury Hotels in Peru and Antigua, and some projects can take as long as six years to complete.

You can read more about Tatiana’s projects on the Chapi Design website. You can also follow their Instagram page.

Do you have a travel story to share? Email webtravel@reachplc.com

WASHINGTON — Polls show that record numbers of Americans think the country is on the wrong track. Anxious voters find no shortage of corroboration. Seeming proof of national decline is everywhere–the savings-and-loan bailout, an imperial Congress, overpaid executives at the top of underperforming companies, record murder rates in cities, declining school quality, an intractable drug epidemic, spiraling health-care costs and a flat economy riddled with deep pockets of regional recession. We haven’t felt good about ourselves, our country or our future since the Gulf War.

President George Bush’s decline in the polls mirrors this trend. As long as voters were concerned about foreign policy, his high standing compensated for lower ratings on domestic affairs. The Cold War’s end has changed the issue mix of presidential races forever.

The recession is an immediate problem, but that will decline in importance when the growth most economists predict resumes this spring. But the recession masks a deeper fear that our post-Cold War inheritance is a declining standard of living, with high-paying jobs and prosperity flowing overseas. That fear will not recede quickly.

With the recession ending by spring, campaign planners will be tempted to heave sighs of relief and run a status-quo candidacy against the uncertainties of a switch to the Democrats. That would be a serious mistake.

For Bush will never have more fertile ground to lay out a new GOP agenda that addresses the deep fear voters have about the future of America. He can capitalize on the public’s thirst for certainty by laying out a set of ambitious goals–in government, in jobs, in schools and in social progress.

He can start with government. A recent Gallup poll shows 20% blame Bush for the economy’s condition, but 54% blame Congress. Support for term limits and a Trumanesque campaign to fix what’s wrong with Congress will not only pay political dividends, but give him a governing coalition for a second term. Beginning with this week’s State of the Union, Bush should challenge Congress to pass his economic recovery program within 100 days and return it to him for signature. He should also push legislation on health-care reform, education and crime by similarly challenging Congress. To dramatize the push for excellence, he might consider national middle-class merit scholarships for college.

Nor should he give up on trade, despite the Japan trip. Presidential involvement in a few trade confrontations will make his claim to fight for American jobs more credible. Where unfair trading practices are found, executive action on import relief should be swift.

By establishing his vision for the post-Cold War future, contrasting his own activism with Democratic and congressional obstruction, showing that he thinks free trade should benefit us as well as our partners and fighting hard for the middle class–in essence charting a course the country thinks takes us in the right direction and gets us off the wrong track–he’ll win not only reelection but a mandate.

It’s also important to understand this is not the 1984 reelection. Compression of the primary calendar means there are fewer days between the first Iowa caucuses, Feb. 10, and Super Tuesday, March 10, and the Democratic winner-take-all rules could give a front-runner enough momentum to be the apparent nominee by April. There is little prospect for a protracted Democratic primary battle like 1984’s between Gary Hart and Walter F. Mondale.

Because the Democrats won’t be tearing each other apart as long, Bush should engage the Democrats early. But he needs to shore up his own vulnerabilities before he begins to contrast with the Democratic nominee. He needs to sharpen his middle-class message, starting with the economy and people’s fears about the future.

This should be done well before the summer Democratic convention, when the Democratic ticket will have a solid week of national television coverage to engage in Bush-bashing.

It’s also critical to understand this is not 1988. The Democratic nominee will also have learned a lesson from Michael S. Dukakis–define your candidacy before your opponent gets a chance to define it negatively for you. It’s highly unlikely the ’92 Democratic nominee will be kept on the defensive for months as was Dukakis.

This year’s presidential election takes place in politically uncharted territory. It is the first contest of the post-Cold War era, probably the last election with a World War II veteran running for President. World events, from Eastern Europe’s velvet revolutions of 1989 to last summer’s failed Soviet coup, have irrevocably reshaped America’s political landscape.

Foreign policy and defense no longer matter much to voters. Communism’s death also buried anti-communism as an issue. With few external threats, Americans see old relationships through a new prism. They supported the post-war alliance with Japan for mutual security; without the Cold War, that same relationship looks one-sided.

To win reelection, it’s critical to understand what this dramatic shift means. The old rules are gone–now is the time for a new political order in American campaigns. For four decades, we’ve elected presidents against a Cold War backdrop. Now that we’ve won the Cold War, we need a new presidential agenda that’s relevant for the ‘90s.

The proposed 76-metre arch would tower over other iconic landmarks in Washington, DC, and has attracted scrutiny.

United States President Donald Trump’s goal of erecting a colossal arch in Washington, DC, has taken another step forward, with a key agency approving his proposed design for the monument.

The US Commission of Fine Arts, whose members were appointed by Trump, gave its go-ahead to the president’s design for a lofty 76-metre-high (250-foot) arch.

If given final approval, the arch would be built on Memorial Circle, between the Arlington National Cemetery and the Lincoln Memorial. It would tower above other landmarks in the national capital.

White House spokesperson Davis Ingle hailed the commission’s approval as a “step in accomplishing President Trump’s promise to the American people from the campaign trail — to Make America Safe and Beautiful Again”.

But the arch has faced criticism, including for potentially obscuring views of the national cemetery, a resting place for war veterans.

Public Citizen Litigation Group is representing some Vietnam War veterans in a lawsuit against the proposed construction, which they argue needs congressional approval.

Even the vice chair of the Commission of Fine Arts, James McCrery II, suggested that Trump’s proposed “Triumphal Arch” ditch the winged statue and eagles on its top. He also opposed the lions at its base, pointing out that African animals are “not a beast natural to the North American continent”.

The enormous arch is another effort by the US president to leave his mark on the physical landscape of Washington, DC.

In January, he told reporters he wants the arch to be the “biggest one of all”. The commission still needs to vote on final approval for the proposal after reviewing updated designs.

Current plans show the arch would be significantly larger than the Lincoln Memorial, which is 99 feet (30 metres) tall, and about twice as tall as the famous Arc de Triomphe in Paris, which the design resembles.

The phrases “One Nation Under God” and “Liberty and Justice for All” would be written in gold lettering atop either side of the monument.

About three out of every four people who delivered public comments about the project expressed opposition, many of them citing its enormous size.

But the arch is one of several Trump projects that have received public pushback.

Trump has sought to paint the granite of the Eisenhower Executive Office Building white, and his allies plan to close the Kennedy Center for the Performing Arts, a national theatre complex, for two years of renovations, after adding Trump’s name to the exterior.

One of the most permanent changes so far has been the abrupt demolition of the White House’s East Wing, in order to make room for an enormous ballroom, long one of Trump’s priorities.

But that project is likewise entangled in legal battles, with critics arguing that congressional approval is required.

On Wednesday, Judge Richard Leon clarified that construction on underground structures at the ballroom site could continue, as part of an exemption he previously allowed for national security concerns.

But he maintained his short-term injunction against construction on the ballroom itself, batting down Trump’s position that the whole project should proceed.

“Defendants argue that the entire ballroom construction project, from tip to tail, falls within the safety-and-security exception and therefore may proceed unabated,” Leon wrote in Thursday’s ruling.

“That is neither a reasonable nor a correct reading of my Order!”

The president responded on social media by calling Leon an “out of control Trump hating” judge. Leon was appointed in 2002 under Republican President George W Bush.

WASHINGTON — President Trump’s design for the Triumphal Arch he wants built at an entrance to the nation’s capital moved a step forward Thursday after a key agency reviewed the proposal for the first time. One commissioner suggested changes, including losing the Lady Liberty-like statue and pair of eagles that would sit on top of the arch and add to its height.

The arch is one of several projects that the Republican president is pursuing alongside a White House ballroom to leave his lasting imprint on Washington.

The U.S. Commission of Fine Arts voted to approve the concept design for the arch. The seven commissioners, all appointed by Trump, will review an updated version of the design before taking a final vote at a future meeting.

Trump said last week on social media that the arch “will be the GREATEST and MOST BEAUTIFUL Triumphal Arch, anywhere in the World” and a “wonderful addition to the Washington D.C. area for all Americans to enjoy for many decades to come!”

Also on the agenda for the commission’s monthly meeting was his plan to paint the gray granite exterior of the Eisenhower Executive Office Building, which is next to the White House, white.

A third White House-related project, construction of an underground center to conduct security screenings of tourists and other guests, was also up for consideration.

Triumphal Arch

The arch would stand 250 feet tall from its base to a torch held aloft by a Lady Liberty-like figure atop the structure. That figure would be flanked up top by two eagles and guarded at the base by four lions — all gilded. The phrases “One Nation Under God” and “Liberty and Justice for All” would be inscribed in gold lettering atop either side of the monument.

The commission’s vice chairman, architect James McCrery II, said he preferred the arch without the figure and eagles on top. McCrery also objected to the lions on the base.

The arch would be built on a human-made island managed by the National Park Service on the Virginia side of the Potomac River at the end of Memorial Bridge from the Lincoln Memorial in Washington. The arch would dwarf the Lincoln Memorial, which is 99 feet tall, and be close to half the height of the Washington Monument, an obelisk that is about 555 feet tall.

White House press secretary Karoline Leavitt said Wednesday that the arch’s 250-foot height will honor America’s 250 years of existence.

A group of veterans and a historian has sued in federal court to block construction on the grounds that the arch would disrupt the sightline between the Lincoln Memorial and Arlington House at Arlington National Cemetery, among other reasons.

Underground screening center for White House visitors

The U.S. Secret Service, Interior Department, National Park Service, and the Executive Office of the President want to start construction in August on a 33,000-square-foot (3,066-square-meter) center to screen tourists and other visitors to the White House.

It would be built beneath Sherman Park, federal land southwest of the White House, to provide a more secure place to screen those going on White House tours or attending events. The new facility would have seven lanes to ease processing and reduce wait times.

Officials want it operating by July 2028, six months before Trump’s term ends.

Eisenhower Executive Office Building paint job

Trump said the Executive Office Building is beautiful, but he does not like its gray exterior.

“It’s one of the most beautiful buildings anywhere in Washington,” Trump said in August. “I think it’s just incredible, but you have to get past the color because the stone they used was a really bad color.”

Two proposals were given to the commission: Cover the entire building in bright white or paint most of it white while leaving untouched the granite on the exposed basement and subbasement.

In written materials, the White House said the building has been largely neglected since its construction. It said the building’s color, design and massing do not “align visually with the surrounding architecture” and lack ”any symbolic cohesion with the White House.”

The paint job is also the subject of litigation in federal court.

The building sits across a driveway from the West Wing. It was completed in 1888 after 17 years of construction, and its granite, slate, and cast iron exterior makes it one of America’s best examples of the French Second Empire style of architecture.

It originally housed the departments of State, War and Navy. It currently houses offices for the vice president and the National Security Council, among others.

The building is a National Historic Landmark and is also listed on the National Register of Historic Places.

Superville writes for the Associated Press.