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Whether you’re in the market for a compound-crystal chandelier or just want a visually stimulating air-conditioning break, it’s worth a stop by new home-décor shop Arhaus. The Cleveland-based retailer’s first Manhattan location, which opened last month in the meatpacking district, is a two-floor, 28,000-square-foot behemoth of plushness. Inside, you’ll find vintage and new pieces from designer Gary Babcock’s world travels to Indonesia and China, in addition to the brand’s mass-produced line of furnishings.

Photo: Janelle Zara

Perhaps the most stunning pieces are the one-of-a-kind light fixtures. Here, Gary combined Italian floral crystal chandeliers with handblown orbs of recycled glass in colors like mercury, amethyst, and smoke. The composite sculpture is a showstopper, but the chandeliers can be purchased individually as well ($1,299 each).

Photo: Janelle Zara

Gary took reproductions of an eighteenth-century bottle-drying rack ($99) and wired them to these chandeliers ($299) to function as light fixtures.

Photo: Janelle Zara

Throwback Edison lightbulbs ($15 each) are updated with hanging ribbons for this customizable fixture. “It’s more mood lighting than task lighting,” Gary says.

Photo: Janelle Zara

The second floor houses an authentic Indonesian joglo: the framework of an actual Indonesian home ($28,000). Measuring 12-by-24 feet, the structure was shipped to New York in pieces and then, says Gary, “assembled like Lincoln Logs.”

Photo: Janelle Zara

This unit, purchased in England, is filled with old books, bottles, and seashells in homage to the Victorian tradition of keeping a cabinet of curiosities from world travels ($7,299).

Photo: Janelle Zara

The store’s decorative details are intended to give inspirations to customers in their own homes. The vintage books in this arrangement, for example, are covered in Italian paper.

Photo: Janelle Zara

The one-of-a-kind root chairs, benches, and tables (from $599) in Arhaus’s collection are all remainders of harvested teak trees from Indonesian plantations—the roots were dug up, finished, then constructed into furniture.

Photo: Janelle Zara

When put in water, these curly willow branches ($27 a bunch) set roots and bloom leaves. “I love it because it has an exotic feeling,” Gary says, “and it is also inexpensive so you can have a huge impact without a lot of money.”

Photo: Janelle Zara

The columns surrounding this hand-forged iron bed ($999) were found in Indonesia, then painted yellow and white ($999).

Photo: Janelle Zara

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Janelle Zara

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Janelle Zara

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Janelle Zara

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Janelle Zara

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Janelle Zara

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Janelle Zara

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Janelle Zara

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Janelle Zara

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Janelle Zara

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Janelle Zara
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