I — The Source

SLOANEHOME is a studio, retail environment, and living archive rooted in place. The project begins with a physical site in Skaneateles, New York—an historic village whose architectural character and regional traditions provide the grounding for the studio’s research into domestic form. At its center is a single working table that functions both as a practical surface for design work and as a symbolic stage or tableau. Objects, materials, books, and architectural fragments are studied and arranged on this table, and from these arrangements emerge interior concepts, product ideas, and narrative environments. The table therefore operates as both laboratory and theater: a place where ideas about the home are examined, documented, and ultimately translated into spaces that people can inhabit.

The studio’s discoveries are recorded through an evolving archival structure known as the Archive Box series. Each box preserves a stage in the development of the studio’s work, gathering material studies, written observations, design palettes, and visual documentation into a single physical record. The first volume, titled The Golden Reule, anchors the archive in the restoration of a rare Gothic Revival picturesque house whose architectural lineage helped shape the domestic imagination of the region. By preserving this work in physical archival form, the studio produces objects that function simultaneously as documentation, collectible artifacts, and intellectual property. Early supporters may participate in the formation of the archive through a limited Founders distribution of these inaugural volumes, helping to establish the studio while receiving a tangible piece of the archive itself.

II — The Archive

From this archive emerge what are called Domestic Study Editions—authored documents that translate the logic of an interior environment into a form that can circulate more broadly. Rather than selling decoration or trend-based products, these editions present the intellectual framework of a room: color palettes, material relationships, spatial compositions, and written reflections explaining the philosophy behind the environment. In this way the project revives the tradition of nineteenth-century pattern books that once carried architectural ideas from one place into the wider culture. The intention is to allow the atmosphere of a place to be interpreted and recreated elsewhere while still remaining rooted in the landscape and memory from which it emerged.

The physical storefront on East Genesee Street functions as the visible expression of this system. Within the space, the front windows operate as carefully composed installations rather than conventional retail displays. Each installation grows from an archive study and demonstrates the aesthetic framework behind it. Visitors encounter the work as a series of evolving environments—tableaux that reveal the relationship between objects, architecture, and daily ritual. Retail offerings focus on heirloom-quality domestic goods presented with the same care and reverence often associated with jewelry or fine stationery, reinforcing the idea that everyday objects can carry cultural meaning as well as practical use.

The structure of the project is designed to remain both modest and scalable. The storefront begins as a small and carefully composed studio environment supported by a restrained interior buildout and a limited offering of thoughtfully sourced goods. Because the archive serves as the intellectual engine of the project, the same body of research can generate interiors, publications, collectible editions, and cultural programming from a single core practice. In this way the studio operates less as a conventional retail business and more as a place where design research gradually expands into multiple forms.

III — The Place

The broader framework of the work can be understood as a triangular system. SLOANEHOME functions as the studio and physical environment where interiors and objects are developed. The Arcadian serves as the deeper archival layer preserving the research, documentation, and narrative context surrounding the work. Over time these environments may also give rise to cinematic storytelling, as the spaces themselves begin to suggest narratives that extend beyond architecture and into film. Rather than constructing environments for stories, the studio studies real places until their histories and atmospheres begin to suggest stories of their own.

Andrew M. Sloane operates at the intersection of disciplines that rarely converge. Raised in Central New York and working across national creative industries, his practice bridges rural place and contemporary media, analog craft and digital production. Early work in luxury retail and window design established a foundation in spatial storytelling—environments composed through objects, light, and atmosphere. That sensibility expanded through a career in film and television production design, where architecture and material composition generate complete visual worlds. In Skaneateles, Sloane has also led creative direction and brand identity work for Captivate Wellness, reinforcing his connection to the cultural landscape of the village. SLOANEHOME brings these threads together as a place-based studio where cinematic environment building returns to the scale of the domestic interior and to the material culture of the region from which it emerges.

The project therefore grows outward from a single table into a wider cultural ecosystem. What begins as the study of objects becomes the design of interiors; what begins as an archive becomes a publishing platform; what begins as a storefront becomes a stage upon which environments—and eventually stories—are revealed. In this way the studio gradually gathers collaborators, makers, and patrons around the work itself, assuming the character of what earlier generations would have recognized as a guild: a place where knowledge is practiced, preserved, and carried forward through the making of things. SLOANEHOME therefore proposes a rare model—a studio that treats the domestic interior not merely as decoration or commerce, but as a cultural form capable of generating design, scholarship, and narrative from the same source.