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“There’s a wealth of storytelling that comes from engaging with materials,” says Michael DeChillo. As the founder of Sample House—a unique membership-based materials library established just a year ago—DeChillo is deeply invested in the concept of tactility in design. Housed in a bright studio in Long Island City, he presents a novel model for sourcing materials that is poised to reshape how designers approach their projects.
According to DeChillo, his mission is to offer designers a meticulously curated selection of materials alongside direct access to a network of vendors across varied crafts. “It’s about providing immediate physical access to these materials in a welcoming environment,” he explains. The space features open cabinetry and angled shelves constructed from plywood and Douglas fir, displaying a diverse array of textures including steel, leather, stone, and tile. Membership costs $195 per month, while day passes are available for $70. “Many prominent designers tend to follow trends and play it safe,” he remarks. “But who wants safe?”
Michael DeChillo, the owner of Sample House.
DeChillo’s journey to launching Sample House has been anything but straightforward. Starting out as a production engineer for bands like Evanescence and Creed, his curiosity about design led to an internship at TRNK. After stints at various design and construction firms, he later managed the materials library for renowned firms such as Workstead and Nicole Fuller Interiors. This comprehensive background facilitated key connections with both designers and vendors and inspired the concept of Sample House, which he characterizes as “a community-oriented enterprise.” “I wanted to engage with the materials in natural light, not just deal with a sales representative,” he shares.
DeChillo’s spacious and well-lit location, framed by a wall of glass bricks and two traditional warehouse-style windows, evokes a sense of both comfort and exploration. It’s clear why designers would want to select their materials here, surrounded by the tactile experience of stone, tile, and carpeting. The setup serves as a convenient one-stop destination, mitigating the hassle of traveling throughout the city to gather samples. “This approach empowers them to find inspiration and make discoveries on the same day without delays,” he adds.
As DeChillo walks through the space, he showcases a surprisingly lightweight terra-cotta tile from Todobarro, a Mexican tile manufacturer. “They’re innovating by experimenting with color and the different potential uses of clay,” he notes. For DeChillo, materials like these present unique opportunities for design applications: “This could be used in a pool or a shower,” he reflects. He also highlights a reflective glass piece that appears to shimmer with a vibrant gradient, crafted by two talented women in South Africa under the brand Spectrum.
The model he has developed at Sample House is intended to support not only smaller makers like Spectrum but also emerging designers who may not have the resources to maintain their own sample libraries. Additionally, it takes steps toward sustainability. “Sample waste is a common concern among designers. They’re frustrated by how samples often go to waste, but the time to address this issue is limited. With Sample House, each material is purposefully selected,” he explains.
The venue includes a communal work table and a dedicated area for vendor presentations, fostering collaboration and creativity.
DeChillo gestures towards a piece of burnished zinc near a spider plant, envisioning a potential fabrication that could serve as drapery. “My goal is to empower other designers and architects through this space, making it a hub for material innovation,” he states. He also expresses hopes of expanding Sample House to other prominent design markets, such as Los Angeles, featuring local favorites like Kinney Block’s facade stone, Portola Paints, and Heath Ceramics, known for their vibrant tile and lighting creations.
As dusk approaches, DeChillo moves to his eclectic tile collection, passionately discussing their characteristics and diverse applications. He speaks of materials in a way that elevates them beyond mere objects, treating them as forms of art that evoke questions rather than definitive answers. “I wanted Sample House to serve as a material gallery—a space that feels alive and inspiring. It’s less about branding and more about the intrinsic beauty of each piece,” he concludes.
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