Will Mamdani’s "Rental Ripoff" Hearings Help Tenants, or Be More Venting Into the Void?

In his first days in office, the mayor announced plans to gather New Yorkers to share stories of negligent landlords. Could the public takedowns lead to real change?

Landlord complaints are often a private affair; your friends gather to share stories about roaches or mold and yet rents keep going up. Tenants call their landlords to no avail, a super might show up (late) to provide a makeshift patch that guarantees the issue will recur again. We live in squalor alone, or alongside a few roommates who might offer their limited solidarity while their calls, too, go unanswered. But newly-elected New York City Mayor Zohran Mamdani wants to shine a light on the varying issues tenants face: Just a few days after being sworn in, he announced that he would be implementing a series of "Rental Ripoff" hearings, in which tenants from all five boroughs would be invited to share their nightmare landlord experiences.

According to the city’s Executive Order, "Protecting Tenants from Rental Ripoffs and Abusive Landlord Practices," these hearings, held over months, would require the cooperation of multiple city agencies, including the Department of Housing and Preservation (DHP), and would bring together tenants, community organizations, social service providers, and more to gather testimonials of poor living conditions, price-gouging, hidden fees, and negligent landlords. It sounds, frankly, kind of fun—who doesn’t love a public flogging? But when the problem is with buildings, the process to get repairs and remedies is messy, slow, and not always effective, as it relies on coordination between multiple agencies and with shadowy LLC landlords. Will the Rental Ripoff hearings simply become a venue to air one’s grievances, or a real means to address how renters find fixes? 

It’s not surprising that Mayor Mamdani would open his tenure with a housing agenda; he ran on a housing plan with the slogan "freeze the rent," that promises 200,000 new rent stabilized apartments. Using his mayoral power to address existing housing conditions should also come at no surprise, as the city logged nearly 900,000 housing code violations in 2024. But those likely only represent a portion of tenants living in difficult or untenable situations. 

Charlie Dulik, director of organizing at the nonprofit Housing Conservation Coordinators in Manhattan, characterizes the city’s reporting and response system as frustrating and deflating. Most tenants might call a landlord or super to fix an issue, though some—"not enough," he says—will call the city’s 311 hotline to get patched through to DHP or the Department of Buildings, depending on the problem. "People in my experience are pretty patient and generous," he says. But if the city sends an inspector without notifying the tenant, they may assume the problem is fixed. "It leaves people equally jaded dealing with the city as they do with their landlord."

There are other options for remedy: Tenants can begin a proceeding in the city’s housing court called a Housing Part, which Dulik says is akin to suing one’s landlord in court. Though he says it’s relatively easy for a complainant to represent themselves (a lawyer is not necessary), these proceedings can take weeks And, he continues, "It's also pretty underwhelming." Judges, he says, are predisposed to give the landlord more time to make repairs. 

"I think what most often happens in even successful cases is that the city becomes involved and reaches a settlement where they say we're forgiving all or a decent chunk of the violations that have been accrued in exchange for your super duper pinky promise that you do these repairs now—that’s the best case scenario," he says. 

The problem, it seems, isn’t just with bad landlords but uneven enforcement methods that might, at best, slap landlords on the wrist for serious infractions. Mamdani’s Rental Ripoff hearings will likely bring out these stories, which will, "provide the initial research for a report that would shape his administration’s housing policies," per the New York Times’ reporting. It’s no secret that there are never enough building inspectors, lawyers, staffers for hotlines, and city employees, making for long and arduous remedies. Dulik hopes that hearing these stories firsthand might inspire the mayor to prioritize expanding the agencies and personnel responsible for ensuring compliance. 

Take, for instance, the city’s Emergency Repair Program (ERP): If a landlord doesn’t remedy building issues, the city can take the wheel deploying contractors to repair the problem and bill the landlord for the work, with additional fines and fees. There’s a high threshold to meet for this to happen, says Dulik. In his experience, he’s seen the city prioritize smaller repairs that can be fixed in a day rather than address "major issues" that can be a logistical headache, but he hopes to see the program expanded. "The city actually makes money off of it, the tenant gets the repair done more quickly, and it probably serves as a little bit of a warning to other landlords: you’re going to pay three times more if you don’t fix this problem," he says. Expanding the program would bring in city revenue and send a signal to landlords that the public is invested in holding landlords accountable—both through reputation and their checkbooks. 

Naturally, not everyone is on board with such public shaming. The Real Deal’s managing editor Erik Engquist predicts that the hearings might turn public opinion further against landlords, making it more difficult to create programs that help landlords fund repairs and "greasing the skids" for anti-landlord legislation. He’s being dramatic (he likens them to other "show trials" in places like Stalinist Russia), but it does raise the question of whether or not public shaming works. New York City, among other cities, maintains public scofflaw landlord lists, usually defined by the number of building violations, as a primary means of public shaming. According to the NYC Public Advocate’s office, the 100 Worst Landlord list is updated annually and ranks landlords based on monthly open housing code violations. 

But these lists don’t often have teeth to hold landlords accountable; in Chicago, the legal owner of scofflaw buildings isn’t included, leaving only a faceless LLC to absorb the indignity. LLCs don’t usually make public the name of the individual (or individuals) who own the property, rendering it nearly impossible for tenants to contact them and making court proceedings more difficult, too. It’s a problem with transparency that New York has attempted to address: The Progress and Poverty Institute notes that 43 percent of mid-rise NYC apartments are owned by LLCs, and while a 2019 law states that in residential property transactions ownership information be disclosed to NYC’s Department of Finance, "this only applies to properties with between one to four units, and the information is not available in a public database," the institute reports. A recent effort to make LLCs transparent was vetoed by Governor Kathy Hochul last year.

Still, even if the shaming that the Rental Ripoff hearings might bring isn’t effective at providing recourse to those living in roach-filled apartments, Dulik hopes that they will ultimately be a tool for organizing. "The Mamdani administration has been saying consistently, we want you to go organize your building, and so my biggest hope for this is that it could be a politically radicalizing moment," he says. There’s not a lot of new data that would come as a surprise—his organization is very familiar with the roaches, the broken boilers, the leaky pipes—butit could be a chance to galvanize renters living in similar circumstances under issue-based banners. 

"Obviously, I want the administration to actually do something and translate the major issues brought up into action," continues Dulik, "but I also hope that tenant unions and local organizations are there saying, hey, Mamdani just said you need to join a group to fight politically to make this real." Though it’s doubtful that the city will abandon its commitment to property owners and real estate lobbyists, perhaps the Rental Ripoff hearings will "grease the skids" as Engquist predicts—for organizers and other groups looking to bring tenants together to build collective power.       

Top photo by Spencer Platt/Getty Images.

Related Reading: 

How Courting the Elite Became a Growth Strategy for Midwestern Cities

Affordable Housing Plans Were the Real Winners of the 2025 Election 

For $1.8M, Step Into Classic A-Frame Living in Big Sky Country

Discover a cozy contemporary Montana retreat minutes from downtown Whitefish.

123 Little Mountain Road in Whitefish, Montana, is currently listed at $1,850,000 by Patrick Landon at Glacier Sotheby’s International Realty.

Set on over four and a half private acres, this striking A-frame blends modern design with classic mountain charm. Featuring five bedrooms and two bathrooms, the home offers generous space for comfortable living and hosting. 

Step inside to soaring lines, stylish finishes, and thoughtful details throughout. After a day on the slopes, warm up with built-in ski boot warmers, soak in the outdoor hot tub, or unwind in the soaking tub. The expansive wrap-around deck, fire pit, and tranquil wooded setting create an ideal space for entertaining or enjoying quiet Montana evenings. 

With a metal, low-maintenance roof, upgraded design touches, and room to spread out, this home balances convenience with adventure. Only eight minutes to downtown Whitefish and 18 minutes to Whitefish Mountain Resort, this property places you in the heart of everything that makes the area extraordinary. 

Listing Details 

Bedrooms: 5 

Baths: 2 full 

Year Built: 2024

Square Feet: 3,093

Plot Size: 4.56 acres

Courtesy Glacier Sotheby's International Realty

Courtesy Glacier Sotheby's International Realty

Courtesy Glacier Sotheby's International Realty

See the full story on Dwell.com: For $1.8M, Step Into Classic A-Frame Living in Big Sky Country

From the Archive: How I Rediscovered My Parents’ Style—and Myself—in an East Village Loft

Writer Carol Taylor had always been the apple that fell far from the tree in her West Indian family. But living alone for the first time, their design taste snuck up on her.

Welcome to From the Archive, a look back at stories from Dwell’s past. This piece previously appeared in the April 2001 issue. 

In America, Canada, and England, many West Indians grow up in houses filled with pseudo French Provincial furniture wrapped up tightly in a protective plastic skin that clings to the body in summer like a wet tongue kiss. West Indians love to live in a faux world: Faux mahogany dining sets, nestled comfortably in retro Edwardian living rooms. Implausible ornaments crowded ten deep on a side table. Elaborate wicker displays and fake-flower arrangements. Wall-to-wall carpeting protected by plastic runners, crisscrossing every possible walkway.

In my West Indian family, I was definitely the apple that had fallen far from the tree. Actually, I’d fallen and rolled all the way down the hill. For me, plastic was for storing food, not covering furniture. Inconceivably, I was born a modernist into a family of ceramic figurine collectors. My childhood bedroom, incongruous in my parents’ overstuffed world, was a monastic, whitewashed space embellished only by the black-and-white Ansel Adams photographs I’d cut out from a wall calendar. My wooden floor, polished to a high gloss, was a natural oasis in a world of wall-to-wall. I lived "less is more" long before I knew who to attribute the quote to. I was eight years old. 

Today I am an unrepentant aesthete. I can tell an Eames from a Saarinen. I can discern the curvature of a Jacobsen from the sharp lines of a Mies van der Rohe. And these pieces would all go well in my place, for I am a loft dweller in Manhattan, at a time when only the rich can afford to live this way.

Photo: Mark Heithoff

Yes, I live alone in a loft on Millionaire Island. I am decadent, important, powerful, like a media mogul, a dot-com maven, or a trust-fund baby. But I am none of these things. In fact, I am as far from them as you can get. I am a writer, who somehow lives alone in a 2,000-square-foot loft in the East Village, which now appears to be the most expensive neighborhood in New York. Three floors above Avenue A and Second Street, at the crossroads of affluence and apathy, I live and work under 14-foot ceilings and windows that are six feet tall, the light flooding in from three exposures.

I have a bathroom about the size of most Manhattan studios, a bedroom the size of most one-bedrooms, a dining room, an open kitchen, a walk-in closet, a guest room, two separate offices, and not one but two living rooms, one at either end of the loft, which runs for a quarter of a block.

Don’t hate me because I have square footage. I get up and thank God every day for it, believe me. And no, it wasn’t easy. I lived for two years in a construction zone of plaster dust and Sheetrock, paint cans, and joint compound. Two hard years of working 9 to 5 during the day and then 7 to 11 on the loft at night. Years of paint fumes and sawdust, of broken nails and smashed fingers, of putting up walls, painting, and plastering. But it was all worth it because I can never take what I have for granted.

When I moved in six years ago, on the cusp of the great East Village makeover, I was struck dumb by the soaring space. Not knowing which end to walk to first, all I could do was stand in the center of the loft and turn slowly around. When I first moved in I kept losing things. I’d put my toothbrush down and it would disappear, or I’d spend half the morning looking for my coffee cup. Now, when I go away on vacation I come back and am struck again by those first moments of space and height. So I understand when people come over and float disbelieving from room to room, repeating, "What a great place. You live here alone?" My answer is always the same: "I know, I can’t believe it either."

I don’t really know how it happened. Every morning when I wake up and walk the 50 feet to the other end of the loft to look out over Avenue A, I shake my head in disbelief that the Space Police have not hauled me off and divided the place into five apartments. "Can I afford to live this way?" I ask myself daily. I pay a buck a foot, but it’s worth it. Cheap, even, when you consider that you now need at least five grand to move into an apartment in Manhattan. Pretty soon you’ll need that amount to move into an apartment in Queens. Forget Brooklyn, it’s already too late.

Sure, I could get a roommate and have them pay most of the rent. But the thrill of having my own place, of living alone for the first time in my life, is beyond compare. I am now blissfully, excitedly, thrillingly alone to wander around naked, to sleep with my door flung open. I can leave things draped over chairs or strewn on the floor. I find now that without the constant vigilance of making sure that things are where they should be, I am—surprise—a more relaxed and happy person. The books and CDs are still alphabetized, but now I can leave them lying around and not lie sleepless at night after having done so. Now, living alone, I am no longer anal, only orderly. At 34, I am finally relishing the peace and tranquillity of life on my own, but more importantly, life on my own terms.

When my ex and I broke up after 10 years together, I spent a month going through every drawer and every closet, and reassessed what was mine and why. I moved everything out of storage into my loft only to turn right around and give it all away. I didn’t know how much I liked, no, needed the space until it started to fill up. So my motto became "when in doubt, throw it out," and I did. If it wasn’t built in or breathing, out it went. I can now see the space without all the things filling it up. I am left with the bones of the rooms and my vision for them.

Oddly enough, what I see is that my place, though light-years from my parents’ house, is not so much unlike it. I have my father’s love of plants and antique rugs, for example, and have inherited my mother’s eye for pictures, which we both frame and arrange in hanging collages. While researching pictures for this piece, I was rocked when I saw, in a new light, the photos of the house I grew up in. The living room was almost the exact same aquamarine blue of my bedroom, and the kitchen the same burnt sienna as my kitchen and bathroom. And so it goes. The further you go away from your origins, the closer you get to finding yourself right back where you started.

And, you know, it’s not such a bad place because I now know where I got my style.

See more from the Dwell archive on US Modernist.

Related Reading: 

From the Archive: Barbara Neski Returns to a Hamptons Home Decades After She First Designed It

 From the Archive: The Condo Generation

Sweeping Views Are Overrated if You’re in This Cloistered Concrete Home in Cyprus

An outer shell with precise cuts mediates vistas of the surrounding forest.

Houses We Love: Every day we feature a remarkable space submitted by our community of architects, designers, builders, and homeowners. Have one to share? Post it here.

Project Details:

Location: Nicosia, Cyprus

Architect: Kyriakos Miltiadou / @kyriakos.miltiadou

Photographer: Creative Photo Room / @creativephotoroom

From the Architect: "Situated near a sparse forest with vistas over the suburbs of Nicosia, Cyprus, this house stands in a deliberately ambiguous way. Rather than adopting a conventional residential typology that opens outward to offer uninterrupted views of the surrounding landscape, it rises as an austere, introverted box. Is it a building, a sculpture, or a container? The architectural proposal constitutes a systematic elaboration of the primordial dwelling-box and its reinterpretation in relation to contemporary modes of domestic living.

"The design begins with a three-dimensional grid—a lattice of points forming the rudimentary outline of a box. Fragments of the natural landscape gradually infiltrate the box, triggering its progressive fragmentation. Through this systematic process of erosion, a complex prismatic composition of voids and solids emerges. Four vertical walls, roughly 20-feet-high, wrap around the fragmented box, holding its split volumes within a coherent yet fluid whole. Carved with vertical cuts, these walls act as mediators between the inside and outside world: filtering, protecting, framing, and revealing—fostering a dialectical relationship with the forest, the city, and the sky.

"Acting as a ‘collector,’ the box absorbs both tangible and intangible layers of its surrounding, reinterpreting them in relation to the family’s domestic life. What emerges morphologically is at first unfamiliar and deeply primal: a cube nested within a cube. An austere yet perforated shell is encased within another, standing as an archaic stone within its context.

"A vertical slit on the east facade serves as the entrance, marking arrival and emphasizing the transition from the exterior to the inner world of the building. The first encounter is with an open yet sheltered garden: a central space that becomes a key compositional element around which the family’s daily life unfolds. This focal point is part of a continuous network of outdoor spaces, passages, and courts that surround the built mass of the house vertically and horizontally. Planted with local vegetation and filled with abundant natural light from above, they form a unique inner ‘garden’ nestled within the broader landscape ‘garden’. Internally, the house is organized across four distinct levels, always in relation to the surrounding network of outdoor spaces. On the ground floor lie the public areas—the kitchen, dining room, and living space. On the upper level, the private rooms unfold across two different planes. Intermediate spaces are used to provide a fluid arrangement between the functional units of the house, softening the boundaries between the public and private spheres of domestic life.

"A hidden external staircase leads to a small rooftop terrace above. Here, the roof dissolves into the Mediterranean blue of the sky, while much of its surface is planted with natural vegetation, fostering unique conditions for the creation of a microclimate. A horizontal aperture at the far end frames a captivating view of the forest and the distant mountain ranges.

"The structural and architectural design operates as a unified entity. The building is monolithic, constructed entirely from exposed concrete. The sculpted surfaces envelop human activity, transforming it into a dwelling space. Over time, vegetation climbs and gradually softens the monolithic presence of the structure. The interplay between human activity, architecture, and nature becomes continuous and inseparable."

Photo by Creative Photo Room

Photo by Creative Photo Room

Photo by Creative Photo Room

See the full story on Dwell.com: Sweeping Views Are Overrated if You’re in This Cloistered Concrete Home in Cyprus
Related stories:

Here’s What It Took to Revive a 100-Year-Old Home in the Mountains of Japan

Architect Reiichi Ikeda shored up the farmhouse’s structure while adding a contemporary kitchen, a tea room, and traditional stone, wood, and washi paper finishes.

Architect Reiichi Ikeda renovated this house in Jinseki, Japan, in two phases, starting with the main house (center) and annex (left).

The mountain town of Jinseki is located about a half-hour’s drive north of Fukuyama in Hiroshima Prefecture, Japan. Set on a high plateau with a peak elevation of 2,300 feet, the area is dotted with traditional homes like this century-old residence, recently renovated by architect Reiichi Ikeda.

The house is located in Jinseki, in an area with picturesque views.

"The residents are a couple enjoying their second life," shares Ikeda, who founded Reiichi Ikeda Design (RID). "The design also anticipates occasional visits from their children’s families." The property comprises a main house, an annex, and a former cattle barn, and the renovation was divided into two phases, with the initial one focusing on the first two buildings.

From left: the former cattle barn (now guesthouse), the main house and annex.
The 100-year-old house retained original features such as the roof.

See the full story on Dwell.com: Here’s What It Took to Revive a 100-Year-Old Home in the Mountains of Japan
Related stories:

Modernist Architect Peter Womersley’s First Home Design Just Got a Faithful Restoration

Following fire damage, the 1957 Scottish Borders residence has been preserved down to brush strokes left by its famous owners.

Houses We Love: Every day we feature a remarkable space submitted by our community of architects, designers, builders, and homeowners. Have one to share? Post it here.

Project Details:

Location: Selkirk, Scotland

Original Architect: Peter Womersley

Renovation Architect: Loader Monteith / @loadermonteith

Footprint: 2,938 square feet

Structural Engineer: David Narro Associates

M&E Consultant: Harley Haddow

Historic Finishes: Crick-Smith

Main Contractor: Laurence McIntosh

Photographer: Dapple Photography / @dapple.photography

From the Architect: "Loader Monteith carefully restored High Sunderland, the 1957 modernist icon designed by Peter Womersley for internationally-renowned textile designers Bernat and Margaret Klein. The home required sensitive and complex restoration after weather and fire damage in 2017. The architects and their clients saw the accident as a positive opportunity to restore and enhance the Category A-listed woodland retreat in the Scottish Borders to its original Womersley vision, with invisible, sustainable upgrades.

"High Sunderland was Womersley’s first private residential commission, nicknamed The See-Through House for its long glazed elevations. Bernat, a textile designer and Margaret, a talented knitwear designer, lived at High Sunderland until they passed. It was the heart of their professional and personal lives. The couple built their careers, hosted fashion shows, exhibitions, and raised their family at the woodland retreat. High Sunderland was sold for the first time in 2017. While undergoing basic repairs, it suffered extensive structural damage caused by a small fire. Steel roof trusses, insulation, and much of the original timber paneling were all destroyed by the fire and extinguishing water, while the main living room and primary bedroom were damaged by smoke. The new owners recognized High Sunderland as a project of national importance and view themselves as custodians, rather than owners, of the home. They saw the devastating accident as a positive opportunity to accurately restore and enhance the modernist icon.

"An intense period of damage appraisal ensued, led by Loader Monteith’s conservation specialist, Iain King. In researching the project, Loader Monteith found original construction details in a 1959 Swiss periodical, giving the studio unique access to Womersley’s vision for the house. Womersley and the Kleins had aspirations for High Sunderland to be as close to living in nature as 20th-century technology would allow, something Loader Monteith wanted to give back to the house with as many invisible modern environmental additions as possible.

"To increase the thermal performance of the house, Loader Monteith packed insulation into a new warm roof, for which they studied the profiles of Womersley’s other residential projects to find a sympathetic design for the new slightly pitched roofscape. On the new roof, a timber-clad cube hides a heat pump. A new wet underfloor heating system in the main lounge area adds improved thermal insulation. This incorporates floor surface temperature control to protect the original solid hardwood timber floor, and room temperature control to avoid overheating and energy waste. Much of the lighting and wiring was updated in line with current electrical safety standards.

"Conservation and rebirth projects often center on the contrasts between new and old. However, at High Sunderland, Loader Monteith and their clients embraced the home’s heritage. This presented a challenging, sobering task for the architects; how much of the house should be preserved, and how much of Bernat and Margaret Klein, the real lifeblood of the home, should be memorialized, too? In replacing damaged cabinetry, Loader Monteith found brush strokes where Bernat cleaned his paint brushes, scratched and burnished into the timber over decades of painting with the same view to nature. Loader Monteith worked with a local joiner to preserve these delicate details, highlighting their commitment not only to the architecture, but the personality and use of this over time, and the role it has played in the Kleins’ creative pursuits."

Photo by Dapple Photography

Photo by Dapple Photography

Photo by Dapple Photography

See the full story on Dwell.com: Modernist Architect Peter Womersley’s First Home Design Just Got a Faithful Restoration

Actually Good-Looking Grow Lights to Get Your Plants Through the Winter

The market has changed. Here are some expert picks that will please you and your indoor garden.

With cold chills rolling in, it’s that time of year again: time to whip out that janky-looking grow light for your houseplants. Sure, janky’s a harsh word—after all, your grow light does work. And unless you’re blessed with giant south-facing windows, chances are your plants love and do need extra attention, even if the thing bringing it isn’t very pretty.

The sad truth is that yours resembles the bulk of grow lights. The category was designed for utility, not for living spaces, which is why many grow lights often appear clinical, industrial, or overly technical. It may even have that preternatural purple glow to its bulb—a blend of red and blue LEDs—that creates the ideal color wavelength most effective for plant growth, germination, and flowering.

"From a technical standpoint, plants respond most strongly to blue and deep-red light," says Mike Planer, cofounder, CTO, and head engineer at Soltech, which was founded in 2014 with the intention of creating "an aesthetically pleasing grow light," according to their website. "Most grow lights only focus on these wavelengths, which is why you see that harsh purple or pink glow everywhere." Though a godsend for low-light homes, grow lights typically prioritize light output over looks, resulting in hardware that clashes with real home decor and lighting that distorts a room’s color palette. So this year, you might be in the market for something a bit more stylish for your houseplants—and your home.

Well, you’re in luck. There’s now a surprising amount of beautiful grow lights available for purchase. In fact, they look so good, they double as home decor.

What are grow lights?

A grow light is an auxiliary bulb or lamp with full-spectrum lighting that blends different colors—like the aforementioned blue and red hues—to promote seed germination, fruiting, flowering, and more in your plants. Most modern grow lights use LEDs.

Other light options include fluorescent or incandescent bulbs. "These can be great options, too," says Lotte Berendsen, a certified gardening expert for PlantIn, an app that helps gardeners identify plants and diagnose problems. "But they come with the risk of overheating and can be very expensive." LEDs, on the other hand, will ensure that your plants are given all the pigments they need to photosynthesize, and it’s why Berendsen recommends them over other grow lights.

With a grow light, you aren’t limited to your home’s one remaining sunny window. Nor will you need to constantly reposition your houseplants to chase the sun as it moves across your home in winter. "I like to think of grow lights as a way to ‘finish’ the light your home can’t quite provide on its own," says Wendy Overbeck Dunham, director of horticulture at Frederik Meijer Gardens and Sculpture Park in Grand Rapids, Michigan.

These days, many grow lights come in compact sizes and can live right alongside your furniture like a lamp or sconce. "In practice, it’s as simple as placing the grow light about six to eighteen inches from the foliage and putting it on a timer for roughly twelve to sixteen hours a day," Dunham says. It doesn’t require much work, but the payoff is great: healthier plants with better color and more reliable flowering.

Grow lights can even make your wildest gardening dreams come true. With them, you can grow vegetables indoors. Think tomatoes, leafy greens, peppers, and a thriving herb garden. A good grow light can help create more reliable indoor harvests, Dunham says.

Or, as Marryn Mathis, owner of the Farmhouse Flower Farm and author of Sweet Pea School: Growing & Arranging the Garden’s Most Romantic Blooms, has discovered, grow lights can help flowers like sweet peas and dahlias that might not normally grow well in certain regions thrive. "If they don’t have enough light, they will start reaching for it and this results in lanky and stressed out seedlings," she says. "Grow lights are key to the success of our business, ensuring our plants have the best start."

How to use a grow light

Grow lights will only be effective if they are used correctly. For optimal results, the lights should be on for at least six to eight hours daily, says Berendsen. "Ideally, they should be on for as long as the sun is out," she says.

The distance of the grow light to your plant is also important. For bulbs with a lower wattage, plants can be placed closer. On average, keep about 12 to 24 inches of space between your light source and the plant’s foliage. Otherwise, even with LEDs, your grow light can overheat your plant, says Mathis. If you want to measure how much light the grow light can convert, you’ll have to look at the wattage of the light, adds Berendsen. Aim for around 30 to 50 watts per square foot of growing space, and keep in mind that the larger your plant, the more watts it will need.

Winter is the ideal time to use grow lights. But Berendsen swears she’s used them year-round in her home. She keeps her grow lights in her bathroom, where there are no windows.

The most beautiful grow lights

Those looking for attractive grow lights might be spoiled for choice. One of Berendsen’s favorites is the Mother PlantSpectrum grow light. "It offers full-spectrum light and has a stylish, versatile design," she says. Another great pick is the Soltech Stello pendant light. It features a dimmer and adjustable stand. "If you didn’t know any better, you’d think it’s just a floor lamp."

Soltech Aspect™ Grow Light with Stello™ Pendant Stand Set

A powerful, design-forward grow light set combining the Aspect™ Gen 2 and Adjustable Stello™ Pendant Stand—no mounting required.

But perhaps the zenith of grow light aesthetics belongs to the new Aura from Soltech. It merges full-spectrum lighting with warm ambient illumination—so it’s ideal for plant growth and the human eye—no ugly purple glare here. The light is designed to mimic natural sunlight; think of it as a gentle warm glow, kind of like a hazy autumn sunset.

Mother PlantSpectrum

The original PlantSpectrum™ was introduced to the market as the first true full-spectrum light with a color rendering index of 97+ and swappable led boards.A first of a kind, combining CRI with PAR performance. A light recipe that would soon be loved by many. Packed in a super safe 24V DC design and a waterproof IP65 body. Up until today, PlantSpectrum™ stays the only swappable grow light, making it an easy decision for projects that desire a high ROI. PlantSpectrum™ modules are designed to last forever and use no paint nor glue, an easy decision for research labs at universities, industrial growing projects and serious hobbyists.

"We kept the essential photosynthetic peaks plants need," says Planer. But to this, they added greens, ambers, and broader light wavelengths so the light output settles into a warm, natural light. "That balance softens the harsh red/blue combination you see in industrial fixtures, and it does it without introducing any UV." UV has its place in commercial farming, but it’s not something you want shining in your home. "You still get strong photosynthetic efficiency, but visually it feels like premium architectural lighting—warm, clean, and easy to live with."

Auk Mini

All you need to start growing!

For indoor vegetable growers, there’s the Auk Mini, a Scandinavian-designed indoor garden with LEDs. It’s crafted from premium materials like recycled Norwegian aluminum and the choice of either American timber or sustainable cork sourced from Portugal. It’s stylish and photogenic on top of being functional: Beneath the hood, there’s a watering system that’s easy to use.

Bstrip 18W Rattan Hanging Grow Light for Indoor Plants, Full Spectrum Wall Mounted Plant Light with

Bstrip's 18W rattan hanging grow light delivers high 547 PPFD at 8 inches with full spectrum LEDs. Features easy wall mounting with wooden bracket, 9.8FT cord, and boho design that combines plant growth with decorative lighting. Ideal for tall plants and home decor.

In terms of aesthetics, the makers were responding to customer feedback when designing the Auk Mini, says Jostein Kvitvang, chief product officer at Auk. "When we first launched Auk 1, we focused on growth performance, and the grow light was quite successful in this regard," he says. Then they heard customer reactions saying that the light itself felt too strong.

For the Auk Mini, they introduced a full spectrum light with adjustable intensity, letting users choose between full growth intensity or a softer, warmer setting that creates a cozy, hygge-like atmosphere—something many grow lights can’t offer, but all most of us are looking for during the dark winter months, regardless of what we’re hoping blooms inside.

We love the products we feature and hope you do, too. If you buy something through a link on the site, we may earn an affiliate commission.

Related Reading:

Give Your Indoor Plants the Gift of a Good and Productive Winter

Yes, Your Low-Light Plants Need (Some) Light to Thrive