Texas Design Week Keynote Panel: What’s Modern Now?

Carl Dellatore Texas Design Week

Join me on Thursday, May 18th at 11:30 am in the David Sutherland Showroom for a Keynote panel discussion with AD 100 designers Madeline Stuart from Los Angeles and Vicente Wolf from New York.

We’ll be talking ‘Modernity’, and what’s considered ‘Modern’ now as we advance into the 21st Century and The Information Age. Proves to be a very exciting and enlightening conversation.

And as an FYI:

Here’s a list of all the Texas Design Week events — tickets can be purchased by following this link.

#TexasDesignWeek2017 #RizzoliNewYork

Anthony Baratta: On Exuberance

Interior Design Master Class

Color is, of course, the easiest way to make a bold statement. There are no bad colors, but it is a lot easier to create an exuberant interior with red than it is with beige. Nancy Lancaster’s butter yellow room at Colefax and Fowler, David Hicks’s drawing room using ten shades of red, Billy Baldwin’s sublime blue room at the Villa Fiorentina, and Mark Hampton’s chocolate brown room in a Kips Bay showhouse will always be a huge influence, because although each room is unique, they all share a clarity and sense of purpose expressed through a strong color statement.”

Interior Design Master Class
An irregularly shaped canvas by American minimalist painter Frank Stella takes pride of place in this exuberant living room. The vivid geometric rug and throw pillows are balanced by the clean lines of a pair of midcentury armchairs and the custom ottomans. Credit George Ross Photography

“Love of strong color is a personality trait, and like an MGM musical, I choose to decorate in Technicolor. There are no rules when using color to foster exuberance, but I like using a classic combination like blue and white as a jumping-off point and then adding in the spice—such as orange.”

Kips Bay Decorator Show House 2017

Kips Bay Decorator Showhouse 2017
Janice Parker’s ‘Bamboo Court’ Garden. Photo credit Alan Barry

I realize I’m not the only design enthusiast that remembers Robert Denning & Vincent Fourcade‘s maximalist approach to decoration. I loved the excess of their interiors and I was certainly not their only fan.

And as you’ll see it’s the love of ‘more-is-more’ that pervades, in a very tasteful way, this year’s Kips Bay Decorator Show House. Beginning with Richard Mishaan’s salon – the ultimate nod to Italian legend Renzo Mongiardino — the house packs a punch… Continue reading “Kips Bay Decorator Show House 2017”

Books: MR Architecture + Decor

In the opening paragraph of Walter Gropius’ Bauhaus Manifesto, the founder of the movement suggests “The ultimate aim of all visual arts is the complete building!”, further professing “Architects, painters, and sculptors must recognize anew and learn to grasp the composite character of a building both as an entity and in its separate parts. Only then will their work be imbued with the architectonic spirit which it has lost as “salon art.”

David Mann clearly understands the importance of these dictates.

The 18 projects featured in his new monograph from Abrams are as varied as they are dynamic… Continue reading “Books: MR Architecture + Decor”

The New Chic: French Style from Today’s Leading Interior Designers

The title of Marie Kalt’s new book from Rizzoli New York references ‘The New Chic’, but she could just as easily have suggested ‘the radically cool’ as an alternative description. Every room in this book is sublime, especially those created for the annual design showcase AD Intériers where the participating designers are given carte blanche to create living spaces unfiltered by commissioning clients… Continue reading “The New Chic: French Style from Today’s Leading Interior Designers”

VMAD’s West Elm Headquarters

By Lisa Zeiger

When Mark Murashige and Kay Vorderwuelbecke of VM Architecture and Design (VMAD) began redesigning the Empire Stores on the docks of the East River in DUMBO for West Elm in 2013, a high water mark from Hurricane Sandy was still visible, eight feet up the brick walls of the nearly 140-year-old structure, rich with history… Continue reading “VMAD’s West Elm Headquarters”

Alexa Hampton: On Tradition

A bust of Brutus, purchased from a dealer in London, holds court on a William Kent table that belonged to Mark Hampton, Alexa’s father. Photo credit Steve Freihon

In design, traditional elements are loaded with the meanings they have accumulated over time. The iconography that accompanies neoclassicism, for example, has always spoken to power and those who would seize it. Greek, Roman, Napoleonic, Federal, Fascist: their not coincidentally shared imagery is meant to convey strength and mastery. The dynastic decor of the caesars, the sinister visual domination of a mammoth monolith in the era of Mussolini, the suggestion of solidity and security in the decorations of a Federal Bank in the American Midwest—traditional cues can function as tropes that help invest a space with a thought, a sensibility, or a hope, their meaning immediately identifiable to a passing glance.”

Alan Wanzenberg: On Modernity

“Modernity and its manifestations in the physical world—what is considered “modern”—can be easily misunderstood. Modernity is not about minimalism or everything being white and reductive. When this happens—and the pendulum often swings in that direction—modernity falls into a style or, worse, a cult.

It then has the potential to become tyrannical and intolerant, unaware of all the potent and fascinating forces in design that brought the modern world, as we think of it, into being. True modernity in design can reference the past and allude to the future, but it always exhibits a confidence and resolution that is completely understood in the here and now.”

Thomas O’Brien: On Vintage Modern

A vintage modern piece features ideas that become layers in the DNA of a design that materializes at a later date. It’s how something of the 1920s can have echoes of eighteenth century France, which borrows from Greek or Egyptian antiquity. It’s how intriguing it is to play with that heredity in the choice of a material, the colors and the proportions of a room or a piece of furniture, when designing for the time of now. It’s how the same forms get reinvented over and over, because they work the best.

I’m interested in the ways that history adds this depth and grounding to newer things. It’s the collective memory that makes even the most chic interiors feel familiar and accessible; it’s literally the reason we are all, instinctively, born collectors. This is a continuum that I try to bring to what I design: adding the vintage—as a lineage and a classicism—to new things being made today. And this is the bridge I cross with each of my clients. Everyone needs his or her own particular connection between past and present.”

Alan Tanksley: On Destinations

“I believe the first consideration with any project should be to establish the hierarchy of spaces, which is generally based on the function each space serves; this runs the gamut from the initial approach and entry through the shared communal spaces to the most intimate and private realms beyond. Of course, this can be accomplished in a relentlessly clinical manner—think of Louis Sullivan’s oft-repeated edict “Form follows function.”

Alternately, if one chooses, there are opportunities to create interesting, useful diversions or delightful distractions along the way without compromising efficiency and functionality. For instance, when creating a place to pause along a passageway by recessing a console table loaded with curious, eye-pleasing objects into an alcove and useful items, you add immeasurably to the experience of trudging from point A to point B with little or no added expense.

To further illustrate the subtle importance of this perspective, consider experiences we’ve all had when arriving at and moving through a house or apartment we’ve never been to. The most successful experiences are those that begin by being intuitively guided from the street, sidewalk, or parking lot to a welcoming front entry, ideally through a garden, forecourt, or intimate public lobby. Along the way, one may have encountered a place to pause, and though we seldom do so, the very idea of it is intriguing and thought-provoking. Moments such as these might evoke memories of peace, tranquility, or security—not a bad thing for an otherwise eventless transitional space.

When we perceive that an otherwise unremarkable approach has been transformed through skilled planning into an exceptional experience, we feel that something special lies in store, something akin to an adventure. If all goes well, the same effort undertaken to provide a nuanced and welcoming sense of arrival will be revealed throughout the rest of the home.”