“…Electricity is exactly what successful juxtapositions produce. Whether furnishings are complementary or contrasting, their pairing generates a palpable current that evokes a desired feeling or ambience. In the same vein, rooms are called lifeless when poor juxtaposition either fails to generate a pulse or electrocutes with overenthusiasm. The late Albert Hadley was a master at juxtaposition because his interiors were said to produce a wonderful frisson—a brief shiver of excitement—for all who experienced them. It was energy at its finest.
“Igniting that spark also involves a certain degree of risk; informed chances inject a degree of freshness, and ideally a whiff of welcome imperfection. Even the most tailored interior benefits from the errant extravagance, and the most sumptuously decadent from a touch of austere rigor. For us, we find our risk taking typically involves the introduction of a bit of humor or wit, and it’s fascinating where it can lead. If you respect the medium but never take yourself too seriously, you’ll give yourself the freedom to create risky pairings that can truly break new ground and surprise you in delightful ways.”
A few months ago, I found myself standing in the Paris atelier of the sculptor Philippe Anthonioz, who, to my mind, has always represented the living connection to the Giacometti brothers Diego and Alberto, whose names are synonymous with plaster and bronze furnishings, objets d’art and lighting. I had just spent several hours in the Picasso Museum, housed in one of the hotel particuliers in the Marais, strolling rooms filled with its namesake’s work paired with that other giant of modern art, Diego Giacometti…. Continue reading “A History of Plaster in the Decorative Arts”
“When I was a young designer, every photo shoot with my mentor, Joseph D’Urso, was a master class in the art of framing a view. Photography, as he saw it, should aim beyond merely documenting the appearance of a finished work: “Construct an image to relive the intentions that moved you to make it.” Joe had me peer through the camera lens and study Polaroid test shots, a must in those pre-digital days, to gauge how even the subtlest rearrangement of objects within a specific field of vision—“An inch more table here . . . less water in that vase”—can reveal powerful relationships within a room.
“The eye, I learned, has emotions, but the hand needs a steady frame of reference if it is to communicate intensely personal feelings and elicit a response from others. “Frame of mind,” as Joe taught me, can be far more than a figure of speech. This was a lesson that, centuries earlier, an artist like Johannes Vermeer might have conveyed to his pupil through the mirrored microcosm of a camera obscura.”
“Instant messaging, urgent e-mails, video chats, and online streaming mean that the devices designed to bring us together are also pushing us further apart. I realized some time ago that the only way I could make clients with demanding lifestyles truly happy at home is to evolve my work to this shiftier new landscape of starts and stops. The flow I need to focus on building is the everyday flow of conversation.
Somehow, I need to find tangible ways to put emotion and connectivity into the DNA of rooms I was previously consumed with making beautiful. I had to draw people deeper than the next room. My job was now to inspire clients to express themselves and communicate in a deeper way within their walls.”
Will you be attending the IWCE this year in Charlotte? Please join me for my keynote address on March 8th where I’ll be talking about my experiences producing and editing Interior Design Master Classfrom Rizzoli New York.
I’ll be sharing ideas on crafting compelling content – both for analog and digital platforms — and will be talking about a few of the exceptionally written essays in the book. I look forward to seeing you there!
“When I think of scale in relationship to architecture, Le Corbusier comes instantly to mind. He relates the size of the human body to the scale of a room, and, in turn, to the architecture of a building. The greatest buildings I have visited are always predicated on notions of beauty based on proportion and scale. For instance, the library by Erik Gunnar Ashland in Stockholm poses a beautiful relationship between human function and its relation to its environment, with classical orders simplified to reflect modern-day use, such as open shelving to facilitate readers’ access to books.
The best rooms I have encountered are those that read simply. This is not to say that they are empty, but that the furniture bears a very exact proportion to the total scale of the space. One element always complements the other; there is a fine balance between them that works like a well-choreographed ballet.
A good room or building is like a symphony, with all the parts combining to make a harmonious sound to the ear.”
I’m thrilled to be able to share that I’ve signed on to produce and edit my second book for Rizzoli New York – Garden Design Master Class — due out in the spring of 2019.
Utilizing the format I established while creating Interior Design Master Class, the new book will feature 100 established garden and landscape designers, with each examining one specific subject. They will explore a wide range of concepts, including scale, pathways, perennials, water, evergreens, sunlight, roses, blue, stone, sculpture, and borders, to name just a few.
It’s my hope that this new volume will be every bit as successful as IDMC, filled with both instruction and inspiration for gardeners of every persuasion – from the novice to the enthusiast to the practicing professional.
And so for now, with less than 2 years until the book’s release, I should get to work!
“Light, air, scale, and proportion constitute the mathematics that make an object work or not work. The perfect silhouette must appear effortless, even though it is the result of equal parts calculation and inspiration.
The designer must be minutely attuned—with the eye of an artist—to the interplay of the outlines and negative space created by the arrangement of furniture and objects in a room. Silhouettes are a visual, often sculptural, language that, like Vermeer’s interiors, invest rooms with drama, poetry, and artistic meaning surpassing mere function.”
“The ergonomics and limitations of our body aren’t changing anytime soon, but the design to fit them always is. While the “a chair is a chair is a chair” mantra still holds, the proportions of ideal delight have changed over the eons. This is due to cultural adaptations and the advances of material science, but also an inquisitive personal need to explore new forms of design that lend comfort and meaning to our evolving world.
Note that in ancient design, individual furniture pieces held much more meaning; each object was usually created for a simple and unique purpose. In the modern context, furniture plays a more ensemble role, and its individual importance has been relegated to serving the whole. One might call this the socialism of design. Fine proportion and certain meaning have given way to a living utility where each piece of furniture may and must have a dual purpose, must be more durable, shippable, and adaptable to many different design possibilities.”