I am falling in love with a building on the corner. It is traditional, made out of brick worn by time, with simple inset windows. The angle the house makes with the sidewalk, all at once severe and soft, moves me a little more each time I walk by. It reminds me of a home I once had, or a house I will one day call home.
These nuances of angle and nostalgia are comfort to me now, as the realities of embarking on this program are less than glamorous. Tonight, I will make three new concept models for a space we are working on in studio based on a geometric pattern unearthed among the cobwebs of Corbusier's Modular, while cross referencing the laws of dynamic symmetry. It will be a miracle if I can pull this off.
And I am reminded of the saying "Any port in a storm".
Aren't I the lucky one when the ponderance of lines are the moorings that I tether my flailing imagination to.
It's been about a brazillion years since I last posted and I've got a LOT to share. Now that I have a little time, I hope to do so consistently and thoroughly so nothing gets lost in the shuffle.
Here's the run down since I was regularly posting last: six months ago I went from forecasting trends in color for Pantone and WGSN to doing marketing and photography for a local modern furniture store on the East End of Long Island. In January I decided to apply to a Master's program at RISD in Interior Architecture, and, low and behold, I got in! The past two months has been spent in Providence taking a preliminary summer course in the Intar department, building to speed on all things spacial. Even though it's been a severely intense experience (architortureschooltumbr) I am thrilled to be immersed in this field and am loving the challenge of thinking in new and glorious (x, y, AND z) ways.
So, you dear reader, will be privy to a whole new world of design, mainly that of buildings, most specifically barns, and all sorts of strange modular experimentations. Before we get there though, I must share my not so recent sojourn to the ICFF and the most delightful, sincere, and desirable selections from the exhibition, IMO.
Down home precision / Saturated primaries / Elegant modernity a.k.a. the Jetsons with taste.
|Herman Miller, Nelson Swag Leg Chair / Dunn Studios, Corlis Chair|
Takahiro Yagi, Kaikado Co., LTD
|Trevor Duncan, Pencil Works / Wilson and Benn, Wedges|
|Roros Tweed, Wool Blankets / Yinka Ilori, Chair and Stool|
I'm not usually one to be drawn to the red vehicle, be it car or moto. It's a little too flashy, a little too "look at me" fresh cheez. This year though, at the 2012 International Motorcycle show in New York, I found a few compelling reasons to reconsider my preconceived notions and heed the call of the hawt hawt hawtest of hues: RED. That smokin' bike at the top there is the one and only Ducati 1199 Panicale; the ultimate "OBJECT OF DESIRE". Simply looking at this beauty makes my temperature rise.
My studio is an old converted chicken coop itself, with exposed everything and Southern light. It is, in fact, the same building where my father started his woodworking business 30 years ago, though found by fortuitous independent circumstances in late August.
Meant to be or simply luck? Either way I'm over the moon to be here!
1. While shopping at Saks for a Pantone color project for recently, I came across the nail varnish color Péridot at the Chanel counter. Immediate obsession stemming from fantasy hybrid tin man/sexy alien costume I dreamed up a few years back, piggy backed by intense feeling for the mineral Pyrite as of late. Go figure. Sounds complicated, but it all adds up to awesome.
2. Pyrite/Lucite cuff found on same shopping mission at aforementioned antique dealers Robert E. Kinneman & Brian A. Ramaekers Inc. in Bridgehampton, NY. My hometown BTW.
3. Pyrite encrusted Ammonite.
I have no idea why this proclivity towards the "fools gold" has taken hold of my visual senses though I've done some research regarding the subject and have come across a few sources linking the mineral to sensitivity, intuition, and logic. A clear precision, juxtaposed with random order, illustrated by the delicate architectural forms of the stone, joined as if tossed together haphazardly. It is believed if one meditates with the stone, ideas (intuition, creativity, random connection) are more likely born on a physical plane (logic, precision, order).