Allied Member, ASID
Licensed General Contractor
AZ ROC 287314
May 24, 2012
There is a lot that can be said and written about Arnaldo Pomodoro-but the most important thing,
I feel is that his work speaks for itself. He was botn in the 20′s in italy, and from there, I will let you just enjoy his work.
Have a wonderful day,
May 22, 2012
There is something about the lovely radial pattern that is attractive to our symmetrical eye. The radial pattern is actually comforting and natural to humans because the form can seen so much in nature (think flowers). My favorite kind of mirror happens to be gold gilding – not to say that any other kind of radial mirror is bad – I just seem to prefer it my interiors and in the interiors of others. If you are a follower of Kelly Wearstler, you should know that it is something she uses often in her designs, particularly in hotels. She said that asymmetrical radial mirrors or art pieces remind her of the natural curve of the shell, which is perfect for a sea side shack.
You can use radial mirrors in a variety of ways. The most obvious is right above the mantle on your fireplace, centered and perfect for all the world to see. But if you are looking to get a little outside of the box, consider grouping a set of radial mirrors of different sizes and patterns to create depth and visual interest. Consider replacing that traditional square cut mirror in your powder room with a sun burst shape – below is an example of that from my work and it was a hit. You can also place a radial mirror behind your bed or at the end of a hallway. People have always been fascinated with the visual phenomenon that a mirror can bring, but a sun burst mirror really takes that excitement to the next level. If you don’t need another mirror consider a radial piece of art – they are everywhere these days! If you aren’t in AZ like we are then brighten up your winter months with a burst of sun that you can hang on your wall.
May 21, 2012
I am totally obsessed with everything beautiful and interesting and have always been particularly obsessed with Pedro Friedeberg. You know, the Hand Chairs! and the Stunning Hand Tables! The Gorgeous Butterfly Chairs ! His life and his philosophy are very interesting and if you think about an artist like Dali, or Gaudi and compare their philosophies, you will find so many similarities. It is always of much interest to me to learn about what drives an artist, and what were their lives about , that the results are poured into their art! Here is Pedro’s bio, briefly put, on himself
“I was born in Italy during the era of Mussolini, who made all trains run on time. Immediately thereafter, I moved to México where the trains are never on time, but where once they start moving they pass pyramids.
My education was first entrusted to a Zapotec governess and later to brilliant mentors such as Mathias Goeritz, who taught me morals, José González, who taught me carpentry, and Gerry Morris, who taught me to play bridge.
I have invented several styles of architecture, as well as one new religion and two salads. I am particularly fond of social problems and cloud formations. My work is profoundly profound.
I admire everything that is useless, frivolous and whimsical. I hate functionalism, post modernism and almost everything else. I do not agree with the dictum that houses are supposed to be ‘machines to live in’. For me, the house and it’s objects is supposed to be some crazy place that make you laugh.
Americans do not understand Mexicans and viceversa. Americans find Mexicans unpunctual, they eat funny things and act like old-fashioned Chinese. When André Breton came to Mexico he said it was the chosen Country of surrealism. Breton saw all kinds of surrealist things happen here every day. The surrealists are more into dreaming, into the absurd and into the ridiculous uselesness of things. My work is always criticizing the absurdity of things. I am an idealist. I am certain that very soon now humanity will arrive at a marvelous epoch totally devoid of Knoll chairs, jogging pants, tennis shoes and baseball caps sideway use, and the obscenity of Japanese rock gardens five thousand miles from Kyoto.”
Have a great Monday!
May 18, 2012
I have always had a love of industrial looking furniture. And as of late, there has been a lot more interest in industrial design for interiors. I was invited to hear a lecture on two of the most influential women of design in the 20th century, one being Eileen Grey and the other Charlotte Perriand.
I always knew that had it not been for Perriand working for Le Corbusier,
the famous chaise lounge may never have been! there are so many pieces of furniture today, that have become iconic in and of themselves. And are the result of Charlotte Perriand
Perriand was one of the most influential furniture designers of the early modern movement.
charlotte was responsible for introducing the “machine age” aesthetic to furniture.
Her politics really guided her design architecturally and her furniture design. She was an extreme leftist ,as her work aimed to create functional living spaces in the belief that better design helps in creating a better society.
Her father was a tailor and her mother was an haute couture seamstress. She was born in 1903, so imagine the world at that time, especially in Paris, and what her thoughts would be as she got older. As the world wars happened and before the true age of mechanization happened. Ergo her love of industrial materials and found objects.
I am always fascinated by childhoods and places of our formative years, that have such a direct impact on us, not just as adults, but from an artistic standpoint.
Perriand became so well known for her “Bar” furniture, that you will immediately recognize a lot of the pieces. This furniture was made out of chromed steel and anodized aluminum.
I really enjoyed learning about her and I do hope you enjoy this post!
May 15, 2012
I never considered myself a lucite chair girl until i built my house and realized in designing my open floor plan, that in order to really set off the Walnut slab Hudson dining table, and to see the artwork, I was forced into believing the value of working with lucite!
There is a project, that was in an issue of TRADhome online! Anyway, in this project, you will see, in wanting to highlight the flooring and the table base, a lucite klismos chair was the perfect solution.
When you are working on the design of your dining room, or breakfast room, if your pieces of importance are not going to be the chairs, think of using lucite!
its not the poor bet anymore!
May 8, 2012
SO! my younger daughter has been asking me for an EGG chair!! I was so interested to understand her fascination at 12, with this iconic design that I decided to do a little back history on Arne Jacobson. I found her an EGG chair and she is so excited about this! We covered it in the perfect shade of orange mohair!!
Today, Arne Jacobsen is remembered primarily for his furniture designs.
However, he believed he was first and foremost an architect. According to Scott Poole, a professor at Virginia Tech, Arne Jacobsen never used the word ‘designer’, notoriously disliking it.
His way into product design came through his interest in Gesamtkunst and most of his designs which later became famous in their own right were created for architectural projects. Most of his furniture designs were the result of a cooperation with the furniture manufacturer with which he initiated a collaboration in 1934
while his lamps and light fixtures were developed with Louis Poulsen.
In spite of his success with his chair at the Paris Exhibition in 1925, it was during the 1950s that his interest in furniture design peaked.
A major source of inspiration stemmed from the bent plywood designs of Charles and Ray Eames. He was also influenced by the Italian design historian Ernesto Rogers, who had proclaimed that the design of every element was equally important “from the spoon to the city” which harmonized well with his own ideals.
May 7, 2012
I was introduced to david smith’s work last week. it is fantastic!
I hope you enjoy this post!
David Smith’s preoccupations with human and animal form had less to do with a romanticized yearning for a pre-industrial past or, as some critics have suggested,opportunistic cultural
grave robbing, than they had to do with an abiding interest in the transformative aspects of technology. In Gary K. Wolfe’s book, “The Known and the Unknown, The Iconography of Science Fiction,
” an analytical and theoretical study of the recurring icons that appear throughout the science fiction genre, he states that “Technology not only creates new environments for humanity,
it also creates new images of humanity itself, which tend to mediate between the natural environment of mankind and the artificial ones it has created, between the past and the future,
and between the known and the unknown.” Smith was interested in the ambiguity of form and the ambiguity inherent in the materials he used. He dwelt upon the fact that steel could be
used to make agrarian tools and destructive weapons; it had the potential to manifest a wide spectrum of psychological impulses.
Like the Minimalists, Smith explored serial forms and radically pared down gestalts, though for him these are attempts to explore anthropomorphic and psychological states through
dialectical processes rather than intellectualized rejections of the immediate past. He made imaginative improvisations that broke with the history of the carved monolith placed on a pedestal,
connecting instead the concept of the totem with the starkly formal, and in his final phase he experimented with scale and geometric forms to explore a duality of structure and collapse
and to give his imagination free play.
He liked steel’s anonymous qualities and the fact that it was used to support or embellish almost every public structure.
May 3, 2012
Alice Neel was one of the great American painters of the twentieth century. She was also a pioneer among women artists. A painter of people, landscape and still life, Neel was never fashionable or in step with
avant-garde movements. Sympathetic to the expressionist spirit of northern Europe and Scandinavia and to the darker arts of Spanish painting, she painted in a style and with an approach distinctively her own.
Neel was born near Philadelphia in 1900 and trained at the Philadelphia School of Design for Women. She became a painter with a strong social conscience and equally strong left-wing beliefs. In the 1930s she lived in
Greenwich Village, New York and enrolled as a member of the Works Progress Administration for which she painted urban scenes. Her portraits of the 1930s embraced left wing writers, artists and trade unionists.
Neel left Greenwich Village for Spanish Harlem in 1938 to get away from the rarefied atmosphere of an art colony. There she painted the Puerto Rican community, casual acquaintances, neighbours and people she encountered
on the street. In the 1960s she moved to the Upper West Side and made a determined effort to reintegrate with the art world. This led to a series of dynamic portraits of artists, curators and gallery owners, among them Frank O’Hara,
Andy Warhol and the young Robert Smithson. She also maintained her practice of painting political personalities, including black activists and supporters of the women’s movement