Introducing Architecture for Humanity

Architecture for Humanity started in the 90’s in San Francisco, as a means to organize design projects for the less fortunate, often acting as a match maker between in-need communities/organizations, architects and designers, financial funding sponsors and contractors/physical production and construction services.

These projects are fundraised or sponsored by companies or even firms. There is always a “call to service,” in which Architecture for Humanity (on their website, a form of social media) promotes a particular project to a network of architects or philanthropic organizations, so that they can brainstorm. The key to their success, beyond the idea of helping others (and the possibility of a tax deduction), is the fact that it is coming from volunteer hands and heads, makes the organization all the more charitable.

Architecture for Humanity had a simple idea to a.) fundraise and b.) get the messages and ideas of their organization out there. It is titled: Design Like You Give a Damn and this book has caused international fanfare in the international construction and design world. The book features images of past constructions that the organization has overseen as well as call to entries by design students, activists and licensed architects and designers.

I have been looking to them as an organization that I could arrange a student volunteer service-cooperative project with, similar to endeavors with Un Techo Para Mi Pais.

http://www.architectureforhumanity.org

Designer’s spotlight: Laura Kirar, American interior designer and entrepreneur

Young Laura Kirar, Fine Arts graduate from the Art Institute of Chicago (1992) decided to actively follow one of her professors, upon the completion of her degree in his business of interior architecture. When I stumbled upon this elegant contemporary designer, I was beyond excited and I became inspired. She has had an intuitive business sense since she began working with high end firms and furniture manufactures, always yielding to excellent quality of both textiles and materials.

Ms. Kirar works out of a New York City office, as her own textiles and finishing brand president. Also owning, creating and overseeing her Miami based licensing company, she is an amazing role model as disciplined, discerning designer. This made me think of how Nathan Shedroff expressed the need of services being the most essential things that we can create as designers (vs products).She is also well published through out design world literature and has won several prestigious interior design accolades and awards, notably for her sensitivity to spaces that are close to the human heart.

"My interiors are more curated than designed." Laura Kirar

http://www.trudesign.com/

Davis Gym; De Stijl + function

Since visiting the UCD campus nearly 3 years ago, I have regarded the ARC, as an architectural gem on campus. Today, in 2009 we more notably consider the incredible state-of-the-art Mondavi center as the true modern marvel on campus, but a facility that is used frequently, by so many on a daily, routinely basis, deserves its credit as well.

Before I began this architecture critique, I referred to the “De Stijl,” Manifesto I as a means of headway, considering that the ARC building seems to exemplify “modernity” as it stands today in such contrast of UC Davis’ first two silo buildings; North and South Hall. De Stijl, known as a prolific movement that the Manifesto doctrine influenced, was written with the vision for the necessity and development of a new international design aesthetic. Later influencing the Bauhaus and Gestalt principles, this aesthetic has come to life in that it is a following of nature and naturalistic forms (also according to function, another entry in and of itself), all the while paying attention to a high art aesthetic, in which the bare minimum is needed to function successfully.

Now into speaking of the actual function of the building on the Davis campus called the “ARC”, standing as an acronym, it cannot be said that although the building has exposed internal structures, a concrete outer shell, highly exterior glazing on the window surfaces, that this building is very outrageous, or non linear. It follows from a natural progression of Art (with a capital ‘A’) and development of architecture in and of itself, from necessity.

An open double-heighted ceiling greets you upon entering the main entrance, the rich smell of a coffeehouse, as does a slightly-sweat-influenced humidity of the gym. To think that a building so large in scale, featuring unique cooling systems and sensitive windows that filter the rich, California sun was designed and created to be a shelter in which humans can build their strength & stamina- can be quite fascinating.

The true experience within this building is felt between the first and second floors, in which a main lobby can clearly be seen at the top of the second floor landing. This causes a sharp tension between the tight, narrow spaces, which are lined with weight/toning machines at the second floor, to being able to view the first floor, with it’s large open badminton hall, weight room (filled with mirrors reflecting the room, within the building), and main lobby. The sharp tension created is thoroughly met warmly, as young athletes physically thrust their muscles to be more powerful and strengthen their personal endurance. It is a pure sense of motivation that can be at times, difficult for a person to take in all at once.

This is a very “high impact” building, primly utilizing De Stijl principles, right here in our neighborhood.

(photo credit: personal photos)

Un Techo Para Mi Pais, UTPMP Barrio Nicole, Argentina

Building as if you care.

Being bilingual and having been raised in Guatemala during the summers, I’ve seen first hand the lack of appropriate housing for the indigenous people in the cities and the countryside. I have always had a desire to give back to those less fortunate.

One of the greatest projects that I participated in this past year was a service trip to Barrio Nicole, Argentina. The organization Un Techo Para Mi Pais (A Roof for my Country) really impressed me, it was comprised of college age students spending time physically constructing homes for the less fortunate.



Our group constructed for them simple one-room enclosures with four wood walls. We dug holes for wooden piles, laid out the framework and added floorboards. We then raised the walls and installed the windows and door, and later the roof. My team worked solidly and cohesively to build these ten homes. We created HOMES where these families now had doors to shut out the rest of the world and to interact with one another within the intimacy and privacy of their own space. What a concept.



Shelter is such a basic need in human survival. Void of any aesthetic detail, our constructs were simply functional. As a student of design and interior architecture, it was during this trip that I decided that I would like to design with a humanitarian mindset, taking into consideration the socioeconomic factors, landscape and environmental concerns of the region, and to help those in need whenever possible.

http://www.untechoparamipais.org.ar/espanol/index.php

(photo credit: personal photo)

“Design dissolving in behavior,” Objectified film

In the Gary Hustwit film Objectified, the relation between form and content was not that of a conventional educational video. It would appeal to a crowd that appreciates untraditional, artfully presented films. This also goes to say that the type of information and ideas presented in the film varied greatly from one another in visual content, ranging from interview style shots, to production within a factory, drawing boards, urban streets to shots of the designers in their own homes. There was a definitive flow and progression of thought about design and it’s purpose from the perspective of the designer.

Various designers from all over the globe offered commentaries. Hustwit’s film seemed to be planned using a traditional essay-style format of a layout. There was an introduction with a thesis, main idea (the meat) and a conclusion, and within each juncture between 2 and 3 designers spoke either about a specific product or company of theirs, or a social issue surrounding a product or movement, each segment appealing to the progressive world of contemporary design, “working to stimulate people’s minds and souls.”

Innovation in design, connections made at the CLTC

I had never considered the importance of the type of light distribution systems (a.k.a. light fixtures) in every day-to-day spaces. Luminares include the light fixtures, placement of light as well as bulb used. They reduce glare, direct light to support a specific task and may have aesthetic intentions.

Focusing on several types of commercial lighting fixtures, we went over the common, standard florescent two strip bulbs in a plastic textured enclosure, these account for 60% of all American public spaces. They are inexpensive yet at the same time, extremely effective in producing high light levels. My professor argued that they are no longer preferred because they cause a lot of glare.

Comparable to recessed lense troffers are parabolic systems, which have parabolic shaped individual reflective grid systems that were designed at the onset of the computer revolution in corporate offices. With these parabolic systems, one has more control of the amount of light that enters, and was created to balance the light coming from the ceiling and the light coming from computer screens. Found in mostly higher end commercial and higher education buildings, they offer a darker feel for the light coming off of a higher angle.

I’m finding this to be a very difficult course, because the content of the material covered is very rich and so different than the fantasy realm of design that I am used to. As a design student, creating away without a single notion of budget or many other practical limitations I have found at UC Davis, to be very difficult. I find that as I have been working at a TA and as a student at the CLTC, I have began to realize that creating within limitations give the final product or creating more deserving credit for their innovation.

http://cltc.ucdavis.edu/

(photo credit: personal photos)

Switzer-sonoma-land Landscapes

The beauty of the exotic landscape of Switzerland would have to be a combination of three key natural elements: a.) a vast/large scope of perspective, b.) plush & vibrant greenery, and c.) mountains upon mountains, all of which California possesses! Not to mention the kind and approachable people that make up Switzerland’s multicultural population, another component that makes up Switzerland’s charm. The other day, while visiting my Aunt’s home and land, she mentioned to me that she tried to “capture Switzerland” as she began renovations on an acre of her Sonoma hill. I couldn’t help but wonder what all this entailed.

Her picturesque vision unfolds here, in Sonoma County. After purchasing the land two years ago and coming back from an European adventure, she noticed the visual similarities between the two (Sonoma and Switzerland) and felt the desire to blend these two favorite valley views together.

She noticed a dead tree of the neighbors that was about to go to the wood chipper, and asked them to cut it up horizontally into little stumps, about 5” thick to act as tiles or steps leading one from the bottom of the hill to the top. Then, she sprayed “clover seed” onto the bare hilltop. When that finally grew in, it totally transformed the area into a fluffy green hillside, accentuating the age old surrounding pines. I can’t wait for Spring in Sonoma.

Sonoma-switzer-landscapes

Professional title: Color Theorist, proper

Josef Albers, American. Homage to the Square, 1962. Portfolio of 10 screenprints, composition 111/16 x 11 in. The Museum of Modern Art, New York, NY ©2007 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York.

The book, The Interaction of Color by Josef Albers, presents us with an in-depth series of color experiments and studies which were created to help in the teaching of color theory! It has been an intense read, but very provocative in its different presentations and the formality of the subject at hand.

The Lighter/Darker and Intensity of Color section of the book was the most interesting to me, because the concept was presented so practically. By using colored paper squares to differentiate differences in intensity of color, one could test their own perception to determine the actual lighter or darker hue. This is often difficult, and Albers tries lightly not to discourage folks from trying these tests themselves.

The color overlays and vidid shapes featured in the back of the book relate to each of the sections with clarity. His choice of color combinations, analogous colors, as well as monochromes, fascinate me. When I began to do some research on Albers, I realized that in the museum in which I interned over the summer- we had some of his Homage to the Square studies! Albers was instrumental in the Bauhaus education movement, and it would be essential to any student who is not colorblind to take a look at some of his theory put into practice in his personal artworks.

And my objective? Perception of the logic and magic of color . . . there is no end with color. — Josef Albers

What do you know about sustainability?

Mr. Shedroff seemed honored to give his lecture to design students, as he has a rich background in academia. The subject of the lecture being very broad, gave him the chance to focus in on any topic that he found suitable for the audience. He stressed the importance of understanding the correct definition for the term, “sustainability” and went on to explain how it can relate to everyday facets of life, beyond that of bio/eco/green “trends.”

Mr. Shedroff began by announcing that understanding sustainability means focusing on the new development of services as opposed to products. The thought of this blew my mind. In his Powerpoint, he presented three overlapping circles, Design, Sustainability, and Business, where services fell in the middle of the overlap.

The fact that the presenter stressed that we understand the correct usage for the term “sustainable” made me realize that this was his call to action. As a designer, visually interpreting his pie, bar graphs and sustainability helices relating various information were helpful in comprehending his analyses, as well as seeing his comparative photographs of far away lands. His usage of organized lists, and color coordination was helpful in understanding his message. Also, the fact that Mr. Shedroff spoke about how he revisited a problem, restated a set of previously set guidelines, openly admitting that he was incorrect, was very forward thinking of him.

http://www.nathan.com/

Printmaking qualms, 2D, emphasis, value, perspective, negative & positive space

I was surprised when a person I know closely was given the task of carving an image out of a woodblock. Not for the content of the assignment, rather for this person’s lack of proper execution of her idea. It was not communicated correctly because she did not use proper technique, and in my opinion, proper research of the subject at hand. Perhaps I am being critical. I think it is warranted given that this student is a student of the “Fine Arts”.

In printmaking, choosing an element to emphasize is of primary concern. When one is leaning how to print make, it will become apparent that utilizing dark and light, are the two means by which your image or design will come across. Imagine a black and white photograph. The effect of that may be extremely intricate or quite plane depending on the way the composition is set up. This is to say that a print rich in detail and visual stimulation can be created by means of printmaking, even thought it is on a two dimensional plane, and using the black and white, or white and black not only as contrasting values, but as the line and both negative and positive space at the same time.

Overall grade: D

Image credit: littleblackjournal.com

Project Runway, 3D, repetition, unification, focal point, perspective

Project Runway is one of my favorite network television shows. It gives one (design savvy or not) a chance to briefly have a glimpse into the work of a designer, under the pressures of time constraints, budgets, competition, experienced designers, inexperienced designers, materials and design process. The show has been running for at least 4 years. Because I have been watching the show since it began, my subjective experience of studio life at Davis has me constantly relating it to the Project Runway show! At times I find myself wishing there was theme music, or special emphasis on the clock, indicating that deadlines are approaching!!

A means of presentation of the newly-created garments in the Project Runway show, is with a fashion show, thin and tall models featured. It think that the model’s appearance (although there is variety in their ethnicities) creates emphasis and unification by means of repetition during the show, allowing the unique garment to be featured non-objectively. The focal point is present as the viewer’s eyes are lead up and down the runway (a very ridged and precise perspective), as the catwalk is stark white, quite the contrast to the black floorings and walls used during the fashion show event.

image credit: personal photo & flypaper.bluefly.com

Review of an Exhibition Design review

As a design student, I think one is constantly testing their design integrity, whether one wants to or not. The truth in the success of one’s project, as I have realized, depends on dedication. Dedication to a precise attention to detail, dedication to getting the proper research and backing for the context, dedication of time and sacrificing other activities (weekends, socializing, etc.), dedication to the belief and conviction of your project’s relevance, and pertinence and dedication to communication with your partner.

By saying all of that, I have never been more satisfied with the turnout of a project than I was last week, at the completion of “phase 2” of our exhibition design model. My partner and I had been heavily moved by the research that we found, and in turn, that was what drove our project. The level of depth and research that one can go into when beginning a new endeavor, is endless. I wonder how IDEO knows when to stop. Perhaps time constraints.

I did find it interesting that some students had ideas, but the level of execution was not there completely. I think it is hard for us to limit our ideas because the proper materials/ graphic tools are not at our grasp. The result can sometimes be a poorly crafted project.

image credit: personal perspective renderings, phase 3 of DES 185

Nelson Gallery, displaying fabric works

I had stumbled across the Nelson gallery last Friday, as I was going to visit our design advisor. I really wasn’t expecting to walk into an exhibition of quilts, and other African goodies but was very pleased that I did. I took a quick walk through the small gallery, and was interested to find relatively simple quilts on display.

Before reading the exhibition wall text, I was surprised that UC Davis art community would find these simplistic patterns, with naturally dyed fabrics of any interest. Of course though as in academic I have been proven wrong time-and-time again, the significance was deeper than I had considered.

My mother was waiting outside for me in the parking lot behind the art building. I raced out of the gallery to find her, and quickly persuaded her to come inside and check it out. My mother is a quilter, and I am constantly urging her to display her work properly. It was difficult to tell in that gallery what different methods could be employed to display these intricate textile works, but it seemed that they were hung on two metal/wood dowels. Several of the quilts had spotlights, seeming to be incandescent bulbs. I wonder which types of bulbs should best be used for illuminating works like these, especially since they [the fabrics] were made using such delicate weaving and dying techniques.

In the quilt, Sharecropper’s Masterpiece, I couldn’t help but think of a candy store, with the thin candy-pinstripes that reverberated through out the piece. Yet, there was more integrity to the work, as the piece work appeared to be in a woven pattern. The orientation of the small pieces, although each was cut from the same fabric, differed greatly, repeating in orientation at every other placement. The obvious repetition was precise, not only the placement, and the initial cut (I could imagine the artist measuring the squares, and using a tool to ensure that the lines were at a certain angle) of the fabric showed extreme patience and dedication to the work. The title suits, as it could be, the Quilter’s Masterpiece as well.

Exhibition design, building walls that relate to the show

In our current exhibition project, we are in the interpretive step, where we are to pull our objects together and begin to think about their display. There are several ways to go about the layout, perhaps by chronology or object medium. We chose to really go into our subject, and my teammate and I ended up at the Women’s Center for hours on end, researching post WWII advertising to women.

In the interpretive step, we have found it most interesting that the dividing walls which separate different parts of the exhibition can be manipulated in so many ways to have unique experiences. These are generally created or influenced by the objects in the show, or perhaps by the era in which they were created. In our case, we chose to go with the streamlined new 1950’s automobile, large, bold curves, shiny aluminum and bulky cabin space as the inspiration for our partition walls for the older part of our show.

The closing of our exhibition features a kitchen designed my modernist architect and industrial designer, Zaha Hadid. This kitchen is elevated on a ramp and so the handrails and supporting walls reflect the sharp lines, and starkness of Hadid’s white countertops. In this room, there is also a slit in the wall/window that is mirrored from the top of the angled wall. This window overlooks the older kitchens that are featured downstairs.

image credit: personal photo

My quilt, a collaborative effort

At the start of every summer, I check out 4 or 5 books from the library on subjects that I have developed interest in during the prior school year. Generally, I will feel a sense of productivity as I leave the library, books in hand, into the summer sun, when I know that I do not have to conquer any ‘required’ reading until the following fall. I read the first several pages, perhaps even chapters and loose interest. Soon enough, the books become simply a temporary display of my fleeting summer interests as they one by one become overdue.

Considering that I am studying design, I’d like to think that this pattern of starting things and not finishing them wouldn’t apply to my creative endeavors. Surprisingly enough, I only began one personal design project this summer, and it was finished last week, with the help of my mother.

I selected a muted pastel color scheme, prints ranging from spotted tie-dye batik, to bold paisleys, to ancient maps, to metallic floral fabrics. I then pieced 5 blocks together and then cut those into 4 long strips. I had 4 sets of 5 blocks, and continued until I could hem together the strips in a “brick” pattern, alternating the seams between the strips to seem as if they were laid like bricks. When looking at any quilt, one will notice the design elements such as emphasis, repetition and rhythm prevalent through out. I then chose one of the metallic fabrics to be the boarder of the quilt.

Last weekend, my mother finished off the binding of my quilt. My mother is a quilter and I was so touched that she has taken the time to show me her technique and share with me her design hobby.

image credit: personal photo

Connections: Spanish Influence in Mexican Handicrafts

This weekend, I ventured down to San Diego, not realizing its geographic proximity to Mexico! I found myself at a Mexican “bazaar.” Growing up visiting Mexico and Guatemala often, I have always regarded Mexican artisan crafts, as touristy trinkets. But it was this trip that I began to analyze the Mexican artisan style as a unique blend of two cultures.

The native indigenous Mexican people have roots in both ancient Aztec and Mayan cultures. They had an advanced language system, which exists now as hieroglyphics painted on their still standing structures. The characters and forms exist in bright color schemes (from natural dyes, inks and paints), thick black outlines and profile aspects. Images depicting highly ornamented spirit gods or human priests feature large headdresses, gaudy jewelry and elaborate costumes.

When the Spaniards came across the ocean to colonize Mexico during the Inquisition, they brought came from a culture of high European art. Most possibly adopted by the indigenous, we see patron saints, carved almost comically out of wood, alongside intricate metal alters, mirrors and other Spanish-inspired sophistication.

The result of these two cultures is a kitschy, simply crafted, brightly colored, distinctive style that is the Mexican handicraft.

image credit: traveldk.com

Young-Helmholtz Theory, thinking about medical care facilities

cred
If I could blog about color for the next 9 weeks, I would be greatly satisfied. One of my goals this quarter is to learn how to compose and articulate my thoughts into tangible written and spoke word.

At any rate, my electric lighting professor stressed this afternoon the importance of color on the human perception and mood in a space. Designing for humans means that several elements and facets of psychology & human response must be taken into account. Different light filters will provide the guest/visitor with different emotional moods. Manipulating the scale, mood and color is the most efficient, effective and powerful way to accomplish a design goal. Perhaps one of the facilities that needs the most attention in this department is the hospital/ relative healthcare facilities. The well being of the patient, both physically and mentally is the ultimate goal in a building or edifice like this, lighting being the make or break factor in ensuring the optimal patient experience.

image credit: personal photo, taken at UF's new bio-medical building

First reception of the semseter

Today, it would seem that I opted to take Professor Housefeild’s advice and go see the newly installed Hangul show at the Design Museum in Walker Hall. I had already planned to go to it with two friends whom I met at our Davis transfer orientation, and went as not only as a dedicated student of DES001, but as an exhibition design enthusiast and opening reception junkie. I wanted to see how “shows” are run here at this school.

My background in these sorts of things began during my freshman year of college in south Florida, as I watched a multi-million dollar museum project being constructed from my dorm room window. I joined the staff a year prior to the new building’s opening and watched the museum flourish, earn patrons, build a concrete donor base and gain recognition in the international Miami art scene. During the year that led up to the grand opening spectacle, I was privileged enough to work in the 30-year old Frost Art Museum, a definitively smaller space, equivalent to a university student gallery or 2 average sized classrooms.

Needless to say, I had a good feeling walking into Walker this afternoon, remembering the quality of exhibitions that we used to show in our old space. I was reassured of this upon my arrival, as I was greeted by an array of desserts and tiny water bottles! Hostesses and faculty alike were well labeled with name tags and quiet yet cheerful conversations were being had down the hall leading to the new show.

I always feel as if opening days are the best. They are the sigh of relief for the lenders, curators, exhibition designers, registrars, directors, and not to mention the artists themselves. Hyunju Lee and Phil Choo, two educators hailing from Korea collaborated to produce an introspective show exploring their native script, Hangul. The final product was clean, sharp and comfortable to navigate through. A rich navy blue was the accent color on about half of the exhibit. It was a lovely contrast to the stark white that accompanied many of the neon-rainbow prints depicting various syllabic blocks of the ancient characters/letters. The colors of those images that were hung against the rich blue were in more muted, neutral schemes. All of these prints were rich in technical detail, each alluding to an ancient poem, national song or personal reflection of a natural object. It seemed that the artist tried to capture a sense of national identity that could be translatable to an audience of higher educated design students and faculty alike, by “reinventing” the style of text to “appeal to all”. For me however, I couldn’t help but feel that I was somehow lost in translation.

Part of me felt that the main back wall wasn’t utilized fully. It was adorned by a compellation of square, similar brightly colored ink-jet on canvas prints, these, depicting different Korean vowels. The assortment, although neat, was repetitive for me, perhaps mostly due to the fact that I did not recognize the tastefully done graphics as legible characters.

The display sequence of the various images was arranged by media. First, the ink-jet on canvas, bounded by metal scrolls on the top and bottom, affixed to the wall with a single nail hung by a string. Then, the stark white paint color took over and there was the assortment of neon-bright Korean vowels, in a sort of geometric collage, unframed. A pair of “emotions” depicted neatly within two black frames followed on this wall. The third wall featured hand made paper, and traditional scripture, beautifully colored. It was a tri-part series, those referencing to ancient Korean poems. The paper was see-through and the paper gave a distance shadow to the wall from the bright overhead lights. It was a delightful scene. Another large geometric image with the same muted natural color scheme followed the title along the lines of a corn field or some national cash crop. The biggest consistent piece of work was to the left of the entry way, as we had come full circle within the small room. It unimpressively large yet seemed like a Tetris code. In reading the object label, it was the artist’s reinterpretation of the Korean text for common people, or an abridged version, if you will.

Finding Creativity Out of One’s Self

It may be sensible, or perhaps expected that I define creativity, for the sake of a half-decent opening for the proposed title of this entry. Instead, I would like to think of my younger brother and how his creativity is a gift.

I have always been extremely proud of my younger brother, for being such a design- oriented artist. Yes, I said artist. Title proper. He has had training through his experience in school up to college, but I know that is his creativity and his dedication to perfect his technique of media that allows his creations to appear. Refrencing to an article I recently read noting the validity of the term novelty, called Notes on the Etymology of Design: the Socratic Perspective, novelty is a primordial fascination of the human mind, yet its perception seems to be highly illusory, conditioned and influenced. This posed the question, is anything new “an illusion”? For what it’s worth, it’s fair to say that my brother’s fascination with the idea of the future in human development is an excellent outlet for his creativity. My brother by nature of his zodiac sign is a born giver, and within his seeking of an understanding for his own personal architecture work, he has begun to project his humanitarian ideals and ethical spirit with the strong aid of his incredible gift of creativity.

image credit: personal photo, artwork by Jack Garcia

Eggshell wall to deep coral (with magenta undertones) wall

3 days of bundling up for the run across the street to catch the bus to campus later, we found ourselves reading at night buried under blankets, dusting the floor with socks and thawing out in hot steam showers. It has gotten cold. I am from entirely too far away to appreciate this as the “beginning of fall”- hopefully I will get into it.

I walked by the paint chips that had neatly been taped to our eggshell white accent wall and peeled them each off in an anxious rage. Those rich, jewel toned turquoises and blues were not helping me to feel warm and snug. I felt distant in looking at the small panels on the wall. I turned to see my roommate’s reaction as the once-prized swatches came down. She said “I was thinking the exact same thing.” I was too happy, and we mutually agreed that we wanted, muted orange, like the pumpkins lining the windows at Safeway, bright orange like the detail of the citric fruit from a Florida license plate that adorns the heater (WHICH DOES NOT WORK) , coral red, like the now dried peppers on a jar in the kitchen, deep brick red or a flaming neon magenta, which will eternally be the color that makes me think: South Beach.

It is incredible to think of how the weather outside can effect the way we view and seek colors for both mood reference & comfort. Cheers to a new warm Wintery color palate.

Highlighted wall

Anyhow, we finally decided that this sort of turquoise hurricane of a candle holder would be the prefect accent wall color for our family room. For one, it went really well with that cherry wood and my grandmothers (seemingly) antique, proud, lamp. Secondly, summer was hitting this town in the triple digits and we were tricked (which I realized later) into believing that a rich jewel tone of turquoise would calm our boiling blood in the heated house. I constantly felt as if my skin was melting off of my face. Melting hot, like the inside of an oven. It was interesting that we picked only that single wall to accent.

The same day we went to the antique store/ paint chip searching, we purchased several empty black and silver frames from antique shops and a thrift shop in town and proceeded to frame my roommate’s art work, alongside a badly faded PRINT of Monet’s and smaller monochrome PRINT of Van Gogh’s, a skull, seeming to smoke a joint. A neighbor of ours donated a poster of a sepia night shot of the Eiffel Tower, and lining cafes/old buildings. This montage of black/white/sepia would look rich against that bright blue, matching our wooden floors. It would seem like a tower, framing and lining the wall with rich, somewhat uniform visual sensations, varied in size.

The color of the wall

We had finally been inspired by a small hurricane candle holder that we found at an antique store. We had been searching for the perfect color for about 2 weeks, actually from the day we met. The floor in our family room is a warm wood, and the walls are “eggshell white”, all topped off with wooden beam ceilings, possible of Oakwood. The furniture in the room is a cherry wood, table and 3 dining chairs, a coffee table, framed chair with white leather seat cushions and two golden accented lamps, one floor and one table. Both elegant.

The first was part of a myriad of furniture I inherited from my grandmother, most pieces of which I’d say is over 40 years old, I want to say that it is from the 1960’s. I have been studying World War II and its effects on the designs of domestic middle class America household items. As somewhat an offset of the Industrial Revolution, due to the fact that these technologies were not able to be celebrated by the masses, as World War I broke out in the onset of the 20th century soon followed by the Great Depression. The sense of patriotism that pulsed on the home front during WWII helped lighten the hearts of returning troops back home, to the States. I see the movement of the 60’s that occurred could be represented in the material used, the finish seeming like either brass or gold flakes, very elegant, while using modern technology to utilize this material. It may reference Baroque in the intricate detail of the base, which looks like it is on a pedestal. The lampshade makes me thing of the Bauhaus.

I’d imagine that parents who were raising teenagers in this era would have a more formal taste, having seen the prosperous era that WWII brought them into. A hopeful, sense of pride and propriety in life was omnipresent to the middle aged housewife, present in her choice of living room lamp fixture.

Norton Museum of Art

As an American being born and raised in Florida, I have always always been exceptionally fascinated with all-things-Disney. It is a sense of familiarity, the pilgrimage that we all take each year to venture out to the theme parks of the Walt Disney World complex. This past summer, an exhibit opened at the Norton Museum of Art, in Boca Raton titled: Disney: The Music Behind the Magic 1928- Today. It was a show dedicated to the music of all-things-Disney! I was shocked that this contemporary art museum would feature such a fun and interactive exhibit. I was floored when I finally made the 2 hour venture up north to the venue. I heard all sorts of bonks and squeals, giggles and clonks. √