SUNSHINE ON THE MALL

Last week, our very own National Mall was overtaken by foreign, green pod-like objects. Aliens were not the ones responsible for this landing, but twenty groups of architecture and engineering students from around the country and world.

This years Solar Decathlon showcased the very best in solar and sustainable design innovation in each of the twenty houses. Each house had to be designed, funded, constructed, transported, assembled and operated to specific restrictions and methods regarding energy efficiency utilizing solar power and green sustainability. The website will give you a very comprehensive look into how each of the teams factored in these requirements. Not only were energy efficiency and sustainability priorities, but great and innovative design also was an important focus. These students proved that solar panels, "living" plant walls, recycled materials, and bulky mechanical room requirements can become design features that visually create some pretty cool architecture. One house utilized its solar panels in the form of a glossy wall system on the front elevation. The wall didn't even appear as solar power until you were standing directly in front. The use of the solar system as a prominent design feature was an innovative way to disguise the fact that it was actually a mechanical system for the house. Another design used a large shipping container as a "core". This element, painted bright orange, was exposed both on the interior and exterior. It allowed for a cohesive design by connecting the other uniquely textured elements in the architecture. A third example of great design through sustainability, was the use of a "living" plant wall. this entire wall system gave the facade a beautiful texture and color, while at the same time acting as a nice contrast to the more manufactured structural systems of refined wood and steel. A favorite design innovation of mine was the house that actually celebrated the fact that all of these solar systems occupy a lot of space in a mechanical room. Here rather than masking the mechanical space, it is celebrated by housing it in a bright yellow cube that is exposed on the exterior and penetrates through to the interior spaces. Great modern design should be innovative. Sustainable and green innovation is exactly the kind of great modern design culture that catches our attention.

Read more!

A Week in the Sun: The Solar Decathlon

The National Mall was recently transformed into a solar village during the 3rd Annual Solar Decathlon, where structures from 20 Universities from the US, Canada, and abroad were judged on a series of criteria, including Architecture, Engineering, Market Viability, and Communication, as well as more technical demands, such as Hot Water, Lighting, and Energy Balance.

The beauty of the solar decathlon is that it is an opportunity for us all to see that energy efficient and sustainable environments are not only a real possibility for the future, but that they can be attractive and comfortable as well. The location could not be better: As the nucleus of the DC tourist scene, it allows a great number of individuals from a diverse background to tour the homes, learn about sustainable initiatives, and challenge students' perceptions of what makes a solar house a desirable solar home.













Perhaps most impressive were the innovative uses of material and the small details that teams had incorporated into the various homes. Plant walls were used in several homes to soften the hard lines of the design, including the Universidad Politécnica de Madrid and Team Montréal. The incorporation of semi-transparent and translucent materials was a common element, from Plexiglas doors with frosted patterns to polycarbonate walls. Wood and metal panels were features of many homes as well, and slate was even used on Penn State's entry.














The use of solar cells was also an area of innovation, from their use in translucent panels on the building envelope, as demonstrated by Georgia Tech and Universidad Politécnica de Madrid, to the ingenious incorporation of solar cells on wood louvers on the Technische Universität Darmstadt entry (the decathlon's first place finisher). An 'architecturally integrated heat exchanger' was a creative and sculptural element in the University of Colorado house, which also featured a reused container, painted bright orange, as a central component of their design. Super-graphics behind polycarbonate panels added a fresh, energetic vibe to the exterior of the University of Texas at Austin house, and the Georgia Tech entry was jazzed up by sweeping translucent panels that arc up to create sun louvers on the front façade. Louvers on the faces of entry were an almost prerequisite element, such as those on the exterior of Penn State's house, which could be raised or lowered to alter light levels, respond to varied sun angles at various times of year, and ultimately crate a more dynamic façade. Louver were also a prominent feature of the University of Maryland entry, which won the People's Choice Award.










The simplicity of the design of the Technische Universität Darmstadt made this entry a personal favorite, and demonstrated that an energy efficient home didn't have to be overtly solar with a large array stuck prominently on the roof. Overall, the homes were inspiring, and offered many unique design elements for consideration. I'm looking forward to the next event, to be held in 2009.

Read more!

Men's Fashion Gets the Boot!

Yes, I admit it. I'm a closet boot wearer. But any two-stepper will tell you that a pair of boots is a must if you expect to Tush Push, Boot Scoot, or whatever else you might find playing at the neighborhood CW bar. But unless you are a cowboy, on the rodeo circuit, or ride a Harley, the boot has limited appeal, so the layman's boots seldom work their way into the everyday wardrobe. At least until now. Heralding in a new generation of boot wearers, perhaps, is Mark Nason, a brand with a rock-and-roll soul and great looks. Featuring a variety of leather options and colors, unique stitching, various sole options (including leather), sculptural metal details, such as buckles and zipper pulls, and fantastic graphics (much like those currently being screen printed across trendy tees), these kicks are quite stylish.

Are you ready boots? Start walkin'!
Read more!

DIRTY LUXURY

All that glimmers is not gold, and all that is gold doesn't necessarily glimmer. A pair of 24K gold dipped Nike hightops do not usually appear under a spotlight in the middle of a vacant brake repair garage, but this past weekend this unsuspecting combination became a centerpiece for an event that should not have been missed. Yet again the blossoming DC modern art scene created an exhibit via installation of "luxury items" amidst old tire parts and greasy concrete walls. LUSTER, sponsored by Project 4 Gallery and The Pink Line Project, is the type of happening in the city that gets our creative inspirations re-energized. To display re-interpreted "luxury" items in a decrepit and unexpected location and throw a chic party around the installation is exactly the kind of modern urban irony that reminds us why living in the city is so wonderful.
Read more!

SWEET SHOPPING

DC has recently become a hot spot for excitingly chic new stores. Storefronts are popping up with everything from Nom de Guerre jackets to vintage Saarinen sidetables. A new contender in this arena of super-chic and in-the-know boutiques is RCKNDY at 1515 U Street. DC design-a-holics now do not have to travel all the way to Manhattan to get their fill at Moss in SoHo, they just have to pay a visit to this trend-setting storefront that is inspired by a candy store of times long past. Enter the store, walk past modern sofas and chairs that should be found in any urban loft, and you see the bubble gum pink candy counter complete with glass candy jars filled with all of your childhood favourites. Designers and mass production artists have their sweet goods all over this place. Everything from ceramic pistol vases to vintage inspired wall clocks to super graphic textiles and ghost acrylic candelabras can be found here. Almost any piece of vintage inspired ironic modernist decor can be seen. The experience can at first can be overwhelming due to the vast amount of "eye" candy on display, so make sure you have some time to browse, or just plan on making several visits. We thank David Dennis, owner and visionary, for the opportunity to incorporate highly intelligent and ironically modern design into our DC lifestyles.
Read more!

City Living; Streamlined

Living in an urban area always will have its positives and negatives, and it will also have more ironic moments than anyone could possibly ever imagine. This is a great reason for walking around the city. You never know what you may stumble upon. Housing options in DC have become much more plentiful with the condo boom as of late, with more condos and houses on the market than ever. Finding a home to fit your needs is not as difficult as it used to be in the District, but finding a home to fit your budget is excessively more difficult than it used to be. Finding a small a space in the neighborhood of choice on a tight budget can be difficult, and many times finding that rent controlled apartment in your neighborhood of choice seems next to impossible. A rather unusual solution to this problem (even if it isn't a solution in reality, it still was a fun thought) popped up on the streets of Dupont circle these last few weeks. A 1980's Vintage 345 Airstream Motorhome has been taking up no less than three on-street parking spaces where it chooses to "dock". This relic of streamlined high tech design is definitely out of place on the typical DC streetscape. Whether it is being used as a super vintage-modern chic pad for a desperate urbanite, or is just a lux set of wheels for travels to other locales, it stands out on its own as a piece of history that is still an excellent example of modern design. Great design can be appreciated when it is new, and cherished when it has aged. The Airstream trailer has become an interesting example of a modern intervention within an existing classic. The designer George Nelson has taken a historic Airstream trailer, and retro-fitted a more modern interior, utilizing today's materials and technologies. This modern interior intervention fits almost seamlessly with the decades old exterior shell. Great Design is everywhere, and can appear in the most ironic situations, if you just keep your eyes open to what surrounds you.
Read more!

In: Vino: Veritas

We are always delighted to see new life breathed into an old space. And while it is always wonderful to see this happen to an empty, highly visible storefront on a well-traveled street, it is somewhat more exciting when it happens to a space that we never even really noticed before. This is the case with the recently opened Veritas Wine Bar at 2031 Florida Avenue NW (at the intersection of Connecticut Ave.) While certainly located in a great, old building in the Dupont Circle neighborhood, the tenant space here, adjacent to Georgetown Valet, had always escaped our view, until now.

Veritas boasts a range of wine that any enthusiast would applaud. (And with the opportunity for patrons to suggest additions to their wine list, the options will only get better.)

Meanwhile, we applaud the design of the space. With exposed brick and clean, simple finishes and furnishing, the feel is understated - chic, yet decidedly not pretentious. There is an energetic vibe which makes this an appealing place to unwind after a day at the office. This is a welcome addition to Dupont.

Read more!

Oh Gehry, Where Is Thy Victory?

On Wednesday, October 3^rd, the National Building Museum honored Gehry Partners and Gehry Technologies by presenting them with the Henry C. Turner Prize for Innovation in Construction Technology. According to the NBM website, over 1000 people turned out to hear award recipients Frank O. Gehry and Dennis Shelden discuss their projects, as well as the use of the technologies that they have produced and employed.

Regrettably, much of the event's focus was more on the technical processes and developments that each project has required, more so than an explanation of Gehry’s intellectual process. At times Gehry was even apologetic about his designs, such as his new Lou Ruvo Alzheimer's Institute in Las Vegas, Nevada, of which he said, “It’s really hard to do something in Vegas and get attention for it, so forgive me for this.” (When Gehry first identified the project as a center for Alzheimer’s patience, audience members thought that Gehry was making a joke about the seemingly schizophrenic assemblage. He was not.) While undoubtedly Gehry’s success has been due largely to the highly original and instantly recognizable nature of his work, one must ask how successful a project is if it does not first aim to satisfy the basic needs of the project, and in a pleasing way. This is unfortunately an instance where the form seems to be wagging the function.

Gehry’s work has always left me personally with mixed emotions. In architecture school I learned the importance of designing in such a way that every line drawn, every gesture made, and ultimately every element of a project was done with meaning or purpose; Gehry’s work, by comparison, has always just seemed so spontaneous and cavalier. While his work is monumental, and can redefine and recreate the image of a place, such as is the case of his Guggenheim Bilbao, it has always begged the question of what Gehry's contribution is to the service of architecture. I’ve always regarded his works as sculptures, which are placed, with little exception, without regard for context. His designs, though certainly pushing the limits of creativity and design, do not offer us a language per se which a generation of architects can really employ (such as, in contrast, the language of modern architecture developed through the works of Mies van der Rohe, Le Courbusier, and their contemporaries.) However, as I’ve now begun to acknowledge, Gehry’s contribution is perhaps as significant a paradigm in the world of design: that of the digital interface and the increasing level of freedom allowed through the advancement of design technologies. In that regard, much like his predecessors, Gehry is pushing the limits of design technology, which, along with the construction industry, must adapt and evolve to met the demands of the architecture.

The work of Frank Gehry has in many ways flown in the face of convention (as well as what many of us were repeatedly told in architecture school about the proper organization and hierarchies of masses, the grounding of a building element to the site, the honesty of a building’s exterior form relative to the structure and interior spaces, and the response of a building to its context.) However, through these works, Gehry has established a unique voice in the realm of architecture, and has served to push the limits of architectural design and building technology. (Gehry stated that architects such as Zaha Hadid are now using software developed by Gehry Technologies.)

“Getting these damn things built has been a lot of fun…and a struggle,” quipped Gehry. While the world of architecture may not universally accept the work of Frank Gehry, we are all the benefactors of his struggle.

Read more!

Modernism In Your Neighborhood

Modern architecture has been popping up in almost all of Washington's neighborhoods lately. The revitalizing urban neighborhood of NoMa (North of Massachusetts Avenue) has become one of the hotbeds for examples of current ideologies in urban modernism. The fabric of this neighborhood contains many vacant lots which are being utilized for the incorporation of modern design into the existing historical context. Many of these new infill projects are designed by Suzane Reatig Architecture, http://www.reatig.com/ . Today's most innovative technologies and materials such as storefront glazing systems, curtain wall technologies, and raw commercial materials such as prefabricated concrete structure and concrete block sit next door to classical Washingtonian rowhouses. Both typologies are very unique and can contrast with each other. In these examples, there is a relationship in scale, massing, use, and texture. Both the historic and the modern example compliment the other, without mimicry or direct interpretation, but by letting the other stand on its on merit. Here both the old and the new have individual importance and clarity, but work together to create a cohesive and unique streetscape. A primary difference between the new and the old is the massing placement on the building site. The historic rowhouses have their building massing predominantly towards the front of the site, while the yard space is towards the rear. In the new condo building, the building massing is focused along the front and the rear of the site, leaving a large open courtyard in the center. The openness and transparency of the architecture allow for a publicity on the street fronts while the inner courtyards create a privacy for the inhabitants as well. Modern architecture as in this example, does not take away from the importance of the historic area, but increases the significance of the existing history. The modern architecture is created for today, and will one day be an important part of the city's evolving historic fabric as well.
Read more!

ARCHITECTURE for ART

Exhibition spaces have always been an exciting opportunity to involve innovative architecture. Many of the world's most prominent structures are utilized or designed for the exhibition of art. There are situations where not only is the exhibition the destination but so is the space that it inhabits. Can the architecture overwhelm the contents? Should the structure become just the background to what is exhibited? How can the importance of the architecture not dominate the art itself? The building itself can become a destination. References have been made where the architecture is actually unfriendly to the art exhibited inside. Here some might say that the architecture has become more important than the use it was designed for, art exhibition. A local example of art in architecture is the Project4 Gallery at 903 U Street, NW, Washington, DC. A well executed example of incorporating modern design within a historic structure, the architecture of the gallery is very distinct. The obvious integration of the new into the old has given a certain vibrancy to the building. In this case, not only does the architecture itself create interest, but so does the contents within the space. The interior space itself is a good example of modern architecture, yet it becomes a background to the art itself. The architecture utilizes modern materials and open spaces, which have a relative transparency allowing the exhibited art to become the foreground. The modern and innovative architecture creates a dynamic experience for its specific funcition, the displaying and viewing of fine art. The most current exhibit, Landscape/Star Wars On Earth by Cedric Delsaux, is itself an example of a collision of two very distinct entities. The work montages decaying Parisian industrial and suburban landscapes with synthetic Star Wars situations. As the gallery's architecture and art work together to make a cohesive experience, the entities within the photographs intertwine to become a single cohesive subject, with one entity supporting the other.

Read more!

A Diamond in the Rough?

On Tuesday I was afforded the opportunity to tour the new Washington Nationals' baseball stadium, designed by HOK Sport and Devrouax & Pernell. It is with great anticipation that fans await Opening Day 2008, and the opening of the new ballpark. The park certainly has the bits of flair that fans will be looking for, from a restaurant behind left field to an open concourse which promises views to the field (while your in route to get a dog and a beer), and even a posh Founder's Club, complete with windows overlooking indoor batting cages (though admittedly only a fraction of fans will get to see that).

The concepts behind the stadium are pretty solid, from the initial decision to site the new stadium in a blighted and often ignored area of the city, south of the Capitol along the Anacostia River, to the massing along South Capitol Street, intended to create a 'wall' to the street, appropriate for its urban setting (however, it should be stated that this sort of urban density does not yet exist here, so there is no counterpart to this 'wall' on the other side of the street, but rather a scattering of low lying townhouses and a storage facility -- but I expect that will change in time.) And it should be duly noted that the building is applying for LEED credits, a first for a major league facility.

Having said that, I couldn't help but leave with a few disappointments. While undoubtedly the value engineering process has taken its toll on this building, as often happens, the exterior pre-cast finish in a limestone-esque cream color and alternating metal siding panels seems lackluster and cheap. The orientation seems off, as on a sunny afternoon the outfield, including the home team's bullpen, were facing the sun. The stadium also turns its back on the Anacostia River, which is unfortunate. (As a rower on the Anacostia I hope that the stadium may still focus some attention on the river, which is a victim of industry, urban runoff, and sewage overflow discharge, and in need of clean up.) There is a focus on the monuments, such as the Capitol dome, Washington Monument, and National Cathedral from the upper deck seats, though as our guide indicated, with new buildings under construction around the stadium, you'll be lucky to still have these views on Opening Day.

As for the plan itself, it seems fractured. In some ways this is to allow for the 'views' cut through the stadium, but the result feels like an assemblage of parts. In contrast to the formal geometry and graceful curves of RFK, the new Nats' ballpark's design is hard to visualize. While the form of aging RFK is memorable, the new stadium relies more of creating spaces and sightlines. And unfortunately the greatest of these sightlines is only afforded to patron's entering through the Founder's Club. Finally, the wrapping shape of the stadiums concourses is rigid and faceted, denying us the graceful curves expected of a stadium, and granted us by RFK.

In all, the new Washington Nationals' ball park will undoubtedly be a crowd pleaser, and offer fans all that they might expect. And in the spring I will return to watch a game, and see if my impression is changed. But I really have to wonder if it will leave a lasting impression on it's visitors. For now, at least, that grand gesture or memorable element seems to be lacking. In the words of Gertrude Stein, "There is no there there".
Read more!

In The News: 'Look What Just Popped Up'

Today's Washington Post features an article on rooftop additions to rowhouses in the District. And while there are no doubt some horrible examples of rooftop additions in DC, such as the one pictured in the article, the reactions to these ill-conceived modifications can be just as concerning. Take for example a developer mentioned in the piece, who states that "A year from now...a visitor to the street won't know if the building was constructed 'in 2007 or 1907.'" Or the statement of DC Office of Planning assistant director Travis Parker, who the Post quoted as saying that an approach to dealing with such additions is to draft regulations "that define its existing building types and set that as the existing standard." The concern raised by such statements is that they indicate the extreme, yet often too-quickly embraced notion that either such additions and alterations to an existing building should either strictly adhere to a defined style or be prohibited all together. But there are certain inherit risks to this approach.

As a professional in the design industry and a student of the city, there is a certain disdain that I feel towards this approach. I believe that a building should be of the time. That a building, like a city, is dynamic...it ages, and it changes over time. This can be a beautiful aspect of any renovation, for it provides the opportunity to create a dialogue through the design, between the existing and the new which it must respond to, that serves several ends. First, such a dialogue informs the observer of the life of a building. One understands the development that the building went through. And such a dialogue can take many different approaches, from the respectful melding of similar masses or materials, to the more aggressive interplay of old and new. But this dialogue further serves to distinguish the existing, original contributing elements of a building from that which is added, serving to add authenticity to that which is original, and simultaneously add an element of contemporaneousness to the composition.

Granted, this must be done well. Such an addition should be respectful in many ways to the existing context. The forms, scale, massing, and materials of the existing structure and its surroundings should inform the design of the renovation, modification, or addition. It is a question of the language, the underlying characteristics of the object, rather than the motif. But all too often when we hear discussions such as this, regarding additions to structures that we are compelled to label 'historic' or 'contributing', the tendency is to respond 'in kind' through the employment of the motifs of a style. I feel that this is detrimental, as motifs have, and continue to be, employed in ways that are not appropriate or original. Take for instance one of the examples featured in the article. The composition includes a large mansard roof with two tall windows, over an existing three window arrangement on the second floor existing facade. While the composition employs elements of a design style, they are applied haphazardly. Furthermore the scale of the addition overpowers the existing. While it is clear to see that this is an example of what not to do, it is a consequence that such a mentality of working within a prescribed architectural style can produce.

While zoning regulations and the designation of areas as historic districts are an important means of moderating the density and appropriateness of a design in our cities' neighborhoods, it is important that they not be used in a way that would stymie the advancement of modern design. There are countless, worthy examples of good, modern design in historic districts, and the results can often render vibrant, energetic neighborhoods. Therefore, the regulations should be based on massing and scale, more so than actual stylistic elements. If our existing historical buildings are to remain truly unique and authentic, then we should not degrade them with newly built impostors. We respect our past by responding and engaging appropriately, not by mocking.

Read more!

ON THE SCENE : Pedini Opening Party

Modernism IS in your neighborhood. Cady's Alley in Georgetown, Washington, DC, has become a host to direct public access to intelligent modern design. One of the new kids on the block, Pedini, opened it's doors to allow for an inside look at the sleek modern Italian kitchens and storage systems it will be offering to Washington's modern design starved urbanites. Here commercial functionality meets the warmer residential needs of today's best designed kitchens. Key features that caught our eye were the concealed and fully integrated appliances, darker organic colors matched with softer white marble counters and matte stainless steel hardware. Well-crafted cabinetry with smooth hardware and fine woods are only made more appealing by the variety of looks, from clean and simple minimalistic to graceful, dramatic sweeping curves.

Owner, Roy Wellman, has been hard at work preparing for the opening, which included a cooking demonstration and appetizers as pleasing to the eye as to the palatte, prepared by Ris Lacoste, former executive chef of Georgetown's 1789, who is reportedly putting the finishing touches on her much anticipated new restaurant, slated to open later this year.

We wish Roy and the Pedini DC Family much luck, and are pleased with this recent entry into DC's design market!
Read more!

Modernism In Your Neighborhood

Washington, DC is a very difficult city to find any hint of Modernism on the typical city street. Sometimes it appears in the most unexpected places on the street front, but many times, due to historical restrictions, appears along the alley ways behind the urban street. Here is a great example of how modern design can be sucessfully incorporated with the pre-existing historic fabric. What is really exciting about this example, is that since it is located on a side alley, it can also be partially seen from the main urban street. By restoring the front and existing townhouse facade and details, the project met the historic district requirements. By adding an addition which gently overlaps the existing, but stands on its own merit, enhances the original building and its importance. Here simple industrial materials focusing on simplicity and transparency make this piece of modernism a great example of what is priority in today's design philosophies. An obvious blend of old and new enhances the texture of this urban block.

Read more!

Symbolism as the Impetus of Design

"I feel this way about it. World trade means world peace and consequently the World Trade Center buildings in New York ... had a bigger purpose than just to provide room for tenants. The World Trade Center is a living symbol of man's dedication to world peace ... beyond the compelling need to make this a monument to world peace, the World Trade Center should, because of its importance, become a representation of man's belief in humanity, his need for individual dignity, his beliefs in the cooperation of men, and through cooperation, his ability to find greatness."

— Minoru Yamasaki

The words of architect Minoru Yamasaki, describing his design for the World Trade Center in New York City, carry an especially ironic meaning today, six years after the towers were destroyed in a terrorist attack. And although such peace as the architect hoped to symbolize in his great structures has yet to be realized, it is commendable that such a notion should be associated with this work of architecture.

A work of architecture, as with any object, has certain prerequisite functions that it must achieve. This is the project's program. But a project's program is not synonymous with a project's goal. For the goal of any well designed object should not merely be to satisfy the basic needs, but to strive to be something more. It should meet certain, less tangible needs. Sensual needs. The goal should not merely be basic. And although Henri Louis Sullivan's assertion that "Form follows function" is one of the cornerstones, if not catch phrases of modern design, as Frank Lloyd Wright later stated, "'Form follows function'...has been misunderstood. Form and function should be one, joined in a spiritual union." While function is what gives rise to the design, and dictates its basic organization, it is this spirit, this sense of meaning, or of evoking some human response, that ultimately leads to form.

Too often I see works of architecture that are truly uninspired. They have no expression to offer, no higher purpose, no soul. Every design object can have a life of it's own. A certain response to its placement or surroundings, to its time, to its function; it is these responses in the design that give it a voice; it's what makes a building more than just floors, walls, and a roof. It's what causes us to stand in admiration of a beautiful object, a great building, or a towering skyline. It's what reaches us on our most basic level, and gives a work its humanity. It is more than form following function. It is form following ambition.

Read more!

Contextual Modernism

In the typical American society, the common attitude is that all that is older than 50 years is condisered "Historic", and all that is newer than 50 years or is unbuilt, should "blend" with the existing "Historic" elements. I ask, Why does everything have to look as though it is from a past time period in history? Do we want our cities and neighborhoods to be relics from past times even before they are fully realized? If we allow all new architecture to mimic what history has given to us, then the visual historical time table of each city and neighborhood will be lost. If we make a new building, built today, look as though it is from one hundred years ago, you not only take away some of the significance of the existing historic buildings, but in another hundred years from now, how will anyone in that future society be able to recognize the spceific innovations, technologies, materials, society structure and ways of life from today's world? These are questions that I will be addressing in my future posts. Modernism does not have to be scary. Modernism should be welcome in our neighborhoods, not cast off. Next post- "Can you find Modernism in your neighborhood?"

ShopSMITH
Read more!

Looks We Like

For our very first installment of 'Looks We Like', we've decided to feature these little, hand-blown fixtures from Niche Modern (available at http://www.nichemodern.com/). We are fond of the variety of shapes and colors, as well as the use of unique incandescent bulbs. The craft of such objects seems to suggest a return to products produced according to time honored traditions, and evoke a sense of nostalgia. We believe that, along with an over-inflated passion for all things 'green', we will also see a welcomed return to well-crafted, hand-made objects. At a time when the organic and all-natural craze is ever present in our grocery stores and restaurants, is this same return to 'wholesome goodness' and a lack of 'processing' becoming a trend in modern design? Perhaps. And, admittedly, while we pause for a second and fear the fate of these clever little luminaries in a world rapidly switching out incandescent bulbs for more energy efficient fluorescents, with such a unique design, we do not hesitate for long.
Read more!

The Fall Forecast (DesignCult Edition)

The Washington Post just gave their fall forecast for home design. So we decided to counter with our own forecast!

Our forecast? Exotic textiles & patterns, white remains supreme with eggplant and mauves making an appearance (esp. as super-graphics), dark woods & acrylic furnishings make for a stunning uptown look, iridescent silks and microfiber & velor upholstery and energetic, handmade accents.



Read more!

And so it begins...

This is a blog. It is a blog about design and the culture associated with design, in all it's forms. From architecture to interior design to industrial design to fashion and art and so on. This is DesignCult.

Welcome.

Read more!