Words from the Designer
In Nashville it is hard to find clients who embrace an ascetic outside of shiplap, edision bulbs, cowhide and lack of personality. With years of hitting the pause button on "Mad Men" to examine the interiors and furnishings, I finally got a call to do my own version of true Mid-Century Manhattan. I feel it is important that I mention how knowledgeable my clients were on not only the ascetics of the 1950's and early 60's, but the significance of simplicity within design. It is not every project that an in-depth conversation can occur between client and designer regarding any one item.
Upon meeting the clients and understanding their personal ascetic outside of Mid-century, I instantly started incorporating elements of De Stijl into the design. Embracing an ascetic centered in basic visual elements such as geometric forms and primary colors, the impact of line become key. Another major play I wanted to incorporate was the use of asymmetrical design within an overall symmetrical construct. A blend that presented not only high visual contrast, but also balance rather than push and pull. Every item within the design was highly curated and often took months to select. My clients and I had an understanding that we would incorporate as many mid-century furnishings as possible, original finish of course. Vintage furniture included designs by broyhill, Drexel, Blenko, and Johannes Anderson.
What we could not find, like the magical unicorns we call nightstands, I would purchase from local craftsmen. Only a few items within the design had to be bought on a commercial level, this note is key, as a good designer can blend the line between vintage and contemporary so that design is not interrupted. Handmade elements included items such as the stunning Spider Leg dining table, Mitchell Gold & Bob Williams Sectional Sofa, all perisan/kilim rugs, and wall coverings. Additional handmade features are the dry bar and fireplace shelving/surround, constructed by 1767.
All fine art in the design, with the exception of the two blue dogs painting by Rodrigue (above sofa), was purchased or commissioned by Tennessee artists. Key seasoned artists included ceramist Shadow May, sculptor James Gibson, and painter Don Gilbert. Emerging painters Wendy Mcwilliams and Linday Davis were also featured within the interior. It is always a highlight of my job to find an emerging artist who possess raw talent that is being crafted and pushed in an direction entirely their own. I found this in artist Lindsay Davis and commissioned a large scale work that was the fundamentally most import element of the design. Placed in the hallway between the guest room "yellow" and living spaces "blue", this area was the bridge of the design. The artwork needed to stand its' ground but not challenge such statements as the Rodrigue and chrome finishes. The result was a work of art so expressive that the artist's own personality became prominate. It has always been very clear to me if an artist enjoyed a commission or not. Davis' energy and depth was in every layer of the work but still allowed the viewer to connect without hesitation.
Final notes on the design is the mastery of color, in both saturated and subdued palettes. An intriguing example can be found between the urban symbols and base thread treatments within the living room rug. The eye in this design is completely controlled by the design. Like every artist, I wanted you to look at certain elements at certain times and in certain areas. No matter where you sit or stand, the design continues to speak and show new perspectives never noticed before.
The most rewarding aspect of this project was not just the interior itself, but the wonderful friendship formed between my clients and I. An absolutely unexpected but cherished bond.
Upon meeting the clients and understanding their personal ascetic outside of Mid-century, I instantly started incorporating elements of De Stijl into the design. Embracing an ascetic centered in basic visual elements such as geometric forms and primary colors, the impact of line become key. Another major play I wanted to incorporate was the use of asymmetrical design within an overall symmetrical construct. A blend that presented not only high visual contrast, but also balance rather than push and pull. Every item within the design was highly curated and often took months to select. My clients and I had an understanding that we would incorporate as many mid-century furnishings as possible, original finish of course. Vintage furniture included designs by broyhill, Drexel, Blenko, and Johannes Anderson.
What we could not find, like the magical unicorns we call nightstands, I would purchase from local craftsmen. Only a few items within the design had to be bought on a commercial level, this note is key, as a good designer can blend the line between vintage and contemporary so that design is not interrupted. Handmade elements included items such as the stunning Spider Leg dining table, Mitchell Gold & Bob Williams Sectional Sofa, all perisan/kilim rugs, and wall coverings. Additional handmade features are the dry bar and fireplace shelving/surround, constructed by 1767.
All fine art in the design, with the exception of the two blue dogs painting by Rodrigue (above sofa), was purchased or commissioned by Tennessee artists. Key seasoned artists included ceramist Shadow May, sculptor James Gibson, and painter Don Gilbert. Emerging painters Wendy Mcwilliams and Linday Davis were also featured within the interior. It is always a highlight of my job to find an emerging artist who possess raw talent that is being crafted and pushed in an direction entirely their own. I found this in artist Lindsay Davis and commissioned a large scale work that was the fundamentally most import element of the design. Placed in the hallway between the guest room "yellow" and living spaces "blue", this area was the bridge of the design. The artwork needed to stand its' ground but not challenge such statements as the Rodrigue and chrome finishes. The result was a work of art so expressive that the artist's own personality became prominate. It has always been very clear to me if an artist enjoyed a commission or not. Davis' energy and depth was in every layer of the work but still allowed the viewer to connect without hesitation.
Final notes on the design is the mastery of color, in both saturated and subdued palettes. An intriguing example can be found between the urban symbols and base thread treatments within the living room rug. The eye in this design is completely controlled by the design. Like every artist, I wanted you to look at certain elements at certain times and in certain areas. No matter where you sit or stand, the design continues to speak and show new perspectives never noticed before.
The most rewarding aspect of this project was not just the interior itself, but the wonderful friendship formed between my clients and I. An absolutely unexpected but cherished bond.