Week 6, Textiles

This week our class spent our time at the DC Design Center exploring the wonderful world of textiles.  We visited 3 textile distributors in the design center as a class, Arc Com Fabrics, Edelman Leather, and Holly Hunt.  After our class time expired I spent the next three hours prowling the Design Center in search of unique textiles and applications of those textiles to add to this blog.  Here is what I found...

 Samples of different color options of leather available at Edelman leather, I loved that they had such a large variety in each color palate.  This place would put most handbag companies to shame. 

 Again what a large variety of colors.  Huge neutral choice color palate available here.  If I wanted a beige leather couch I would have about 40 beige tones to choose between.

 These were a really unique application of cow hide with fur.  They were pieced together in a pattern, and would make great rugs.  I am not in love with the colors shown here, but the patterns give a good idea of what can be made with the fur hide.

 This Herring bone pattern was my favorite, I would love a white or cream version of this pattern as a large area rug. 

 Here is just the Herringbone pattern again, but in dark navy blue.  I like the variation in color from one square to the next, it has a more natural look than just a uniform man made product.

 Edelman's new leather collection, full grain leather is stamped and then died to look like crocodile.  It is also covering the table underneath the samples. 

 This shows a unique variety of patterns, furs, leathers, and even what seemed to be painted leathers.  The metallic leathers were especially interesting, because they still retained a softness similar to the other leathers. 

 This snake skin leather looked and felt so real it freaked me out to touch it.  It turns out that they stamped a piece of suede for this snake skin appearance and texture, and then triple dyed the material for the snake-like color.

 Edelman treats their leather with a water wicking treatment, so your suede doesn't die when you spill on it.  Very practical and techno of them. 

 Not only neutrals, but every color of the rainbow.  I really cannot imagine what I would use bright purple leather, neon green, or pepto-pink, but just in case they have it available.  Or maybe the apt wording would be just because you might need it, they have leather in that color.

 Water-wicking on not only suede but also leather.

 Braided leather ottoman.

 Some custom furniture options. Ottoman and desk behind.  These both are Edelman furniture pieces that can be covered with any of their available leathers, so if I wanted I could have pepto-pink leather furniture!

 Leather floor tiles in herringbone pattern.  This floor is 5 plus years old and still looks crisp and new.

 Another option of leather floor tiles, just in case you don't like leather floor tiles. 

 Real patent leather.  I have only seen plastic, synthetic versions of this stuff.  The real thing somehow looks shinier and more fake than the synthetic alternatives. 

Week 6, Textiles, Reading, "Textiles for Residential and Commercial Interiors, by A. Willbanks et al.

Though the cover is as interesting as the subject matter covered by the reading, the technical quality of the reading left me hoping for more.  It was a bit more like reading the scientific journals of a fiber lab researcher than writings of an architect or an interior designer.  It was however, incredibly in depth, a little too in depth though.  If I am ever expected to recall the cellular level of anything, let alone the drapery fabric I may or may not run and hide.  Or, now as an alternate option, I can run over to this reading and read aloud.  That would be an impressive social trick.  Back to the reading though.  This particular chapter focused on the fiber classification system and fiber properties, which on a macro level means the general pros and cons of each fabric, (yes in their generic name) which is probably the most useful information I took away from reading the chapter.   Although, it was not the most fun part of the chapter, that I reserved for the few pages at the beginning of the reading which suggested a number of methods to identify an unknown fiber, chief among them, the burning test.  The reading suggested that this would be necessary when clients brought in their own custom fabric.  The reading then included a table that described the burned and flame qualities of various fibers.  While interesting and incredibly fun, in a mad scientist sort of way, I cannot imagine burning a potential clients fabric in the feeble attempt to identify a material.  I am quite sure that hat trick would not go over well in any sort of client-designer relationship. 

Getting beyond the sparky section, the remainder of the reading focused on the fiber aspects such as composition, molecular structure, external physical features,  and the properties of the fabric, such as durability, strength (tenacity), resiliency, and reflective properties.  One of the terms in particular that I preferred over some of the other more bland terms and concepts in the reading was the 'hand' of the fabric, or in laymen's terms the quality of the feeling of the fabric under the hand of the end user.  This in particular intrigued me because in a reading where the clear intention of the writer was to deconstruct fabric into its most basic scientific parts, she couldn't convey a thorough understanding of the object without including the very inherent subjective nature of any fabric, its feeling to the purchaser.  While cotton has been so aptly coined as the, "fabric of our lives", others might shy away from the fabric in search of a more durable alternative, or even hand.

Week 5, Wood, Reading, "Frank Lloyd Wright and The meaning of Materials" by terry Patterson

This weeks reading was intriguing because it was written by a third party giving Frank Lloyd Wright's opinions and general ideology towards wood.  The opinions of Frank Lloyd Wright seem well researched, documented, and supported, but it is still an article written by someone expressing another's point of view.  That idea that this was someone else writing about another's state of mind in selecting materials really bothered me when I was reading the article.  I know it is an analysis of Frank Lloyd Wright's disposition toward wood as a finish material, but I think she really exploited his ideology towards wood in such a way as to make Frank Lloyd Wright seem exceptionally flippant towards the material.  And maybe that is how he was toward the material, but for someone to portray him that way, even just a little bit does seem a bit like blasphemy against the god of architecture.

Some of the points that the author bring up about Wright's treatment of wood was interesting.  The author separated the article based up different wood qualities, and Wright's treatment or answer to those qualities.  The majority of the reading focused on the 'form' of wood, while other sections discussed wood's 'workability', its strength, and durability.  It is clear that Wright's preference for the material in his work stemmed from woods natural grain and from the linear quality of the product after it had been processed by the mill.  The author also makes it plain that Wright preferred wood for its purely aesthetic value first, and other natural property of the material was secondary to its aesthetic.

The author also seems somewhat critical of Wright's definition of wood as it relates to nature.  Where, according to the author Wright's definition does not follow a strict logical constraint.  In fact, as the author makes clear as mud, Wright's definition of wood allows him a partiality toward the aesthetic over the more intrinsic values of the material.  The author compares Wright's definition against a more literal interpretation of the material, an interpretation that is spelled out through the body of the reading.  Once compared, the author then argues that Wright's hierarchical classification of the important values with wood really begins and ends with its grain.  The author offers Wright's preference for veneer as revealing this clear preference for the grain over other qualities such as its strength, durability, and form.  Which brings me to my only question this week regarding the reading; why did the author take us through that long winded journey through the complexities of Wright's preference for wood, describing all of its qualities, just to say that the only one of high import to Wright was its grain?

Week 5, Wood

For this week I thought I would start off with some great applications of wood in interior spaces, furniture, and even emulated in leather.  Wood seems to be a heavy hitter everywhere in both interior spaces and in architecture.  Maybe that's why it so strongly influences the industry.

Image taken at DC design center at Holly Hunt

 This is just a well made solid wood coffee table at Holly Hunt in the design center.  I included this picture because of the fact that this was one of the few pieces of wood furniture I found that was not covered by a wood veneer, this is a solid wood with a glossy natural stained finish.

Image taken at design center basement, design display, designer unknown

 Ok, so this is the mecca of wood.  We are talking wood bar, wood cabinets, wood paneling, wood cieling, wood shelving, wood decorations, and wood trim.  It was pretty much wood overload, but in an effort to highlight the material, this is the ultimate ode to wood as a finish material.

Image taken at DC design center, designer unknown

 Great wood writing desk.  This piece was also a great example of a solid wood desk free of any vaneers.  I really like the designer's use of metal and wood together, in an older shape.

Image taken at DC design center, designer Holly Hunt

This chair is really more sculptural than chair.  this is hand carved wood, notice how there are not any joints? That is because not only was this chair hand carved, but it was carved out of one piece. WOW.

Image taken at DC design center, table by Holly Hunt

Not wood, ceramic, but with a wood pattern on top to just make a little not to wood.

Image taken at DC design center, table by Holly Hunt

Rosewood vaneer, matched to create triangular pattern with distinct center point. Creates a sort of star effect.  Very classic.

Photo from Edelman's Leather DC Design Center

This was so unique I had to include it here.  This is laser cut suede, with a wood pattern.  So here wood grain was the design inspiration for a leather manufacturer.  I am not sure if I would ever use this, but I am happy to know it exists.

This is a Barbara Berry buffet table.  I included it here because of the two-tone wood use.  I confirmed with the sales associate that this was not a wood veneer, but a solid wood with a high gloss poly-coated finish.  She gave me some sales pitch about the special lacquer finish on those white drawers and how that justified the obscene price tag.  While I appreciated the information I just kept thinking that I hoped I would never sound like that lady when I try to sell something for a client.

Unique wall art here, a bunch of dart boards stuck together, just thought it was pretty innovative.

Wood veneer panels separated by solid core wood doors, pretty interesting.

I know it is a strange story, but these are some pictures I snapped at the men's changing room in Nordstrom.  To make a long story short, my fiance was jean shopping and all I saw was how unique the design of the dressing room was.  All of the walls in the men's changing area were treated with this wood veneer.  Unlike most wood veneers I have seen this one was matte, most usually have some sort of sheen to them.  I thought the overall aesthetic gave a funky, retro, masculine vibe, which is probably what they were going for.  I also think this designer was probably given a pretty strict budget and really made the best of it, at least from a value engineering standpoint.

More plastics, 3 form actually

I thought I should go back and add some really interesting design applicaitons of the materials discussed in class each week.  Thus, I wanted to post some really unique uses of plastics in design.  For some reason most of these are 3Form, but I think it is just because the stuff is just universally cool. 

  This is a picture I took of a 3form bar at a restaurant in Venice called le Central.  The food was pretty good, but this bar was my dessert because the lights would change color and I couldn't stop looking at it.

Here is that bar again in red, I had to include a picture of the different colors it would change to.

Image From www.renest.com

Image From www.hgtv.com

Image from www.3form.com

Image from www.trendir.com

I went to the American History Smithsonian Museum over the weekend and saw this retro display, ironically it is some dated advertising for plastics so I thought I should add it here.

First of all I wish people still advertised this way, secondly what in the heck are Ureas?  As far as I know Urea is pee.  I also wish that adertisers would use a pricing chart showing the price increases in their products over the last 10 years, it should be mandatory.  On another more academic note, I like how this add is portraying plastics as an innovation, whereas today it is taken for granted.

Speaking of Glass

Image From www.37signals.com

Image from www.exinteriordesign.com

Image From www.archplanner.com

I just wanted to add a few images of some of my favorite buildings and interior finishes that highlight the different ways that glass can be used within and outside of a space.  The first image is of the Gherkin building in London, a bullet shaped building in downtown London that cannot be missed and is unique to the area.  Whenever I think about modern architecture I inevetablly picture this building.

The second image is a floating wood stair case secured by structural glass panels.  I really like the openess the glass gives to the space, doing the job typically achieved by 2x4's and sheet rock.  I am also intrigued by the feeling of the treads floating in the space, almost as if by magic.  The look is at once modern, but somewhat etheral in its affect.

The third image I chose for two reasons.  I think it is a great example of what the author of our reading this week was referring to, the ability of glass to let light through, giving volume to a space while creating a physical boundary between the exterior and interior of the space.  I also thought the designers use of glass furniture inside of a glass house was unique.  It allows a seamless stream of light to move seamlessly through the space.  

Image From www.jonathanklunk.com

I have to mention Dale Chihuly in this section on glass.  I absolutely love Chihuly's work.  Each creation is a unique creation of individual hand blown glass pieces, puzzled together to create works such as the sculpture shown above.  If it were not for glass I would not be able to be jazzed by everything that is Dale Chihuly.  I think I would sell my first born to be able to own an original Chihuly sculpture.

Week 4, Glass, Reading "Space, Light and Transformation" Brent Richards

Image From www.amazon.com

     This weeks reading on glass really focused on the historical development of the material and how people used glass to impact their spaces through various historical periods.  It also included some of the modern day developments of glass as it relates to current architectural trends.  The author paid particularly close attention to how glass has influenced and the space and light in architecture throughout history.  He also added information about how the technological development of glass shaped innovation in architecture, from stained glass widows to sheet glass and even to the use of structural glass.  The most historically interesting aspect of the reading was the author's focus on the patron's of the glass industry.  It seemed those who had deep pockets throughout history perpetuated the development and uses of the material, and thus the history of the material is really reflective of the tastes and styles of the wealthiest classes from one generation to the next.  The author gave countless examples of architecturally significant uses and innovations of glass throughout history, but the common thread was the application of glass to only the most wealthy of buildings, including royal palaces and catholic cathedrals.  In many ways it seems that glass is an elitist material, or at least a result of an elitist patronage.  It is still a very expensive material, making it somewhat cost prohibitive and a coveted item in current architecture.  One of the things I thought was most interesting about the author's adherence to mentioning the huge innovations in glass architecture from one decade to the next, was the exclusion of the mass production of glass and it concurrent implementation in American homes.  Surely the mass demand for glass in some way drove and shaped its production and architectural implementation, but the author seems only concerned in this reading with the one of a kind innovations in glass architecture.  But, in examining the history of the material surely the mass production, demand, and use for the product strongly dictated its architectural use in residential single family homes, a fact the author missed or at least didn't discuss. 
                                The author took great effort to describe how the use of glass influenced the interiors of a space, creating volume and manipulating light.   He also included some interesting discussion about how glass has the unique ability to bring the inside (of a space) out and the outside (of a space) in, a concept I really had not thought of until that point.  The ability of glass to allow light into a space, while simultaneously keeping the other elements out makes glass a one of a kind material, different from all of the other materials we are going to discuss this semester.  However, for all of the author's discussion regarding the uniqueness of glass as a material as it relates to its ability to manipulate light, the author did not mention how historically vital glass was because of the lack of electricity (a rather modern innovation relative to the authors time line).  Until the invention of electricity and thus artificial light, glass was the only medium to illuminate a space without direct exposure to the exterior elements, a vital piece of information in the discussion of the importance of glass in architectural design.  It also seems to follow that one of the reasons the wealthy class heavily funded the development of glass did in fact stem from some practical roots; they wanted to be able to see inside of their homes.  Which, not to make a play on words here, sheds new light on the historical significance of glass.