Posts tagged with "Interior Design":
Maurizio Cattelan and Pierpaolo Ferrari’s maximalist vision of domestic bliss involves saturating every corner with color, texture, and pattern. Their traveling installation of housewares by Seletti, in collaboration with their magazine TOILETPAPER (mounted this past December by Fondation Beyeler in Art Basel Miami Beach as Maze of Questions, and in New York’s Cadillac House this spring as TOILETPAPER Paradise by Visionaire), covers a bedroom, bathroom, and kitchen with images that are both seductive and absurd—blood-red nail polish on disembodied women’s fingers, cloudlike kernels of popcorn floating through space, and large-scale spaghetti noodles—on ostensibly every available surface, embracing both an Italian postmodernist and a 1950s American-housewife nostalgia.
The installation coincided with Norwegian artist Bjarne Melgaard’s dystopic department store installation, The Casual Pleasure of Disappointment, a February “happening” in collaboration with Red Bull, the lifestyle brand formerly known for its energy drinks. Melgaard created a derelict department store and stuffed it not only with clothes designed in reference to a few of his favorite things (Bash Back!, a pro-queer activist group, for example, or Chris Kraus’s landmark novel I Love Dick) but also with selections from his own wardrobe, piled like heaps of garbage for the public to take, Hunger Games-style.
Meanwhile, in Washington, D.C., Yayoi Kusama’s ongoing Hirshhorn Museum retrospective features an array of her iconic Infinity Mirror Rooms, in addition to The Obliteration Room, a seminal 2002 work in which viewers are given dot stickers of various colors and sizes to cover the interior of an all-white home—refrigerator, tables, chairs, sofa, and all. Over the course of the exhibition, the interior becomes an increasingly vibrant, pulsing collage.
These four distinct artists share a common aspiration for the absolutely maximal, which, contrary to the abstract, discrete gestures of minimalism, creates an extremely personal alternative physical landscape. Art bleeds into the design sphere, taking into account the space in which it is shown: in all of these cases, the familiar environments of the domestic or commercial space.
Both museums and non-art brands alike have caught on to the allure of maximalism, its immersiveness and, perhaps more importantly, its interactivity; more than ever, viewers are invited to do the unthinkable and lay their hands on the art. Social media is also certainly complicit in this maximalist resurgence, thanks to Instagram and the prevalence of the #artselfie. Apart from its widespread free publicity and appeal to sheer vanity, the #artselfie offers a kind of tactility in the digital age. Visitors physically insert themselves into the composition of a work and take its visual properties home with them to keep. Particularly in an era in which two-dimensional work is readily available on screens, it’s the maximal that encourages the public to make a physical, often emotional, connection to a work of art.
The other function social media serves for the rise of maximalism is its inherent ability to widen one’s worldview. For younger artist and designers who grew up as so-called digital natives, the internet offers both infinite surface area for their mood boards and instant access to the visual history of the world, regardless of era or location. “For them, history is a treasure trove,” Chicago Architecture Biennial cocurator Mark Lee said in a recent Artforum interview. “They don’t feel shame or guilt to retrieve from it.”
Two young designers experiencing a meteoric rise (and who happen to share a studio) are Misha Kahn and Katie Stout, whose respective practices—both rough-hewn, eccentric, and often displayed within textured, oozing, psychedelic environments—mix kitsch and pop culture with astute art-historical references. When naming his sources of inspiration, Kahn often takes out his phone as a visual aid, naming Eskimo carvings, Gwen Stefani, and Pee-wee’s Playhouse among them. And for Stout, Dolly Parton, Raymour & Flanigan, and Charlotte Perriand are equally influential on her body of work. The world of maximalism embraces imperfection and provocation, banishing isolation and passivity on both the part of the work and the viewer. The source material is both art history and personal history, untidily accumulated and repackaged—once more, with feeling.
When Suchi Reddy, founder of New York–based Reddymade Design, was tasked with redesigning a 12,000-square-foot home in Miami Beach, Florida, she learned that the job would involve not only designing the space, but also helping the client curate an extensive contemporary art collection. Situated on Sunset Island, the home is affectionately known as the “Sweet Spot,” and Reddy’s vision was a careful balance of architecture, art, and design.
The 1939 waterfront house was built by a Cuban sugar baron in a hybrid style of Caribbean colonial and Hollywood regency. Reddy’s design transformed the estate into a comfortable contemporary home that also showcases the client’s art collection. Each space was carefully designed with that collection in mind, with additional work introduced by Reddy, including pieces by Gerhard Richter, Marina Abramovic, Carlos Cruz-Diez, Erin Shirreff, Kate Shepherd, and Barry X Ball. The architecture plays directly with the art—for example, the curving main staircase winds around a 17-foot-long light installation by artist Pae White, chosen by Reddy precisely for the space.
Throughout the six-bedroom, eight-and-a-half-bath home, each room was treated as a separate design opportunity. “Part of the challenge was that every room is fairly large, and to create intimacy and comfort within a large space can be quite a difficult task,” Reddy said. “I took a sculptural approach to designing the spaces as a response. Each room was conceived as a ‘gallery’ of sorts, with curated objects, furniture, and art.”
As would be expected of such a project, the detailing of each space is meticulous. From elaborate molding to a variety of floor finishes, every surface is considered. In some cases, Reddy worked with existing elements. “The lounge near the bar had walls with plaster palm trees—not a staple of modern design strategies,” she explained. “I decided to treat them as texture that was filled out by the curtains between them, and change the focus to the center of the room by creating a circular seating area that becomes a focal point, drawing you through the axis of the house.”
A major portion of the design was the choice of furniture. The dining room features a floating glass table designed by Poetic Lab. Another room centers around a thick telescope glass coffee table by KGBL. Colorful textiles play a key role in many of the spaces. In the living room, sculptural furniture is clad in bright African wax-print fabrics, one of Reddy’s own passions. “My Indian heritage gives me a very deep appreciation of textiles and texture,” said Reddy. “And that love informs every space, not with an Indian influence, but with a sensibility for spaces that feel sensual.”
In a Seattle neighborhood of traditional family homes, Heliotrope Architects create a modern abode using local materials
In a hip and funky part of Capitol Hill—Seattle’s answer to Brooklyn—sits one new home that is unlike the others. Amid the surrounding sea of bungalow and cottage-style homes is a new residence designed by Seattle and-Portland-based Heliotrope Architects. With its stained-cedar facade and abstract gable roof, it is contemporary yet quietly different, its boldness found in soft details, a monochromatic color palette, and honest materials.
An engineer and an artist—the former an online-retailer employee and the latter a graduate of Harvard’s Graduate School of Design—initially reached out to Heliotrope for the project. The couple had big plans to create a home on an empty mid-block lot (the former cottage-style home on the lot was razed) that could house a shared art studio space and feel airy, light, and cheerful.
The interiors take inspiration from white-walled contemporary art galleries, providing a neutral backdrop to a clean, clutter-free space filled with smart furnishings and Arne Jacobsen lighting fixtures. “The approach is not indulgent,” said Heliotrope co-founder and principal Mike Mora. “It’s relatively modest.”
White-painted sheetrock adds tranquility and calmness without feeling sterile. There are Northwestern myrtlewood floors in the peripheral spaces and wood-look tile and concrete flooring (with radiant heat) in the main living areas. The kitchen features custom cabinetry and walnut butcher-block counters, and the living room has custom bookshelves, all crafted by local builder Dovetail (known for building out local Seattle eateries like Joule and Mezcaleria Oaxaca). Ample glazing and skylights bring daylight inside, valuable in a region that can have nine months of cloud cover each year.
“It’s not just a two-story box,” said Mora, explaining why they focused on keeping the house low instead of maximizing the building envelope.
There is a thoughtful balance and unity between contemporary and warm, indoor and outdoor, public and private. As Mora explained, the design relies on a checkerboard layout—a careful juxtaposition between the interior and two ground-level gardens that help distribute natural light throughout the home (there’s also a rooftop garden as well). The master suite is split between two levels: The master bedroom is on the upper floor and looks over the double-height artist studio, while the master bath downstairs includes a custom Japanese soaking tub and cedar countertops. The guest suite lies underneath the gable roof, separated from the master suite.
In the end, Heliotrope was driven by its clients’ close connection to design. “Physical objects are important to them,” said Mora. In fact, the couple is so meticulously organized that the house required just five minutes of staging before the photographer came to shoot this feature.