Tatyana's Profile

How awful. Totally devoid of sense of style.

Not every juxtaposition is a revelation; this one, actually, is rather unflattering to Mr. Murakami...or maybe revealing is a better word.

Thank you, Aaron. You always find most architecturally-interesting materials.

Daniel, from the description I understand that the threads are cantilevered from the wall and supported on the other side by the screen constructed of vertical rods spanning the height (28') of the building and horizontal elements. What material are the horizontal slats? Is it wood or "rusted" steel? Also, threads appear to be resting on the screen (in the 4th photo) -are there concealed screws involved?
One more question:
on the stair turn from a first landing in the cellar to the ground floor you said the stair is supported by a laser-cut sheet; so instead of brick wall the threads are attached (welded?) to a vertical metal sheet (suspended from the beams &girder, I guess) and on the other side - still by the screen?

Aaron, I wanted to thank you personally for your contribution.
Every time I see a high-quality, good taste, carefully selected, visually attractive post, I know it will be signed by your name.

A work of a true design professional.

Tim, is clock' dial mechanism recessed into the wall?

Yes! I had the same idea with rusty fireplace surround - but wanted to use it in a Romantic Gardens' way: creating visual illusion. I had it all planned -it was supposed to be grouted into a low stone wall curving around an outdoor fire pit.
Unfortunately, it was never built, and my beautiful salvaged fireplace surround got broken later on...

Tallulah, your mother is an amazing gardener.

You can do the same - visit SOHO House - here in NY. To get to their spa or the roof pool, though, you have to be a member's guest.
At least when I worked on it, 6 years ago, that was the concept.

It is not a regular hotel - it's a club with locations worldwide, and not inexpensive to use.

The general concept of the interiors hasn't changed, though, between SOHO - 9th Ave and Berlin: same "tub in the guestroom" and "Crystal chandelier plus polished concrete" aesthetic.
Although ours is much, much more sleek!

Agree with N A V above: it applies to fulltime jobs, and rightly so.
In 15 years in commercial interior design I haven't seen once that a member of the staff was credited over the name of a Principal of the firm (even if the Principal was not working on that particular project, or if his participation consisted of a name on a seal on cover of construction set). And for good reason: the Principal carry legal responsibilities for every design item leaving the door of his office. If there is a malfunction of that chair the intern is so adamant about, and the customer got hurt and decides to sue: who is he going to call in court, an intern or furniture designer whose name is on the seal for production? I daresay - a designer. And it is a designer who probably pays to some sort of malpractice insurance, and it is a designer who will compensate lawyers if the case goes to arbitration or to a court hearings - and it is a designer who will go to jail if the court decides the case against him.

Besides, every project is not just an idea, a pencil sketch on a napkin. There were a lot of other people, I'm sure, who worked on that chair from the point they got the sketch to a physical object, praised for its excellent detailing - did intern executed all of it himself, including the workshop technical drawings? I don't think so: he doesn't know how. Then logically, each member of the team should demand their own piece of publicity!

Every designer has a portfolio, regardless if he/she works for a firm or for herself. Standard practice is to include the images and documentation of the project you participated in, and to indicate exactly what is that you provided for the project. You st\ill leave the titleblock and the name of the firm on the documents, while you say "I was responsible for the initial concept, which was then developed by the firm".

Not so complicated and certainly not a cause for litigation.

The idea is great. To use it, though...I'll be hard-pressed to include it in any scheme.

Aaron, I also just returned from ICFF -not feeling my feet, so much to see! I noticed this ingenious shelves, too - very chic.
Have you seen the British guys with amazing "contracting" lighting fixtures? The ones that were wall-mounted in 3 on the wooden circle, and simultaneously widen or narrow the light spread, forming kaleidoscopic patterns? Genius.

Thank you very much for this post.
Gray remains one of my model-designers: versatile, persistent, modest, curious towards new directions, proficient in necessary technical founditon. Someone who's attitude was more of a craftsman than an artist, and not a self-promoter.

I especially like her work as an interior designer and architect, although it is less known. Philippe Garner mentions in his book the apartment on Rue Chateaubriand she designed in 1930: absolutely stunning technical solutions (storage recessed in the ceiling, curtain screen, mounted on circular ceiling track, concealing the bathroom, etc). She lacked architectural training, but her vision was unique- and the apartment's drawings look avantgarde even now.