STANDARD an honest-to-goodness design affair
contour culture
summer 2013 1
3
couture starts here
austin.barmethod.com
FLOR shown here: Made You Look™ in Berry, Cobalt, Magenta, Orange, Persimmon, Purple, Red, Teal and Turquoise.
INSPIRED MODULAR FLOORCOVERING
Colors. Patterns. Possibilities. It all starts with a square.
Inspired living spaces begin with carpet design squares. Visit our store to start designing yours. FLOR.com/stores for locations.
5
Au s live tin's f red ines t to yo food ur ho & go me od s or off ice
CoterieMarket.com
de
7
112
22 108
hazelfunk Austin Collection 2013 HazelFunk.com
20
22
9
The Letter 14 Newsreel Trend-Predictor 22
Lincoln Center redesign and headpieces with flare
On The Boards 26 Nudes and the beach
Quality Words by Noah Marion 30 Exploring built environments
48 Future Nature 106
An image from our imagination to yours
22
34
92
26
24
54
Contour Culture, summer 2013
116
28
106
106
24
31
64 11
A Design Affair 34
Standard visits RIGARDS
Without Compromise 44
an inside-out look at Tesla’s Model S
Body Blueprint 58
building for couture with The Bar Method
Tru Grit 68
68
an interview with eccentric designer David Trubridge
The Arc of Movement 82
on the water with Scott Robinson
Playing Along the Great Wall 92
exploring the Brickyard Eco-Retreat of Beigou Village, China
58
34
92
13
the letter ears ago, I saw a scale model of Disney's original plan for the Magic Kingdom. Surprised at how few kernels of the original ended up being built, I remember feeling liberated by the realization that nobody — even Walt Disney — executes precisely according to their original vision. Things change. Usually for the better. If you are a longtime reader of Standard, you've surely watched us change. Once an interiors and architecture mag with darling illustrated covers by Dallas Shaw, we've evolved into a sleek unisex publication focused on exploring design from every angle. The "Contour Culture" issue is a tremendous example of how we're now looking at everything — even the human body — through the lens of design. It's no secret that this evolution has paralleled changes I've made in my design career. No longer focused on residential interiors, I like to say that I design "places, spaces, objects and obscurities" — the dressing rooms at the Austin Music Hall; an oversized market bag for Hazel Funk; a modern lighting collection for Mockingbird Domestics. I love stretching my talent into previously unexplored mediums and I couldn't help but bring Standard along for the journey. (Truth be told, I think my staff is a lot happier working on the more diverse stories as well.) Being a magazine that is primarily experienced digitally, we've also decided that
Y
we're ready to make a big change in the way that we deliver content to our readers. "Contour Culture" will be the last time our digital content is formatted to look like a traditional print magazine. (For now, I'll save the surprise of how the future Standard will be experienced... mostly because we are still discovering it ourselves!) In a sense, it is the end of an era. From here, I can no longer see many kernels of my original vision for Standard. And yet I have not an ounce of sadness. Like Walt, I'm too busy building something better.
Kelly LaPlante Editorial Director & Founder
Disneyland, circa 1980-something, with my brother Mikey.
Standard staffers hanging out with friends from Le Photo Booth, TreeHouse, Coterie Market and SLK Design. Photos courtesy of Le Photo Booth
15
STANDARD Editorial Director & Founder: Kelly LaPlante kelly@standardmag.com Features Editor & Senior Staff Writer: Mallory Hamel mallory@standardmag.com Markets Editor: Minh Dang minh@standardmag.com Corresponding Editor: Jenny Gumbert jenny@standardmag.com Contributing Writers: Tessa Cheek, Noah Marion Staff Photographer: Spencer Selvidge Contributing Photographers: Kirsten Kaiser, Robert McLeod, Emily Spear Editorial Intern: Alex Lopez Cover image courtesy of RIGARDS
Publisher: Kelly Truesdell truesdell@standardmag.com Publishing Assistant: Sophia Mossberg Social Media Intern: Preston Lee Hall Publishing Intern: Leeza Henderson
17
SPENCER SELVIDGE
PHOTOGRAPHY
Portrait | Commercial | Editorial
spencerselvidge.com
19
21
newsreel trend-predictor minh dang
(
architectural influence
(
Spanning a location of 16.3 acres on the Upper West Side of NYC, Lincoln Center is home to 11 of the world’s great arts institutions. Together, these institutions attract approximately five million visitors annually to thousands of performances, educational programs, tours, and other events. For the past eight years, Diller Scofidio + Renfro, an interdisciplinary design studio, took on the challenge of redesigning the 50-year-old center, which is documented in the book, “Lincoln Center Inside Out: An Architectural Account.” The book details the center’s dynamic history and its nearly completed transformation through a combination of short stories, photographs, drawings, renderings, and archival records.
Images by Iwan Baan and Matthew Monteith
(
we predict...
(
Strong angles and curved lines — prominent in the new form of Lincoln Center — are about to become more prominent in fashion and housewares as well. Don’t be surprised if you start to spot exaggerated angles and curvaceous lines as sundresses give way to fall fashion later this year. And expect to see the same dramatic forms on everything from flatware to fabric patterns.
23
fascinating figures
(
(
“Absolutely, wonderfully absurd” is how Jake Nowakowski describes the “Man vs. Fascinator” sociophotographic project. “Man vs. Fascinator” is a collaboration by Nowakowski and Eric Holowacz, featuring photographs of men wearing their partner’s headpieces. “I think the idea spontaneously came from looking at fascinators on people’s heads and saying, ‘what is that?’” Holowacz explains in a video interview. They found subjects through friends and local radio and newspaper advertisements. Volunteers came from many different walks of life, and their expressionless faces add mystique and absurdity to the images. The project was exhibited as part of the Cairns Festival 2011 in Cairns, Australia.
Images by Jake Nowakowski
(
we predict...
(
The “Man vs. Fascinators� sociophotographic project is bringing these creations to a new level. Each donning a unique fascinator, the men in these images prove that man, woman and beast can enjoy such fantastical headpieces. Look for fascinators to not only become more trendy, but also more ostentatious. Surely the Mad Hatter will approve!
25
on the boards minh dang
2
1
3
4
5
6
{live nudes} This Page: 1. Cork Case by Artecnica from Design with Benefits, $31; 2. Serenity Pillow, 18”x18”, by RAJBOORI, price upon request; 3. Wooden Flag Necklace-S, in gold, by Polli, $82.12; 4. Paper-Made Letter Opener from UncommonGoods, $45; 5. Jupiter Beige Watch by WeWOOD, $139; 6. Leo-Beige Shoes by NOAH Italian Vegan Shoes, $201.30; Opposite Page: 7. No. 1 Pendant, medium, shown in oak, by Tom Raffield, $409.09; 8. Loop by Playmat from Loving Portugal, $16.89; 9. SuperNature Footstool, in snow, by The Soft World, price upon request; 10. Daisy 109 Rug by Mooi, $862.50
7
8
10
9
27
1
2
3 {sunset beach} This Page: 1. Throw Blanket, in Nixon Orange, by Jonathan Adler from Layla Grayce, $295; 2. Whirl Bowl with Orange Accent by Kim Westad, $58; 3. Cube Birdhouse, shown in sunset orange, by Loll Designs, $79; Opposite Page: 4. Orange Sleeveless Dress Coat by CARRIE PARRY, $465; 5. Skin Rug, show in gray with ochre and indigo, by Peace Industry, $3,080; 6. Modern Neon Hardwood 10� Plate, in electric orange, by Nicole Porter, $50; 7. Rectangle, shown in sunset orange, by Loll Designs, $238
4
5
6
7
29
quality words
noah marion
Courtesy of Aman Resorts
Courtesy of JOHO Architecture and Sun Namgoong
contours & arches Buildings, like people, have contours that evoke emotion and passion within us. Stroll down an avenue crowded with buildings and you’ll notice many emerging shapes and shadows which, unbeknownst to many, were well thought out. The first step in appreciating the built environment around you is to pick your head up from your electronic device and realize that thousands of people created what you see. It is the job of architects and designers to harness the chaos that surrounds us and transform it into beautiful, habitable spaces. Architects Marwan Al-Sayed, Wendell Burnette, and Rick Joy came together on the Amangiri Resort project in such a way. The landscape is serene and peaceful, yet harsh and challenging. The architects situated the resort in conjunction
with the land and created a harmonious vision that blends into the natural palette of the desert with the desired luxuries of a resort. Different environments present different obstacles in creating harmony between the building and the natural space. The Curving House by architect Jeonghoon Lee set out to create a structure that never dominates nature but blends peacefully with it. The curved roof acts like a bowl serving up the sky and mountains for onlookers to experience. Considerably different in aesthetics but conceptually similar, The House at Odemira by Vitor Vilhena Arquitectura is virtually embedded into the surrounding landscape. In an attempt to respect the sight line and the volumes of space created by the natural topography, Vilhena created a sloping L which perfectly fits in its natural environment yet stands out
Courtesy of João Morgado Architectural Photography
Courtesy of the Salk Institute for Biological Studies
Courtesy of Urban Space Management (CONTAINER CITY) Ltd.
in a tasteful and respectful way. A great architect pays close attention to surrounding structures — the sky, the light and the entire space around a structure — and the best architecture creates multiple visions within one story. Louis Kahn was brilliant in this respect. The Salk Institute for Biological Studies in La Jolla, California, is a prime example of thoughtfully designed contours that play off of the surrounding space. Bordering the Pacific Ocean, Kahn envisioned two mirroring structures that lead the eye out to sea from one end, and majestically frame the sky from the opposite. Creating two symmetrical structures allows the eye to freely roam the negative space that the building creates. It was Kahn’s intention to have buildings be both spiritual and monumental, and the Salk Institute masterfully embodies those two principles. In the
heart of London’s Docklands, The Container City project located in Trinity Buoy Wharf, set out to accomplish affordability goals and maintain sustainable standards. At first glance, the complex is rather unsightly, not immediately regarded as beautiful. Interestingly, if you take a deeper look you may see how well the space fits into its derelict surroundings, creating a fresh face. The design managed to create an interesting and complex contour embedded in an industrial area. Explore and experience the environment that surrounds you and revel in the negative space that buildings create. A remarkable amount of beauty is hiding, waiting to be discovered. noahmarion.com 31
33
a design affair
standard visits rigards eyewear story by alex lopez photography courtesy of rigards
W
ith their eyewear featured in over thirty stores stretching across North America, Asia, and Europe, RIGARDS has reinvented the lost art of classic design with a practical purpose. Born from two eyewear enthusiasts, designers Jean Marc Virard and Ti Kwa began their business to meet the needs of those searching for originality with a high degree of quality in their eye frames. Quickly making their way onto the Champs Elysees and onto the shelves of several West Hollywood boutiques, RIGARDS has brought back a mentality that desires craftwork over mass-manufacturing, exhibiting an artisanal product that values “honest materials” and a timeless look.
As anyone who wears glasses regularly knows, finding a pair of frames that fits perfectly in form and flattery can present a challenge. This is why the designers of RIGARDS have traveled the world searching for vintage glasses that can be honored as truly unique. Meeting for the first time in a well-hidden eyewear shop in Hong Kong, Virard and Kwa instantly recognized one another’s passion for collecting rare spectacles. “From a simple conversation we became friends and eventually started RIGARDS three years ago,” says Virard. Since then, these business partners have made it their goal to introduce frames that emphasize sophisticated and modern designs, creating an effortless yet polished style.
35
Vivard and Kwa, wearing RIGARDS.
37
The name “RIGARDS” is an adaptation of the French term regard meaning to look or glance, and the English word “regards” as in to have consideration for something. Playing off of the sound and double meaning, RIGARDS embodies authenticity in every aspect of the brand. When asked to define the look that is captured with their pieces, Virard responds, “The designs are original and nonconformist yet respectful of vintage influences, intended for discerning folks with a solid sense of independence.” Each pair of RIGARDS glasses are handsculpted from water buffalo horns, an organic by-product found on African farms, illustrating the company’s dedication to sustainable practices. Currently, the frames are made and produced out of RIGARDS’ private atelier in Hong Kong; and the glasses started selling on an international scale as soon as they opened shop, delivering a product that appeals to clients everywhere. “Our story is international — we are all over the place, always between Los Angeles, Paris, or Hong Kong, so we couldn’t think to start in one particular country,” says Virard.
39
Prior to launching their line, Kwa and Virard dedicated two and half years toward gathering their research and working out every detail involved in the business. Since the silhouette of their first prototype, RIGARDS glasses have remained true to the original concept, with subtle developments in shape, form and color. Because water buffalo horn is a material that varies, these designers have adopted a similar creative process. Using a pluriverse way of thinking, each pair of RIGARDS glasses are conceptualized to fit as part of a whole collection versus being seen as an individual piece. While the frames may differ in detail, you can guarantee that each pair of frames is structured and handmade to fit the face of its owner. Utilizing a selection of organic gradients, RIGARDS frames act as the ideal accessory, transitioning nicely into every season and satisfying those who are searching for eyewear with an edge. Structured from materials that are built to last, combined with a classic approach to design, RIGARDS glasses are sure to be stylish for years to come.
rigards.com
41
43
without
compromise
story by mallory hamel photography by spencer selvidge
45
Tesla owner Matt Holm stepping into his Model S to take us for a spin on a beautiful, sunny day.
Even the wheel design emulates Tesla’s aesthetic harmony.
I
n today’s abundantly rhetorical climate, we argue about the sanctity of gun ownership, the crimes against nature in our GMO-tainted crops, and whether or not two people of the same gender should be allowed to celebrate the recognized bonds of legal marriage. Yet another heated debate lying within the realm of deeply important themes, is one that has been scratching at the public surface for decades, and one which is, unlike many other historically ongoing points of societal discourse, right on the cusp of its foreseeable and inevitable fate. The global dependence on fossil fuels, of which America takes up the majority share, isn’t just about what your political views or moral stances will dictate, it’s also about the simple science of combined facts — we are running out of the resources that currently keep our modern lives in motion. We won’t go into the politics of that argument here. We won’t discuss the fact that zero-gasoline engines have existed for centuries, that we could be operating vehicles with hydrogen motors, that big gas corporations purposely buy out patents to make this impossible, that we have about 42 years left of proven gasoline at our disposal. No, we won’t go there. We will however, show you a company that is fighting the giants that rule our technologically sedentary transit system, and breaking the molds of companies who’ve come before it to create similar products. Tesla Motors, founded and chaired by Elon Musk (of SpaceX, PayPal and Solar City) has been crusading for efficiency for years now, and making it look damn good too. We present the Model S. Like the Tesla
Roadster that came before it, the Model S is fully electric (yes, that means zero emissions) and fully stylish. But unlike the Roadster, it’s also incredibly practical for everyone — from the slicked-back bachelors to the on-the-go family — even fetching the Motor Trend 2013 Car of the Year award. Sure, there are many fish already swimming in the alternatively-powered ocean of the automobile world, but the Model S is like a shark amongst flounders, zipping through the waves and earning its title of well, the most badass fish in the sea. What makes the Model S so special? Aside from its electric powertrain (which runs on thousands of tiny lithium-ion battery cells), the fact that you can go from 0-60 in 4.4 seconds (with the performance package) thanks to its impressive amount of torque, and its quick-charging capabilities (45 minutes will get you back up to 90% battery power), the Model S is simply a gorgeous vehicle. And roomy too, allowing for 5 adults and 2 children (when the rear-facing back seats are implemented) to ride comfortably together. In addition to the spacious trunk, the Model S also has what Tesla refers to rather humorously as the “frunk.” You guessed it, a front trunk. Without a traditional combustion engine hogging a third of the vehicle’s capacity, there’s extra room for storage. Another bonus springing from all of the space is the vehicle’s lightweight maneuverability. Without the hulking engine block (in addition to the absence of other, fuel-based design attributes), this car will get up and go, leaving you glued to the seatback as you glide effortlessly along your way. 47
The Model S cruises through hilly Emma Long State Park in Austin.
49
The Model S, showing off both its traditional trunk and its surprising “frunk.�
We were lucky enough to take a test ride in a shiny new Model S owned by our friend Matt Holm. The busy Austin-based realtor who “goes wherever the job takes him” drives upwards of 800 miles per week. He noted that with the amount of annual miles he racks up on the job (last year he spent over $18,000 on gasoline and maintenance) this car simply made financial sense. If that weren’t reason enough for Holm to be in love with his new Tesla, the vehicle is also quite a conversation starter— garnering several new clients just in the first few weeks Holm owned the car. “It’s probably been one of the better business decisions I’ve made,” Holm laughs. And with the Model S’s impeccable safety rating and practicality, it also made sense for his family — wife Ana and children Audrey and Dylan. Although it is still more costly to buy than your typical daily driver, Tesla’s relatively modest price tag (ranging anywhere between 64,000 and 105,000 US dollars), means that early adopters like Holm are paving the way for the general, working-class public to afford these vehicles in the very near future. So let’s talk looks. One of the most impressive things about Tesla Motors, and the Model S specifically, is that this vehicle is really the first of the global “eco-fleet” to look, well…normal. By that, we mean that the Model S looks like a luxury sedan should. Not to say that it’s a repeat of everything else on the road — because it is far from that. With door handles that pop out for use then slide flush for style and aerodynamics, and an interior touch screen instrument panel as large as your average computer screen and equally as capable, the Model S is truly unique in its styling.
51
How the Model S differs from other vehicles such as the Nissan Leaf, the SmartCar, the Mitsubishi i-MiEV — whose aesthetic stylings are generally small, bulbous, almost caricatures of their predecessors — is in its sleek, sporty figure. Where other manufacturers accomplish their desired fuel-to-mile ratios and low emissions by the compressing and rounding of their traditional vehicle shapes, (not to mention the great sacrifices made in performance) Tesla has used cutting-edge technology to be leaner and better-looking. It is the future’s version of time-tested classics. Much like the greats
of the Prairie School of architecture, who leaned upon the Arts and Crafts movement to make new ideas even better, Tesla’s Chief Designer, Franz von Holzhausen has followed in the footsteps of the Elmslies, the Joneses, the Griffins. Like Frank Lloyd Wright’s rebellion against the Victorian and Colonial formats that permeated his era of the assembly line and mass-production, von Holzhausen has rebelled against the cartoon-like curves and catches of the contemporary alternatively-fueled vehicle — creating an open, flawless and utterly dedicated automobile.
The 17-inch “infotainment” screen provides on-board monitoring of the vehicle’s performance.
At a debut party for the Model S in New York City, Zero Fossil Fuel interviewed von Holzhausen about his design inspiration. In his words, “I really developed the design language around the word ‘uncompromised.’ This car is uncompromised in its functionality, its style, and its environmental-friendliness. I wanted to create a draw to a vehicle that was pure electric with no compromise. I wanted to make sure we moved away from the industry hybrid design approach and developed our own design language. The Model S is efficient and modern and emotionally exciting.”
But how did von Holzhausen and the Tesla team create this new design language? How did they turn their formulaic car-Latin into something that can be widely transmitted? According to von Holzhausen in a 2013 segment with Bloomberg TV, “The design process starts usually with some sort of inspiration. With the Model S and Tesla, it really began with an idea of how to capture efficiency. We started with a whole new powertrain, a whole new architecture. Some inspiration came from looking at athletes and how tuned they are to winning the game — at the end of the day,
Passenger-activated door handles come out to greet you, and retreat once the vehicle is ready to go.
53
that’s a story about efficiency.” von Holzhausen goes on to explain that during the design phase, he was inspired by the structure and demands of the Tour de France. In order to complete such a feat, there can be nothing that isn’t absolutely vital to performance getting in the way of reaching the finish line. He elaborates, “I was trying to translate that idea into a sculpture... that an individual could look at the car and realize that it can go the distance because there’s no excess. I tried to capture that in the Model S, this idea of shoulders, haunches and stance, and solidity that wasn’t excess body weight. Cyclists need to be able to go incredibly long distances, but they also need to be able to sprint.” In effect, this is what he created the Model S to do. And it is an exceptional example of creating a product that wants for and wastes nothing. These athletically inspired design facets are readily visible in the Model S: the gentle slopes of its lean body, the unadulterated openness of its interiors, and the intelligence of its on-board systems make this vehicle absolutely perfect for its purpose. Even those points which cannot be seen, but felt — the almost silent propulsion coming from below, the ability to drive almost 300 miles on a single charge — contribute to this concept of no excess. And this is only the beginning. Tesla is once again proving that luxury, performance and safety can all be captured in a vehicle that produces zero emissions, as von Holzhausen declares, “I think what we’re doing at Tesla is really changing the way people look at cars. It’s a revolution.”
teslamotors.com mattsellsaustin.com
55
Holm cruises across the scenic Pennybacker Bridge, crossing Lake Austin on a warm, spring afternoon.
57
Instructor Jenni Finley demonstrates the angles
body
blueprint story by kelly laplante photography by spencer selvidge They sculpt, taper and refine. Taking a quarter-inch off here, they add a slight curve there... or perhaps a bold curve. They are architects, trained to remodel and build; their skills honed until they are masters of their craft, at which time, they may call themselves Bar Method Instructors.
59
F
itness enthusiasts are likely familiar with the popular discipline of Bar (barre) but may not understand the difference between what occurs at The Bar Method studio and any other Barre studio. The difference is precision. The Bar Method is all about form. Instructors are known to make quarter-inch corrections to posture and position, often using imagery to help the students understand the specificity. “Place your heels together on the floor and turn out your toes so that you have created a narrow V — the size of a first date slice of pie.” It is this precision that engages the tiniest of muscles and, ultimately, results in a masterpiece as opposed to a generally “fit” body. Much like using a tiny chisel to perfect a fine curve, the movements in Bar Method are all about the details. (Not to worry, there is plenty of general calorie-burning and overall fitness being achieved simultaneously, aided in part by the fact at one’s abdominals are fully engaged for the entire hour of class.)
61
Unlike other barre regiments, Bar Method can actually become more challenging over time. As one begins to find the tiny muscles and work them as instructed, they cease relying on the large muscle groups they may have used, by default, when they first began their practice. To tap into this challenge, one must enlist their mental capacity as well as the physical. Many enter the class and immediately adopt a Zen-like focus, checking and rechecking in with themselves as the exercise is set up and then executed. Inside the student’s mind is a running diatribe, helping them to stay focused on the exercise at hand:
Standing on profile, right arm resting on the bar, legs zipped together, heels high off the floor, knees bent at 45 degrees, tail tucked under, shoulders down, abs engaged, left arm lifted and now pressing down — just one inch — and then back up an inch. It is through this mind-body connection that the apprentice begins to master their own design process. Defining muscles they did not know existed by seeing them with their mind’s eye, laser-focusing on them, and then telling them exactly what to do.
Left: Laura Lee Kozusko, who owns The Bar Method Austin with her husband Joseph, helps stretch instructor Erika Holmes. Above: The instructors perform a challenging thigh-toning set.
63
Architects praise a building with “good bones� because everything is so much easier to achieve with a solid and lovely structure in place. And those who adopt the Bar Method regiment do it for the same reason they’d buy a Classic Six over a post-war apartment. They are looking for a specific form: long, lean muscles, feminine curves and an unapologetically fantastic backside. With this blueprint, the wearing of couture fashion becomes almost effortless.
austin.barmethod.com christopherstraub.com
Left, Jenni, Lori and Laura Lee relax after a class. Above and next page: The Bar Method Austin instructors show off their form in couture by Christopher Straub.
65
Instructors at The Bar Method Austin (L-R): Laura Lee Kozusko, Lori Long, Sloan Chouest (seated), Erika Holmes, Courtney Chance and Jenni Finley. Not pictured, Kate Rody
67
tru
grit interview by mallory hamel photography courtesy of david trubridge
69
“Aluminum”
W
ith decades of experience, expression, intriguing products and educational contributions in his repertoire, David Trubridge is indeed a very accomplished designer. But with a gentle soul and humorous outlook on life, he is anything but stereotypical in the world of high-paced, top-notch creatives. Standard’s Mallory Hamel had a chance to interview David while he was out showcasing his new book “So Far” and several products at Milan’s exciting furniture fair, Salon del Mobile.
interest me so I chose a self-sufficient lifestyle over a career. M: Tell me about that degree in naval architecture. It sounds fascinating! How did that lead to furniture design?
D: It didn’t! I love boats, but this turned out to be a purely engineering degree, which bored me to tears, so I did just enough to scrape through. However, there did turn out to be one useful thing that came out of it and that was the ability to develop a complex 3D form on a drawing board. Initially I used this to create curved seat forms, but it later became the perfect grounding for M: How did your interest in design evolve? computer design (which uses the same process). D: I have always made things, even as a child — I used to love to paint landscapes at school. I did a degree in naval architecture, but it didn’t
71
M: So are you a trained artist, self-taught D: The patterns of nature, which are the or a combination of both schools? manifestation of its underlying structure — one that recurs on different scales, from D: I am entirely self-taught. While renovat- the micro beyond our vision, to the macro ing an old stone house, I learned the craft beyond our comprehension. of woodworking and went on to make furniture. The wood itself teaches you a lot if M: Your creative process is so fine-tuned, you listen. I also learned from books and with your mention of the pillars of art, craft magazines where there were a lot of peo- and design. Do each of these facets come ple sharing their experiences in the craft easily to you, or do you struggle with your revival of the time. own expression at times? M: How long have you been designing fur- D: Some works appear relatively easily, niture, and when did you start your com- and others are very hard work — but if pany? there were no struggle, I would wonder if I shouldn’t have tried harder! The first part, D: I’ve been designing furniture since about the art process where you are searching 1976, though the designing developed for ideas is often the hardest. Over time I with time. I started my company in 1995. have developed a number of tricks to enable this to happen more M: When did you start designing lighting easily. (which is the focus of our feature story, though we know you do much more than M: You are quite passionate about function that!)? and form being equally important, can you tell me a bit about that? D: I had made one or two lights before, but my first real light was the Coral in 2003. D: I am passionate about the importance of function and form, however I do not M: What materials do you most enjoy subscribe to the outdated dogma that working with? form has to follow function — and neither does nature: for instance, look at the vast D: Wood of course. It is the material I have variety of forms of tree leaves, all quite difworked with all of my life and the one that ferent, yet providing the same function, I know the best. But also, I love it because often alongside each other. I don’t believe it is a natural material and always chang- in arbitrary decoration as in the Baroque ing. No two pieces are ever the same and or Victorian eras, but I do believe that pateach one brings into our homes a bit of the tern is an immensely important language of random beauty of nature. communication. M: What are your primary inspirations?
M: You have a healthy disregard for useless clutter and yet your work is not the
Trubridge at work, making a beautiful mess with a bandsaw.
73
Trubridge’s Kuora design, translated from a woven basket into earrings.
75
“Flax”
“Sola”
“Kina”
archetype of “minimal.” Tell me about that. from me). I head this group, but find that I am giving them more and more autonomy, D: I find pared back, minimal modernist which is great. I will usually instigate the design to be cold and monotonous, lack- idea of a project and steer it along. It is exing in humanity — it is disconnected from citing to see things getting done without my the world of nature to which we still belong, effort at every inch of the way as it used to and which we deny at our peril. be when I was on my own, and to be able to brainstorm ideas as a group rather than M: You’ve had several positions at different getting bogged down on my own. This is a academic institutions. Do you enjoy teach- wonderful team of young people who have ing? become very skilled over the years that they have been with me. D: Not so much! I do it occasionally because I think it is really important to pass M: What is your studio like? on knowledge. But I do get a great kick out of the enthusiasm and idealism of young D: It is a lovely new building that I designed, people, and want to do all that I can to keep which was built specially for us by our landthat alive and not let it become dissipated lords and then rented back to us. We aimed by commercial demands just to make stuff. to maximize the efficiency of our operation M: Do you learn from your students as well? and also to make it a pleasant place to work in. I also tried to make it as green a buildD: Of course! They have a fresh creativity ing as possible. It is mostly timber-framed, that is less restrained by habit and conven- which is unusual for an industrial construction, which I find inspiring. tion like this. The big glulam beams give it M: Where are you headquartered now? a much softer, warmer feel, and of course, wood is carbon positive. There is under D: In the small village of Whakatu between floor heating in the workshop which is also Napier and Hastings in Hawkes Bay, New insulated, so no more beanies and gloves Zealand. I love its simple unpretentious- on cold winter mornings! All our electricity ness, with children playing on the street, comes from a 100% renewable supplier. and gnomes in the garden opposite. It is such a contrast to our business, which ex- M: Tell me about the show you just returned ports contemporary design objects all over from in Milan and your new book. the world. D: The Milan show was designed to launch M: Tell me about your team. the book “So Far” which is the story of my journey as an artist and traveler. Looking D: We are currently at 22, but that fluctu- back over my life, it became apparent that ates a little as interns come and go. There each stage seemed to relate very closely to are seven in all in the design team (apart one of the elements. The book is part auto 77
“There are those who are concerned only for now, and we need to stand up to them.” - David Trubridge
“Light Rain”
biography, part design philosophy. It is also a homage to nature, which inspires me. So the installation in Milan represented each one of the four main elements, and also their interdependence. It was designed to encourage reflection on the vital role the elements play in providing us with fresh water, clean air and food, all of which we are in danger of taking for granted. To realize it, we entered into a partnership with Swarovski and Tsar Carpets from Melbourne, who showed a new collection of rugs that I have designed. M: Finally, why is sustainability so important to you as a designer? D: Nothing else really matters. Our culture is on a collision course with its own destruction and it seems incapable of changing direction, driven by forces of greed and exploitation greater than any of us. It is important for me because I care. I am not prepared to sit idly by and be condemned by future generations for our complacency.
davidtrubridge.com 79
Sling on Te Mata Peak
81
the arc
of movement story by mallory hamel photography by spencer selvidge
83
F
rom a spectator’s point of view, the sport of rowing appears as a dreamy act performed by silently determined individuals as they glide swiftly through still waters. Like the art of dressage, where rider and horse perform an intricately coordinated, wordless dance, or even the sport of car racing, where at incredibly high speeds, drivers must be sensitive to the throngs of the track in order to maneuver through the hauling mass of machines — rowing is an act that demands total obedience of the mind and body to the disciplines of the sport. We caught up with Austin Rowing Club’s Scott Robinson to discuss this passion and spend a little time on the water seeing it through his eyes. Robinson’s rowing career has been absolutely organic in its evolution. As a swimmer and white-water kayaker growing up, Robinson sought out rowing when he moved to Vermont to attend Middlebury College, noting, “I was looking for a way to be out on the water and keep the thrill of competition.” He credits friends for bringing him to rowing, grinning as he relates, “The interesting thing was that they were just normal guys and gals that met freshman year and then they became these obsessive, crazy people that you didn’t see much anymore. From my perspective, it was like, ‘Hey, these guys are on to something.’”
Robinson, equipped with shell and sculling oars, heads out for the lake.
85
Robinson didn’t really harness his potential for the sport until an Olympic rower came along and turned his college team into a fine-tuned racing machine. “My sophomore year Noel Wanner took over as coach, and he absolutely transformed the way I felt about rowing. He had this passion and vision. He made me realize just how big this thing was.” Now, some eight years later, Robinson has under his belt a college career in the sport, as well as the experiences of having coached the novice and lightweight men’s crews at Middlebury (after he graduated), and is now coaching a master’s development team at Austin Rowing Club. Robinson came to Austin to attend graduate school at the University of Texas and
moved right into an apartment on the water, so that he’d be able to row daily. “I love many things athletically, but rowing is really something special,” says Robinson. And in order to know the uniqueness of the act, a rower really must be sculpted in a way that allows for the body to become one with the boat. Rowing falls into two categories: sculling (where singles or teams of rowers each work with both port and starboard oars), and sweep rowing (where a team of rowers, each gripping just one oar with both hands, are split to a designation of either port side or starboard side). In either formation, the rowers sit in a slender, lightweight boat or “shell” and use their own muscular strength to perform a series of maneuvers, thus propelling the
Robinson performs a series of catch-and-release maneuvers.
shell. And in either formation, the rowers must go through several steps of a catchand-release cycle to power the propulsion. Although lightweight, the shell (primarily made of carbon fiber and other honeycomb plastics) must still move against the almighty force of water, and this is where a certain body type makes itself indispensable to the rower. “The rower body is definitely a by-product of what I do,” notes Robinson, in discussing the importance of muscle mass and strength. Rowing presents the benefit of exercising the complete muscular structure in a low-impact manner, and having just the right amount of both upper and lower body strength is as much a part of rowing as having the equipment with which to do
it. Robinson explains, “You use every major muscle group in the body, starting with the legs, you unfold the entire body. The idea is not to move water, but to anchor the boat. And it’s a beautiful thing. You make these changes over time to make the boat go faster and eventually you can feel everything you’re doing.” Robinson notes that although Austin has some of the best, year-round water in Texas, he supplements his rowing physique with gym workouts to achieve the muscle mass that can’t be had from just being on the water. Aside from specialty equipment for this pursuit, such as the indoor rowing machine, or “ergometer,” Robinson utilizes strength-conditioning techniques like dead lifts, power cleans and pull-ups.
87
89
Back at the boathouse, Robinson sports a Goorin Brothers hat while standing in repose.
Rowing isn’t purely a physical workout though. Robinson explains that in order to reach your goals on the water, you have to really work your mind as well. Especially as a coach attempting to synchronize different bodies and abilities to one common pursuit. Robinson loves the analytical attribute of the sport, acknowledging that, “You really have to focus on the mechanics of different bodies working together, and in a way, you are fitting a machine together to make it perfect.” But even when not in the throes of a racing season, Robinson enjoys this venture on a very personal level. His passion for rowing is evident in the way that he speaks so eloquently of the act and all things involved, and it shows in his physique as well. The connection of mind and body to the boat and water, whether it be on a private lake or on a river running through a bustling city, is something hard to capture in any other aspect of life. “It’s a huge challenge every day. That’s what keeps me coming back to it. Sometimes when rowing you get so close to being perfect, that I think it’s the closest that we can get, as human beings, to perfection.”
austinrowing.org goorin.com
91
One of Mehta’s handmade site models of a house that HM Design completed on the island of Dominica.
playing along the great wall
story by tessa cheek photography by robert mcleod & emily spear
93
A
top a milk crate or an old millstone. In the corner of the local shop selling dried glass noodles. In the village hall, or in the middle of a road. All are agreeable settings or setups for the game. Villagers of northern China play it very nearly everywhere. In Beigou Village, a stone’s throw from the Great Wall at Mutianyu, at the Brickyard Eco-Retreat designed by Jim Spear, guests from China and from abroad are invited to take part in the illustrious tradition. They play mahjong in a games room which not so long ago was a kiln for firing glazed tiles. The chamber’s curved masonry is still loaded with crumbling adobe — Spear went so far as to design a lowered-glass-ceiling-meets-light-fixture to protect guests from the tenuous texture overhead he couldn’t bear to strip away. Antique Tibetan rugs from his wife Tang Liang’s collection warm the slate floors. This luxurious little cave opens onto a corridor of brick arches sheltering the prospect of the Yanshan Mountains — a range marked not just by the crenellation of the Great Wall, but also by a more recent political gesture, the enormous slogan reading “Loyalty to Mao.” Beyond this historic installation, the Sleeping Buddha formation — a series of peaks in the uncanny likeness of a profile in repose — forms the village's somnolent yet sacred guardian. “There’s something about Beigou,” says Julie Upton-Wang, a partner at the retreat. “For our business, it was attractive from the beginning, partially because of how well-run the village is, but also owing to that sense of proximity. You just feel closer to the Wall here,” she laughs, “you feel special.” Shortly after opening an artisanal noodle shop in a refurbished, largely preserved farmhouse in central Beigou, Spear and partners discussed the creative notion of turning the town’s ceramics workshop into a boutique hotel. “On firing days," Spear explains, “the factory was pumping thick, black coal smoke from its chimneys into the
A glass ceiling-meets-light-fixture hangs above the games room, protecting guests from the original structure above while preserving it for all to appreciate.
95
country air. Though the tiles were spectacular, the property had basically been run into the ground. All of the laborers were migrant workers from Sichuan, and the conditions were not ideal. As we discussed the possibility of developing Beigou as a tourist destination with village leaders, the creation of a nonpolluting industry that employed local people and drew commerce to the area was an exciting opportunity for all involved." Opened in 2010, the Brickyard Eco-Retreat unfolds from a central courtyard into four banks of rooms, each nested in its own smaller courtyard. “I didn’t want to build any old hotel,” Spear says, “I wanted to respect the scale of the original factory and that sense of independent struc-
tures integrated with each other and with their site.” That integration used to mean that clay mud coated every possible surface, shattered tile fragments littered the ground, and coal piled up in the corners. Today, Spear has redesigned the site as something like a garden motel. Each of the rooms are entered directly from a sub courtyard: a jewel-shaped stretch of lawn bordered by a serpentine stone wall and a line of cypress, or a sculpture garden with chunks of found-art refractory tiles dripping with mixed glaze and mounted on rusted metal stands. The rooms themselves are intentionally sparse, characterized by white linens, slate floors and brick walls which angle up into broad windows with views of the surrounding orchards, mountains, and of course — the Great Wall. “That was the
Mehta notes that these baskets utilize a technique which has been in use for almost one thousand years.
A central courtyard connects the activity center (left) and lodge (bottom right) to the guest rooms (top right).
97
from the beginning,” says Spear. “Every one of the 25 rooms was designed around spectacular views of the Great Wall. Spear has brought those views into the property and into the rooms themselves in a number of ingenious ways. Before the rooms were built, he had the land dug out and terraced so that a full two meters separates the elevation of the first row of spaces from the second and the third. Every room leads onto a small, private terrace outfitted with comfortable furniture for sunbathers and readers. Inside the rooms, an open-plan arrangement and further terracing ensures that guests can look up and catch a glimpse of the Wall at virtually any moment — even from the shower. Further back in the retreat, where a new line of premium twin rooms feature enclosed bathrooms and where private courtyards precede the entrances, Spear has elevated wall heights to bring the view in through clerestories and window walls. In a custom queen room known as The Sleeping Buddha, a bank of mirror reflects the Wall-bearing ridgeline back into the room, literally surrounding occupants with the view. “I’ve tried to play off the view with reflections throughout the retreat,” Spear explains. “Thermal pane glass isn’t just great for keeping in heat, it’s also highly reflective in a kind of painterly way.” As a guest leaves their room, facing away from the Wall, these windows reflect the view back at them, while also protecting those inside from a stray gaze. “Lines of sight are always important,” says Spear. “You want a wall that is high enough to give someone a little privacy in the shower, but not so high that Recycled you lose thetiles vista or feel shut glass by Fireclay compliment the bright green kitchen in. These rooms are not particularly designed as hideaways. There’s no TV. There’s no landline.
99
A rainforest shower precedes the Japanese soaking tub in the Chairman Suite.
101
There’s a simple desk and speakers if you want to play music — but really we’re encouraging people to go outside, to explore the common spaces, to wander.” An advocate of functionality and decoration in equal measure, Spear has deployed recycled tile fragments as mosaic paving throughout the property and his design for the Brickyard’s outdoor spaces proceeds as a kind of extension of the rooms themselves. “To my mind there’s very little difference between designing public and private spaces,” he says. “The Brickyard gardens are a public project, but they’re full of potentially private spaces.” The Brickyard’s spa garden, for example, surrounds a massive slate yoga platform bordered by an equally large carp and lotus pool. The site of Sunday morning salutations towards the Sleeping Buddha, this platform has also seen springtime weddings and cocktail parties on balmy summer nights. That said, at dawn it is a space of total silence and solitude as light floods into the valley. In the corners of the garden, small groves of apricot trees and lines of willow offer leafy nooks for picnics or afternoon naps. The Brickyard Spa is faced in a glass wall that opens onto the expansive garden. Inside, a pine-lined sauna features views of the Great Wall as do suites for Chinese massage and reflexology. Where the roof of the spa ends, the building continues, framing out a series of private treatment courtyards secluded enough for an outdoor shower and cold plunge but not so enclosed, of course, as to lop-off the prospect of the landscape. “China’s is a wall-building culture,” says Spear, not without irony. “If it’s yours, you build a wall around it. That said, it’s also a
country of grey spaces. In terms of the vernacular, the courtyard is as much a living quarters, if not more, as any of the interior spaces. Socially, public spaces are a primary location for daily life in a way cities in the United States sometimes seem to have forgotten.” To that end, Spear and his partners intentionally selected the glazed tile factory for its direct proximity to Beigou Village’s main square. On summer evenings the square is the public gym for the village Yang Ge (ladies’ dancing group). During the day it is the sight of that near constant mahjong play, a market for visiting and local fruit vendors, a lively old folks’ home, a playground, and a nursery. “I like to think that guests are drawn to the Brickyard as a kind of oasis,” Spear reflects. “At the same time, to walk out the front gate and find yourself in a vibrant, working village community is as central a part of visiting this place as climbing up to the Wall.”
brickyardatmutianyu.com
103
The Mutianyu Wild Wall clings to some of the oldest exposed stone on the face of the earth.
105
Future Nature
Preston Hall models a vintage leather jumpsuit from Laced with Romance Vintage and a couture helmet by Kelly LaPlante for Standard’s entry in the Austin Fashion Week Mash-up competition. Tribal makeup by Amy Chambless. Photography by Kirsten Kaiser.