Spring 2011 - ASID California North
Transcription
Spring 2011 - ASID California North
1 ©2010 California Closet Company, Inc. All rights reserved. Franchises independently owned and operated. BEDROOM GARAGE ENTRYWAY WALL BED KIDS MEDIA CENTER OFFICE STORAGE CRAFT For over 30 years, California Closets has been helping define the most important spaces inside and around the home. As an innovator, trusted partner and standard-bearer for quality, we help the design professional create custom solutions that reflect their client’s personal style. san francis francisco co | 617 Townsend Street | 415.455.1200 2 san rafael | 610 DuBois Street | 415.455.1200 PANTRY CONTENTS 12 SFDesign SPRING 2011 VOL. 8 NUMBER 1 Jack Lenor Larsen Primavera, 1959 TOP LEFT: Wall upholstery detail by Susan Lankford of S.E. Lankford & Company TOP RIGHT: Iconic Primavera print on cotton velvet by Jack Lenor Larsen. ON THE COVER: Jack Lenor Larsen Features 4 President’s Message 6 Jack Lenor Larsen By Michael Merrill, ASID 10 The Beauty of Upholstered Walls By Susan Lankford Credit: Jack Larsen in Johnny Swing’s quarter lounge Photo credit: © 2011 Shona Valeska/courtesy of LongHouse Reserve, East Hampton, NY 14 The Custom Drapery Workroom By Doreen Leong CALIFORNIA NORTH CHAPTER 2 HENRY ADAMS STREET, SUITE 301 SAN FRANCISCO, CA 94103 T (415) 626-2743 F (415) 626-0749 [email protected] www.asidcalnorth.com www.designfinder.com ADVERTISING: DSA Publishing and Design, Inc. | Duff Tussing, Publisher Mike Watt, Sales 972-989-2208 | Dawn Lyon, Art Director | 972-562-6966 | 972-562-7218 Fax 6900 Edge Water Drive, McKinney, TX 75070 | [email protected] | www.dsapubs.com 16 A Unique ArtSource for ASID Designers 21 Welcome New Members 22 Student Career Forum 26 Calendar of Chapter Events By David Hanson, Allied Member ASID Advertisers Index 12 Bath & Beyond 25 Hunter Douglas 24 Bonhams & Butterfields 17 National Blinds 7 Belmont Hardware 20 CA Home & Design 2 California Closets 22 Ceramic Tile Design 13 Cole’s Interiors 11 Danmer Custom Shutters 5 EPOCA 18 Ferguson 15 Galleria Shades & Shutters 28 Intertile Distributors 9 Rebarts Interiors 26 Shades of Marin 27 Soda Glass 26 Tileshop 19 Tony Kitz Gallery 21 Trilogy Designs, LLC 24 Tulip Hardwood Floors WWW.ASIDCALNORTH.COM 3 PRESIDENT'S CORNER Hello to my fellow ASID Members: We have the premier event of our season coming to the Galleria on June eighth. This all inclusive event will begin at 11:00am with a six and a half hour opportunity for interaction and review of resources from some of our most valued Industry Partners, vendors and consultants. This unique blend of participants will compliment the professional needs of our design community. At 5:00pm the transition from Resource Day to Gala Event will begin. BOARD OF DIRECTORS 2010-2011 PRESIDENT Nancy Walker, ASID, IIDA, LEED AP PRESIDENT ELECT Maloos Anvarian, ASID FINANCIAL DIRECTOR Vaheed Taheri, Industry Partner ASID MEMBERSHIP DIRECTOR Christopher Shields, Allied Member ASID PROFESSIONAL DEVELOPMENT DIRECTOR Jan Gunn, Allied Member ASID COMMUNICATIONS DIRECTOR Michael Merrill, ASID DIRECTOR AT LARGE Justin Johnston, Industry Partner ASID Aasim Khan, Industry Partner ASID STUDENT REPRESENTATIVE Megan Dela Cruz This transition will be in the form of an ambiance filled Cocktail Party. Candle light, drinks and hors d’oeuores will form the backdrop for our friends in the design community, students, Industry Partners and guests. Excitement will build as the Student Design Awards are presented and announced. President Carol Spence Carr of the Peninsula Chapter and President Joyce Blackstone California Central/Nevada Chapter will be joining us to present to their student participants. The culmination of the evening will be the Design Excellence Awards given for the most distinguished ASID work chosen from a field of over 40 submissions from our California North Chapter. Photos will be taken throughout the evening and will be published, they will be shown in several venues but photos can never replace the actual experience. Watch for the formal announcement and make your reservations to be a part of this very special Gala. We look forward to seeing you there. For enjoyment and educational fulfillment many of you have already been participating in our events. Recently we had Fred Berns as our Distinguished Speaker and before that a very special lunch at the Imperial Palace in San Francisco, followed by a Walking Tour of Chinatown. The dinner and tour was sponsored by Adam Haedt of Caesarstone. We look forward to the Caesarstone sponsored Downtown Architectural Walking tour on May 21. Attendance is limited, please sign up early. On a final note, we are honored to have a wonderful interview with Jack Lenor Larsen captured in our SF Design Magazine by Michael Merrill our Director of Communication. This will be one issue in particular that we will all want to peruse in great detail and keep for future reference. Thank you all for your support of the Chapter and of the Board. It continues to be a pleasure serving the Chapter and I look forward to seeing you soon. Sincerely, EDITOR OF ‘SF MAGAZINE’ Michael Merrill, ASID 4 Nancy Scott Walker, ASID, IIDA, LEED AP President, ASID California North Chapter Jack Lenor Larsen FEATURE . . . A CONVERSATION ack Lenor Larsen is, quite simply, the single most important textile designer who has ever lived – period. I was recently granted the rare privilege of interviewing Mr. Larsen for this magazine. His comments were charming, insightful and inspiring. J Mr. Larsen was born in 1927 in Seattle, Washington. Initially, his education was in architecture and interior design, but within a few years, he had determined that his life’s work was that of a weaver. I suspect life is easier if you are clear, absolutely clear, about your life’s work. I became aware of Larsen textiles, carpets, leather and furniture in the mid 1970s. There was simply nothing like his work on the market. He has set so many trends, and opened so many paths, that it is impossible to enumerate them. One, often overlooked, is his introduction of sisal and coir floor coverings – 40 years ago. It is Mr. Larsen who made these sophisticated floor coverings widely accepted. Jack Larsen in Johnny Swing’s quarter lounge Photo credit: © 2011 Shona Valeska/courtesy of LongHouse Reserve, East Hampton, NY MMM: What are a few of the most memorable commissions you ever worked on? JLL: I did commissions in addition to the collections we did for profit - furniture and fabric. I did a lot of opera house curtains and special hangings and so forth. There are two that come to mind. One was the opera house curtain in Arizona, commissioned by WelTon Beckett. They wanted the feeling of the southwest, and asked “Did I know about those mirage fabrics in India?” “Yes I did.” I finally managed to do a very, very dense heavy embroidery on mirror Mylar that covered most of the Mylar but actually did leave inch square mirrors all over it - thousands of them. The stitches 6 were perforating the mirror Mylar, almost like stamps. I was concerned that as strong as it was, it might also fall apart . Samples on that embroidery machine were 10 yards long and cost a couple of thousand dollars each back then. I was getting a little desperate, so I sent a sample out to the curtain maker in Los Angeles and I asked him to test it for dry cleaning. He called me and said, “Sonny, do you know that each half of that curtain is going to be 600 yards? It’s never going to be dry-cleaned. If you’re lucky, they’ll vacuum it.” Another one was the biggest hanging commission I ever had. When Sears Tower went up, it was the tallest building in the world. At the bottom of it was a new Sears Bank. Their feeling was, if we’re new, we better be the best. There were two extraordinary banking rooms with 18 foot ceilings - full of glorious trees - with marble flooring and no carpets. The sound was impossible. They commissioned me to do 18 hangings in each room over the teller’s counter, which would provide visual interest and absorb sound. The woman who sewed those panels - they were in the International Style, was the best drapery maker in America. I recommended that she also install the hangings. She went out to the jobsite and the younger architect in charge, not FEATURE Bruce Graham, but a younger one came in and said, “They are almost perfect - if we just cut eight inches off of the bottom of each one, they will be absolutely perfect.” The drapery maker looked at him and she said, “Now I know who cut the Rembrandt!” MMM: Did your mother have much of an influence on your career? JLL: Yes, she even became a weaver and president of her weavers guild - but after I did. She was remarkably organized. Every day she had tasks and she never didn’t do them. Everything had a place and every time had a function – that’s her chief contribution. My father was creative, but my mother was organized. After I left home, I became organized. MMM: What are a couple moments in your career when you really felt as if you had achieved something or been recognized by some honor that in your estimation moved you to a new level? BELOW: Interplay - a woven textile inspired by traditional African basketry. Jack Lenor Larsen. California’s Largest Selection of Fine Decorative Finish Hardware & Plumbing SAN FRANCISCO BELMONT SAN JOSE 940 El Camino Real 982 S. De Anza Blvd. 115 Wisconsin St. 415.252.5625 650.591.0345 408.770.4844 SANTA ROSA BERKELEY WALNUT CREEK 2119 San Pablo Ave. 1279 Boulevard Way 1100 Piner Road 707.573.7373 510.548.5757 925.256.4341 belmonthardware.com 7 FEATURE LEFT: Onward! handwoven, silk and linen by Jack Lenor Larsen, 1997. MMM: How did it come to be that the Louvre decided to show your work? JLL: That is a very personal question. Not inappropriate, (pause) -just personal. I saw a great therapist for several years. One day the therapist said, “Jack, I want you to reach out and grab. “That’s the first thing I had been taught not to do - as the only child. And so, I had to lay down on my back and at first I looked like I was trying to touch a butterfly. “No, reach out with both fists and move it to you.” We practiced that for a couple of weeks, and once I had the ability to do that, I could realize things that I really wanted but would never have dreamed of. They wouldn’t have entered my subconscious. One of the things I learned was I’d like someone to run my company. I didn’t want to do that anymore. I didn’t want to go to meetings. That was very successful - we even became profitable. I didn’t want to live alone, and that worked out eventually as well. Knoll had had a show as a company at the Louvre (very beautifully), that the Vignellis had installed. I told our publicist in Europe who had worked with Knoll as well … I said, “ I would like my own show at the Louvre.” He called them up and they said, “Well that would be wonderful !” For a while they said, “Well, maybe it should be at the new Beaubourg, although it’s not open yet. Maybe a design show should really be there.” In the end, they gave us six galleries in the Louvre . Charles Forberg installed it wonderfully well. We put even down our carpet tiles on their marble floors. JLL: When we launched our African collection in about ‘62 or ‘63 at the Arts Club in Chicago- it’s a wonderful place to have an opening. We gave out tickets and we had Pinkerton guards and the exhibit was wonderful! We took out the Brancusis to make room for my things. Our publicists had hired the Mrs. Roosevelt of the black community, who had been the first Bess in Porgy and Bess. She was charming and a great hostess. She taught us highline dancing- we even had African musicians. It was not only one of the best openings of hundreds I’ve had, but it was one of the best parties that any of us had ever been to. No one who was there has ever forgotten it. I think we all sort of floated out of there. it was so much more than I was hoping for. It was just incredible. We later had other openings at the Arts Club, but nothing was ever like that. 8 Two other things: We had a big party on the Seine - on a boat with music and dancing. That was lots of fun - we were outdoors; the weather was good. Then, we were at the house of the man who was the head of Knoll in Europe. First he had the York Palace in Tangiers, and then he had a mill house on the Seine and it was famous. I was allowed to have a dinner there for about 50, and so we invited all of the museum people to come and, little by little, I think all of them came - as it happened. I was also able to invite more and more of my American friends MMM: What are some of your thoughts about color? JLL: Well, color is dessert for a designer. I’ve always – even at four years old, been fascinated with color - not usually the normal ones either. I liked olives and mustards and “strange” colors. I wanted to do two things. One was to do something that we hadn’t seen before. We did very dusty colors and I also did the New Brilliance collection, which was only popular in Paris. Back then we had enormous sales charts - 12 feet high and 20 feet long on which everything in the line was pegged - where it belonged, how many transactions, how many dollars and so forth. We could put the new things onto the chart with some idea of where they would fall. There was some safety - it wasn’t just fearlessness. Very often the newer colors took off - sometimes a whole collection of them. Re-coloring an older pattern was the best thing we could do for sales. Because it was both new and familiar, people didn’t have to figure out what to do with it. Luminette Modern Draperies Instant Drama MMM: Frequently in your books you refer to yourself as a weaver. What does being a weaver mean to you? JLL: It’s about construction. I started with architecture, which is about structure and light and shadow, and function. That’s how I see textiles. Most people think it’s about pattern. It is not. MMM: What are some of the challenges/opportunities that you have had? JLL: I love doing casements. Early on, when I came to New York, a wise man said he thought that a great new challenge for weavers was the new glass buildings –controlling light and breaking glare. MMM: What advice do you have for designers selecting textiles? JLL: Most people don’t know how to think about cost. First of all, it’s “How much fabric?” If you need 300 yards of window fabric, cost is very important. If you need dining room chair seats, where you get four out of a yard – the cost is of no consequence. If the chair costs $4000, the cost of the fabric that goes on it isn’t so important either. Whether you have a $50 or $100 per yard fabric isn’t’ going to change the overall price of the chair. You have to think in larger terms about the cost of fabric. People accuse me of only working for the rich. Anybody can afford my fabric on their dining room chair seats or for a wall hanging. It depends on how much they buy. MMM: What question would you ask yourself and what would your response be? JLL: I guess someone might ask what my favorite period was. I would honestly say I’ve never been so grown up before as now. I’m appreciative of the weather, all the sunlight we have here, and my friends. I’m having a wonderful old age, and I don’t even feel old - except when I try to climb a stair or something - I don’t do it as well. But thanks to good doctors and Medicare, I’m in great shape. Jack Lenor Larsen was the second American artist to be honored with a one-man show at the Louvre in Paris. He was given this privilege thirty years ago. Now entering the seventh decade of his remarkable career, Jack Lenor Larsen continues to fascinate, inspire and challenge each and every one of us to become that which we most urgently aspire to be. ■ Blinds • Shades • Shutters • Draperies • Roman Shades Window Fashions Gallery Two Design Center Showroom Locations 247 California Dr, Burlingame, CA 94010 650-348-1268 990 Industrial Rd., Ste 106, San Carlos, CA 650-508-8518 M-F: 10:00-5:00 Saturdays: 11:00-4:00 Evening Appointments Available www.rebartsinteriors.com Serving the Design Community for over 25 years © 2009 Hunter Douglas. ® Registered trademark of Hunter Douglas. 13596 9 Beauty FEATURE The of Upholstered Walls By Susan Lankford of S. E. Lankford & Company Wall upholstery as a means of covering, decorating, and insulating wall surfaces is a European tradition dating back hundreds of years. Some of the original materials used include tapestries and wool padding. Today this traditional approach is followed using modern tools and materials, and a broad range of fabrics. Upholstered walls provide sound absorption, an elegant, soft and subtly three-dimensional look, and an intimate feeling in a room. Traditional or Track? Traditional wall upholstery can span the spectrum from classic to contemporary, from plush to sleek, from subtle backdrop to bold statement. In recent decades, there has been an explosion of track systems and other techniques for stretching fabric across walls and ceilings. Especially in commercial settings, these systems can yield stunning results. However, these systems have limitations - fabric choices may be very restricted, or precise pattern-match may be difficult to achieve, or the installation may be modular in appearance and draw the eye in undesired ways. Because traditional wall upholstery depends upon the skill of the installer, and not the set technology of a track system, a good installer can often overcome the limitations of a difficult fabric or imperfect construction to give a look not possible with a track system. One basic ingredient of good traditional wall upholstery is the building on the walls of a perimeter wood frame during the prep phase. (The frame is typically 1/4" thick, which can be a factor in design details such as molding reveals.) A pad, usually Dacron, is stapled to the wall up to the edges of the wood frame. Then the fabric for each wall is sewn together, and stretched across and stapled onto this frame. (Omitting the wood frame is a fast and relatively inexpensive approach but is not advised: it results in crumbling of the underlying wall surface, loss of accuracy in hanging the fabric, excessive use of trim to hide staples, and an exaggerated crown.) Why upholster? Warmth - I recall three different homes in which I upholstered a large, tall room, where the client complained that party guests gravitated away from that space. After 10 upholstery, in each case the room became a favored gathering spot in the home. The shorthand reason is “sound absorption”. But the deeper reason is that, on a subtle level, when our brains don’t have to work to filter out the echoes of someone’s voice bouncing off hard surfaces, we experience that person as giving us their undivided attention, of talking directly to us. This is why an upholstered room feels intimate, and people describe it as feeling “warm”. Beauty - Depending on the depth of padding used and the way the fabric reflects or absorbs light, an upholstered wall can have obvious depth or appear essentially flat. But even a very clean, contemporary wall upholstery installation looks different from the same fabric glued to the walls. Practicality - Upholstered walls can disguise patches and irregularities in surfaces, and may save money and the disruption of extensive remodeling. A Legacy of Distinction 888-738-6894 A Shutter for Every Client… A Shutter for Every Budget. Contractor’s License #574304 Serving Interior Design Professionals For Over 30 Years THE MOST TRUSTED brand in custom shutters. Proud supporters of the ASID Call us for product specs regarding Shutters or for any of our custom window coverings. Visit us on the Web for more details about our trade program at www.danmerinc.com MEMBER Getting the Look you Want Some fabrics upholster better than others, and some upholster well but only with much labor. A good upholsterer will have experience with a range of fabrics and can tell you the strengths and weaknesses of a particular fabric when upholstered - which may be very different from the way it behaves as a drapery fabric, for example, or even on a piece of furniture. When in doubt request a mock-up. Here are some fabric attributes to consider when your design includes upholstered walls: Elasticity Does the fabric have much stretch, and is it the same sideto-side and up-and-down? (Fabric with very little elasticity may pucker if not knitbacked) In general, cottons are most elastic, silks least. In general, an elastic fabric is faster to upholster Temperature and humidity changes affect different fabrics differently; is the room environmentally stable? Opacity Does the fabric pass the shadow-through test? Place on black and white surface. Seam allowances may shadow-through very shear fabrics (solution: line with similar-colored fabric). “Hidden” wall speakers will shadow-through unless wall fabric is dark Sheen Light-reflective fabrics will emphasize the crown of the walls, and the color may look very different from various angles and at different times of day. Seaming Check selvage-to-selvage match: is there pattern overlap? (Most prints have overlap; many woven patterns do not, so seams must omit some pattern, and this may be obvious on an upholstered wall) Is color registration accurate? Hand-woven fabrics may have irregular vertical match. Consider width with respect to room dimensions, especially if seams will be highly visible (as with solid, pale, or thick fabrics) Pattern Stripes: Are the walls square and corners crisp? Pattern: are both horizontal and vertical repeats listed? A photograph is helpful to understand things like drop repeats, which may affect yardage yet not be listed. Print over woven pattern: can both be matched? Acoustic properties Do you want sound absorption, transparency, or reflection? Tightly woven, shiny fabrics are somewhat reflective of sound. Most fuzzy fabrics are absorptive. Open-weave fabrics are relatively sound-transparent 11 FEATURE THE BATH + BEYOND BATH • HARDWARE • LIGHTING Often Copied, Never Matched Designers Ask us about our Lunch on Us Program and Mileage Plus Program Sound transparency test: with your eyes closed, have someone move a fabric sample between your ears and the sound source, then away. Let our experienced sales staff work with you on your next project Wear Is there exposure to sunlight (as in a window return) or water (a powder room, or below an exterior window)? (Solutions: wainscoting; UV window films; water/stain resistant fabrics, stain resistance treatments after installation) 77 Connecticut Street • San Francisco, CA 94107 There are some fabrics which simply cannot or should not be upholstered. In the right setting, a wall upholstery installation may look fresh and perfect twenty years after installation, but impractical choices may lead to rapid damage. Understanding in advance the attributes of a fabric can help you use it to best advantage. Your upholsterer can be an invaluable resource at the design phase as well as at installation. Carefully conceived, you and your client can be assured of beautiful upholstered walls that will enhance their lives for many years. 415-552-5001 fax 415-552-0714 www.bathandbeyond.com 12 [email protected] www.lankforddesign.com Family owned and operated since 1969. Centrally located with plenty of free parking. FEATURE The Custom Drapery Workroom By Doreen Leong of Leong Interiors Choosing the appropriate window coverings for your client’s home can be an arduous task. There are so many options and considerations when making the selection. Should you choose wood blinds, solar shades, grass weave shades, draperies or roman shades? Not to mention the practical aspects of window coverings – they should be beautiful but also provide privacy, light control, energy efficiency and sound proofing. Window coverings can be overwhelming and when you are dressing many windows or difficult windows, you may need the services of a custom drapery workroom. This article will guide you through the process of finding the right workroom and the many services they have to offer. Finding the right workroom Many larger workrooms focus on one type of window treatment and are able to produce large quantities with a quick turnaround. Frequently, the larger workrooms can offer value pricing because they are able to manufacture so much product. They may carry some basic fabrics particularly for sheer draperies and simple drapery panels. But with the larger workrooms, there may be less attention to detail and fewer design choices and the designer is often expected to provide measurements and installation services. If you are experienced in designing window coverings and have a large contract or hospitality project on a tight budget, working with a large workroom is the way to go. On the other side of the spectrum are smaller “boutique” workrooms. These studios are often run by artisans and craftspeople and can provide window coverings with stylish design details and couture sewing techniques. These workrooms offer a variety of services to the designer or homeowner. Some may provide site measuring and design consultation, great customer service; professional installation services; fabrication of many styles of window coverings and soft furnishings. They may offer custom drapery hardware options, fabrics and trims. Many of the boutique workrooms supply lines of hard window treatments such as woven woods, solar shades, wood blinds, and motorized systems. Although the pricing may be higher than the larger workrooms, the extra services provided make it well worth the cost. If you are working on a residential project with a unique design that requires special attention to details, a smaller workroom may work best for you. Finding a reputable workroom can be a daunting task. You can find good workrooms by inquiring through other colleagues, fabric and furniture showrooms and design associations. Many 14 workrooms market their services at decorator showcase houses or design shows. Once you find a workroom, visit their studio and talk to the proprietor. Research their quality of work and ask who their current clients are. Check on their references and industry reputation. Developing a good working relationship with a reputable workroom is priceless and the bond can last for years. Working with the drapery workroom When starting a new project with a workroom, there are many procedures and ways to communicate your ideas to make the process effortless. If you need some design and measuring help, ask the workroom owner to meet you at the jobsite. To facilitate the meeting, have fabric samples and design ideas on hand. It’s good to do the design research first so you have an idea of what type of window treatment is desired. Ask the workroom owner questions about the window coverings you selected. Are there other options? Will there be any structural issues that need to be addressed? How will it be installed? Does the treatment need to be lined? If so, what type of lining? Translucent, blackout or thermal lining? What kind of drapery hardware should be used? Open communication is crucial in order to avoid any problems that can easily occur later in the process. If the windows are difficult and require special attention – extremely large windows, arched windows, motorized requirements, difficult installation conditions, it may be a good idea to meet with the installer and workroom owner at the job site. Make sure to review any possible issues that may occur. If you require an unusual design, maybe a sample is needed to make sure it’s executed to your liking. FEATURE Industry Partner – to the trade Motorization, Automation, Integration After measurements have been taken and fabric information and design details have been advised, the workroom should provide you with a proposal. The proposal will advise the labor, fabric, hardware and installation costs. If the workroom is using COM, the proposal will also state the COM yardage amounts. If the workroom proposal is accepted, the designer creates a purchase order for the workroom. The purchase order is crucial in the process because ultimately, this is what the workroom will follow to fabricate the treatments. On this purchase order it will advise the side mark with the client’s name and the rooms. It will also have the style of treatments with all design details and instructions, any sketches or tear sheets, the fabric names and style numbers with actual swatches of the fabrics, hardware information and labor and materials costs. Usually a deposit is required to start the job. Generally, the deposit amount is 50% payment on the labor and 100% payment on materials. If there is any miscommunication and expectations are not met, the workroom will always refer back to the designer’s purchase order to make sure all instructions were followed and the problem was not the fault of the workroom. It is extremely important to state all the details and pertinent information on the purchase order. Installation time After the project has been completed and all hardware and hard window treatments have been received, the workroom will contact the designer to schedule an installation. More often, the designer will contact the workroom to schedule the installation. Ideally, the designer should be present at the installation with the installer. The workroom will provide all installation instructions along with the finished job to the installer. If the installation is particularly large and/or difficult, the workroom owner should also be at the jobsite to address any issues or questions. If something goes wrong at the installation and it is the fault of the workroom, it’s the workroom’s responsibility to solve the problem and schedule another time to re-install the job in a timely manner. About the author Doreen Leong is the owner of Leong Interiors, a boutique drapery and soft furnishings workroom in Oakland, CA. www.leonginteriors.com. Motorized window fashions have the ability to control light & temperature. They enhance child and pet safety and integrate into any home automation system. With quiet motors and single and multiple room controls, motorized window fashions are as easy to use as your remote. • Beautiful state-of-the-art showroom highlighting motorized window treatments • Hunter Douglas Certified Motorization Specialist • Integration with Home Automation Systems • Motorization for all budgets • Interior and Exterior Shades and Awnings • Motorized soft treatments • Skylights • To-the-trade discounts • Satisfaction guarantee • Exclusive unadvertised rebates, discounts and promotions • Full lending library 1611 N. Broadway • Walnut Creek, CA 94596 925-938-8363 [email protected] www.galleriashadesandshutters.com 15 FEATURE A Unique Art Source for ASID Designers By David Hanson, Allied Member ASID Like you, I’m always on the lookout for new sources for everything I use in my work. A unique, quality source can inspire the direction of a new project, transform an existing space, or give a distinctive edge to a work in progress. As a fellow member of ASID, I am exited to introduce you to an excellent art source that is not only extraordinary, but also affordable, local, accessible, socially responsible, and even fun! About Creativity Explored In its 28-year history, Creativity Explored has earned a reputation as one of San Francisco’s best art galleries and one of its most beloved nonprofit arts organizations. Creativity Explored is a spirited community of artists with developmental disabilities creating some of the most profound, fearless and innovative art on view today. The San Francisco Chronicle described Creativity Explored as having, “Sophisticated, amusing, inspired, and most of all, beautiful works of art.” Work by Creativity Explored artists has also received national and international recognition. For example, in May 2011, nine Creativity Explored artists’ original works will be included in the Berkeley Art Museum/Pacific Film Archives exhibition titled Create, which will tour the country. Many Bay Area residents use Creativity Explored as a resource for artwork in their own homes, as well as a source for gift giving in support of the organization’s important mission. However, CE’s Art Services program developed for residential and commercial interior designers and architects, is relatively new and not widely known among the design community. Art Services Program Creativity Explored Art Services Program helps solve the challenges faced by interior designers when it comes to sourcing appropriate artwork for projects. Rather than spending increasing amounts of time sourcing commercially reproduced artworks or negotiating high-end gallery prices, designers can select or even commission artwork exactly to fit their project needs. Plus, half the proceeds from each Creativity Explored art sale go directly to the studio artist, so your purchase makes a difference. Creativity Explored has thousands of original artworks for designers to select from. Works range from a single large-scale canvas for a domestic interior, to multiple artworks, framed uniformly, for residential and commercial properties. In some cases, designers have chosen to commission an artwork that fits with the style, color scheme and/or scale of a particular project. With a stable of over 150 artists at Creativity Explored, designers will find original art in almost any style and media including contemporary paintings, traditional watercolors, works in pastels, acrylics or pen and ink. 16 San Francisco CB2 store window display (detail) featuring Creativity Explored products and artwork. Photography by Tom Seawell Affordability is another favorable factor when working with Creativity Explored. Stunning abstracts, joyful portraits, uncommon text-based work, beautiful landscapes, and thought-provoking pattern drawings and other one-of-a-kind artworks are all available at surprisingly reasonable prices, well below commercial gallery rates. From a convenience standpoint, Creativity Explored’s Art Services Program can include selecting, framing, and installing artwork depending on designer’s individual needs to help eliminate contracting separate vendors, etc. Creativity Explored Design Partnerships Over the years CE has forged some impressive partnerships in the local community, as well as some that have garnered national recognition. For example, in 2009, AvalonBay Communities, a leading Real Estate Investment Trust with multifamily apartment communities in high barrier-to-entry markets in the United States, commissioned 15 signal works of art for the public spaces in its new 260-unit building, Avalon at Mission Bay III. The commission was the second important collaboration between AvalonBay Communities and Creativity Explored and followed the purchase in 2006 of an impressive 95 works of art for its building Avalon at Mission Bay II. Interiors were created by Tom Eliot Fisch for both projects. Permanent art acquisitions • • • • • Favorable Trade Pricing Warranty Support and Repair Services Dedicated Book Loaning Library Measuring Services and Skilled Installation Custom Soft Treatment Workroom 2 Henry Adams Street Showplace 484 San Francisco, Ca 94103 415-241-0116 www.nationalblindsdesigns.com [email protected] FEATURE from Creativity Explored artists are part of AvalonBay’s effort to reach out to the community and support local causes while also enhancing its premesis with lively, engaging original art. In addition to working with interior designers, Creativity Explored launched a licensing program with CB2, a modern destination from Crate and Barrel, in July 2009. CB2 and Creativity Explored have partnered to create over eleven CB2 home décor product lines, including four decorative pillows, two Creativity Explored artwork installed at Avalon Mission Bay II rugs, two tote bag, and Photography by David Wakely a holiday ornament. Program, have been mutually beneficial, gaining broader One of the rugs, In Bloom, by artist Mary Belknap, is one of the exposure for Creativity Explored artists’ work, and extending best selling rugs in CB2’s history. partners’ reach into the community by making socially conscious decisions when selecting art to enhance their These partnerships, along with Creativity Explored’s Art Services products or premises. COUNT ON US 1,350 locations. All 50 states. 300 showrooms.17,000 associates. 57 years in business. FAUCETS. San Francisco: Sacramento: © 2010 Ferguson Enterprises, Inc. All rights reserved. 18 435 Valencia St 4525 Madison Ave FIXTURES. (415) 551-3580 (916) 338-8300 APPLIANCES. Seaside: Fresno: LIGHTING. 1144 Freemont Blvd 704 N Laverne Ave Nobody expects more from us than we do ® Pr oud M em ber s of th e A me ri ca n S o ci e ty o f I n te ri o r D e si g n e rs (831) 394-7469 (559) 253-2950 Using Creativity Explored for Your Next Project It’s an honor to be a part of Creativity Explored and to share this local, original, affordable, and most importantly, sociallyresponsible resource with my design colleagues. I count myself among many appreciative designers, art patrons, and collectors who use Creativity Explored work in their projects or buy it for their own homes. However, no matter how beautiful and inspiring the artwork, the most rewarding experience which makes the entire selection experience unique and special is interacting with the artists themselves. The pride Creativity Explored artists’ show for their work makes me proud to showcase it in my projects, in my home, and amidst the design community. If you as a designer are interested in using Creativity Explored for an upcoming project, please: 1. Visit www.creativityexplored.org or stop by the Gallery/Studio at 3245 16th Street, San Francisco, CA 94103 2. View art and artists’ styles 3. Take note of artists and subjects you like (i.e. landscapes, portraits, abstract) 4. Consider artwork size requirements 5. Contact Ann Kappes ([email protected] or 415-863-2108) About Creativity Explored Creativity Explored advances the value and diversity of artistic expression. The organization provides artists with developmental disabilities the means to create, exhibit, and sell their art in its studios and around the world. Creativity Explored also operates a professional exhibitions program that promotes its studio artists’ work to a wide array of local, regional, national, and international exhibition venues including commercial galleries and corporate and public spaces. Creativity Explored studio artists come from diverse backgrounds and bring with them a wide variety and range of experience, ability, and sensibilities. Some of the artists are twenty years old, while others are in their eighties. Some have lived lives of previous isolation or institutionalization, while others have lived their entire lives with their families in a supportive and accepting environment. Many of the studio artists speak different languages, or do not speak, and are unable to communicate with each other using spoken language. At Creativity Explored, visual art is a language everyone can use to share culture, experience, and feelings; uncensored self-expression is both encouraged and celebrated, and the result is art that is fresh, exciting, and innovative. Creativity Explored is located in the vibrant cultural and dining corridor that traverses San Francisco’s Noe Valley/Mission district. 3245 Sixteenth Street at Dolores San Francisco, CA 94103 415-863-2108 www.creativityexplored.org Gallery hours: Monday, Tuesday, Wednesday, and Friday from 10 am to 3 pm Thursday from 10 am to 7 pm Saturday from 1 pm to 6 pm Also open by appointment. 19 CHAPTER NEWS WELCOME NEW MEMBERS oin us in welcoming our newest members to the ASID CA North Chapter.... J New Professional Members Brett Adler, ASID Caroline Day, ASID Bonnie Nathan, ASID New Allied Members Alyson Douglas, Allied Member ASID Marlene Duong, Allied Member ASID Jennifer Hoh, Allied Member ASID Kati P Kelly, Allied Member ASID Michelle Lea Rudd, Allied Member ASID Roya Savoji, Allied Member ASID John Crowley, Bath Simple Tony Damiano, ABET Inc. Catherine Deasy, YLighting / YLiving Richard Edelman, The Shutter Source Jenny Floravita, Floravita Fine Art & Design Vinquetta Frye, Superior Art Building Material Whitney Gerhard, YLighting / YLiving Sue Gwin, 3 Day Blinds Najla Khoja, Junckers Hardwood Inc. Justin Lacey, YLighting / YLiving Julie Lloyd, Lloyds Luxury Home Design Mindy Maciey, 3 Day Blinds Pejman Nozad, Pejman Carpet Tami Ongaro, 3 Day Blinds Cherie Pilkington, 3 Day Blinds Kim Therese Powell, Gander & White Jeffry-Wynne Prince, 3 Day Blinds New Student Members Doreen Roe, Stoneside Dominique Gabrielle Allen, Student Member ASID Allondra Stevens, YLighting / YLiving Chloe Michele Abraham, Student Member ASID Sunshine Marie Cantero, Student Member ASID Michelle L. Cegarra, Student Member ASID Colin A. Daly, Student Member ASID Nicholeta Daniels, Student Member ASID Belinda Dorothy David, Student Member ASID Sheri Ryan, YLighting / YLiving Todd Stewardson, YLighting / YLiving Polo Valdovinos, Specify Rory Volk, The Sliding Door Company Janet Wages, YLighting / YLiving Cassie Lynn Eggers, Student Member ASID Amelia W enge, Student Member ASID Anna Helen Fane, Student Member ASID Rachel Gooding, Student Member ASID William Jeffrey Goshorn, Student Member ASID Mallory M Haswell, Student Member ASID Sara Elizabeth Johnson, Student Member ASID Marli Grace Jones, Student Member ASID Elizabeth Marks Juviler, Student Member ASID Volha Kandybovich, Student Member ASID Leslie Karas, Student Member ASID Large-scale, Sandra Patricia Lozada, Student Member ASID customized, Jae Hoon Lee, Student Member ASID Annalyn Madariaga, Student Member ASID Brenda B. McNeill, Student Member ASID Melissa Muehlfeld, Student Member ASID Marisol Noriega, Student Member ASID Lorraine Elizabeth O’Hara, Student Member ASID Rae P. Revelle, Student Member ASID Shweta Singh, Student Member ASID La Kesha Rena Wash, Student Member ASID Danielle Marie Zakowski, Student Member ASID fine art pieces MOSAICS MIRRORS PAINTINGS SCULPTURES Industry Partners Laurnan Balaban, Dome Cleaning, Inc. Linda Cooper, YLighting / YLiving Rick Coven, Crestron Electronics (619) 219-4061 www.trilogy-designs.com 21 STUDENT NEWS Student Career Forum A NEW BEGINNING By Bruce Goff, FASID As many of you should know the three regional ASID chapters withdrew as sponsors of the Student Career Forum (SCF). A Chapter President received an e mail concerning the issues from a concerned student: Here is an excerpt: “ I intend to take the IDEX after completing a 40 unit Interior Design Certificate in May. Then I plan to meet the requirements and take the NCIDQ. Although I believe the requirements are too stringent. 60 college units, working under a "Certified" Interior Designer for 2 years and 4 years’ experience is asking more of Interior Designers than Architects are asked to do. I plan to go into product development of furniture lines. I want the certifications but, I do not have to have them to go forward with my design career. I do not plan on moving out of California or even working outside of California. From what I understand neither test are required by law. Some larger project clients or government work may require one or the other. They still are voluntary tests. We can manage ourselves and our own businesses without being brainwashed into thinking we have to have the NCIDQ test. We can call ourselves "Interior Designers" after we have completed the education. "Certified Interior Designer" after passing the tests. Which may matter to some but not all future clients.” Dear Student: Thank you for taking the time to express your frustration to ASID. I understand it and have some of the same frustration, but perhaps for different reasons. This event did not have to devolve in to this, however, perhaps much can be learned and changed going forward. The key reason that ASID was no longer able to participate was based on a key issue to the society: to give students a complete understanding of the legal environment that they will live in and what options they have in their career path. The forum leadership decided that this was not to be allowed. They denied ASID the ability to discuss what the CA law truly is and is not, as well as to also discuss the NCIDQ; and what it is and is not. ASID does not own or manage the NCIDQ, we believe at this time it’s the most effective route to go through, however, it’s not the only. Regardless, facts help make good decisions. Some of your statements are actually a good example of why we felt it so necessary to press the issues: The Q does not require work under others for the hours to be allowed. In fact they have many new options for accumulating hours between education and taking the test. Facts need some explanation and help to understand. You noted that some groups may require CID. No state agency or state group accepts the CID. The current legal 22 How Will You Promote Your Products to Designers in 2011? Advertiser Benefits: • Reach thousands of design professionals in this market! • Reach every ASID chapter member, every quarter DSA Ad “We have been advertising in the local ASID publications and view it as one of our most valuable resources for reaching the designers in our community!” M. Weddington, Hunter Douglas • Extremely cost effective • Upscale presentation in a 4-color, glossy format • Consistent visibility and recognition in a well-respected, credible resource • Form NEW relationships and recognition with designers to increase product awareness Deadlines ISSUE AD COPY DUE Summer 2011 May 20, 2011 Fall 2011 August 19, 2011 Winter 2011 November 18, 2011 • Industry Partner listings on chapter website • Full page profile available with website links To Reserve Your Space, Call Today! Mike Watt [email protected] 888-747-7865 Ext: 307 972-989-2208 STUDENT NEWS T U L H a r d w o o d I P F l o o r s UNPARALLELED FLOORING SELECTION PERSONAL STAIN CUSTOMIZATION | SUPERIOR WORKMANSHIP OVER 25 YEARS OF HARDWOOD FLOORING EXPERIENCE Comprehensive Showroom • Extensive Selection of Green Products Large Check-out Samples • Personalized Service Unique Flooring Options • Seamless Restoration and Matching Custom Samples Made to Your Specifications 510.558.2030 1190 Tenth St • Berkeley, CA 94710 www.tulipfloors.com 24 standing we have is that of the general public. CID or not there is nothing that we can do differently than that of our friends and family. In fact the test that was developed is only accepted by the private company that developed it. The other example that we want to discuss is that the Q is actually a national standards/competency test not a private certification test. Both quite different and the reason for differences is in requirements. Both are valid if you know why and what they actually mean. It seem your path is well thought out and considered, however, ASID has a very diverse and wildly divergent membership. Delivering information allows them to make educated decisions. That key aspect of the Student CAREER Forum [information] was what was prevented in favor of a very limited amount of information. It’s about making sure that your career is formed based on fact not fiction. Because of this ASID could not participate and the very reason it happened so late was that the Chapters tried up to the last minute to have this agreed to. This was not to be the case. Last but not least, the core standards of ASID require Student participation and support. This situation was very, very unfortunate however, everyone will be working to make it up and to move forward with even better events and support. As Joyce noted all the entries are safe and all the entries will be judged, awards made and noted in the press. Please feel free to distribute this to anyone who is concerned and to pass along my information, as well as letting me know if this answered any of your issues. My personal apologies for not making this SCF what you looked for it to be. The Modern Roman Shade That Rolls and Stacks With Tiered™, Traditional™ and Tailored™ Options, Vignette® Modern Roman Shades Fit Customers to a “T”. TRADITIONAL TIERED • Fabric stacks at the top of the window, reminiscent of a custom Roman shade. • Traditional™ 3" and 4" contoured fold sizes. • Available in all fabrics and colors. TAILORED • Fabric rolls up and disappears into a fabric-covered headrail for an unobstructed outside view. • Fabric rolls up and disappears into a fabric-covered headrail for an unobstructed outside view. • Fabric folds are dressed with every operation. • Tailored™ 6" • Traditional 3" and 4" contoured fold sizes. • Available in all fabrics and colors. fold. • Available in all fabrics and colors. Contact your Hunter Douglas Design Center Partners today. They can provide you with all the resources you need to make selling Vignette Modern Roman Shades as easy as possible. For more information, visit www.mydesignsource.net/index.pdf. Hendrickson’s Window Fashions and Upholstery Tim and Richarda Hendrickson 3820 Bodega Avenue Petaluma, CA 94952 707-762-724 1 Marsh Interiors National Blind Cleaning Rebart Interiors Shades of Marin Ed Marsh 3850 San Pablo Avenue, Suite 104 Emeryville, CA 94608 510-547-7540 Israel Yachdav San Francisco Design Center 2 Henry Adams Street, Showplace 484 San Francisco, CA 94103 415-863-3110 Bart and Becky San Diego 1115 California Drive Burlingame, CA 94010 650-348-1268 Bob Widergren 2070 4th Street San Rafael, CA 94901 415-453-1518 The Danville Interior Design Gallery Dawn Driskill 430 Sycamore Valley Road Danville, CA 94526 925-838-8040 © 2011 Hunter Douglas. ® Registered trademark of Hunter Douglas. ™ Trademark of Hunter Douglas. 26 CALENDAR CALENDAR CHAPTER EVENTS MAY 11 MAY 21 MAY 31 JUNE 8 JUNE 8 JULY 21 AUG TBD AUG TBD SEPT 21 HOME AUTOMATION BASIC .3 CEU TWIIGHT SOLUTIONS 1875 OLYMPIC BLVD, #105, WALNUT CREEK LUNCH 11:30AM-2:30PM SF ARCHITECUTAL WALKING TOUR 11:00-1:00, MEETING AT 191 SUTTER STREET LOBBY OF GALLERIA PARK HOTEL JEFF GREENWALD SPEAKS ON TRAVEL IN ASIA AT MODERN FEVER, 101 HENRY ADAMS ST 5:15-7:30PM. FREE HORS D OEUVRES DESIGN RESOURCE FAIR 11:00AM-5:30PM GALLERIA ATRIUM STUDENT CAREER AWARDS AND CHAPTER DESIGN AWARDS/SILENT AUCTION 5:00-8:30PM, GALLERIA ATRIUM LUXURY MARKETING COUNCIL & ASID PANEL DISCUSSION ON COMPENSATION 12-2 INCLUDES FREE LUNCH AT BOOK SIGNING EPOCA 1700 16TH ST @ KANSAS, SF PROMOTIONAL MATERIAL WILL BE COMING MICHAEL MERRILL GIVES TALK ON “HOW TO WORK WITH A PROFESSIONAL PHOTOGRAPHER” PHOTOGRAPHERS & STAGERS TO ATTEND AS WELL CHAPTER INSTALLATION PERRY’S 101 HENRY ADAMS, SF