The imporTance
of
Style
It is very important to me to achieve design
solutions that are timeless, personal, and
appropriate for each client design story. I
look for design discipline, integrity and a
certain reduction of elements. More often
than not, the results will not be “minimal.”
But I try hard to create a language that
establishes a conversation of sorts between
the objects and the furniture, and their
relationships to space and architecture.
This past spring, I designed the library space
for the DC Design House.The existing faux
painted oak ceruse paneling reminded me
of some of Jean Michel Frank’s rooms from
the 1930’s.
So I tried to recreate the calmness of his
original designs by combining Scandinavian
mid-century classics with 18th century
chairs, 1960’s American art, Picasso-style
ceramics, 1970’s lighting, a Nakashima table
and 1930’s French pieces. The result is a
room that is restrained, yet classic; visually
engaging and physically comfortable.
Mr. Whitehead went on to say in his essay
that “with style you attain your end, and
nothing but your end.”
Article by Nestor Santa-Cruz, IIDA
t
he question of style comes
up very early when I start a
new project, and I am trying to understand
my clients’ design sensibilities.
“Style is the exclusive privilege of the
expert,” he writes, “style is always the
product of specialist study, the peculiar
contribution of specialism to culture.”
As I am not interested in trends—nor in
having a signature style in my work— I take
very seriously the need for style definition
at the beginning of each design.
Take for example the idea of mixing periods
and styles, patterns and contrasting “fun”
colors. It has in the hands of the amateur,
the risk of being chaotic and superficial, and
easily results in trendy solutions.
My dear cousin, Mercedes Solis, recently
shared an essay with me by Alfred North
Whitehead (1861-1947) titled The Aims of
Education. I was quite taken by a few of his