Spring 2011 - ASID California North

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PANTRY
CONTENTS
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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
asidcan@earthlink.net
www.asidcalnorth.com
www.designfinder.com
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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
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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
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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.
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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.
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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
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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
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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.
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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
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FEATURE
THE BATH + BEYOND
BATH • HARDWARE • LIGHTING
Often Copied, Never Matched
Designers
Ask us about our Lunch on Us Program
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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
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susan@lankforddesign.com
www.lankforddesign.com
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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.
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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
•
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•
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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
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nationalblinds@gmail.com
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.
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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 (annkappes@creativityexplored.org
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
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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.
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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
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Burlingame, CA 94010
650-348-1268
Bob Widergren
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415-453-1518
The Danville Interior
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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
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PROMOTIONAL MATERIAL WILL BE COMING
MICHAEL MERRILL GIVES TALK ON “HOW TO
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PHOTOGRAPHERS & STAGERS TO ATTEND AS WELL
CHAPTER INSTALLATION
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