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Eye Candy of the Week – Dessin by Catherine Memmi

May 29th, 2010 | No Comments | Posted in Interior Design, Residential Interior Design

 

image

 

PRODUCT

Luminaires

Lampes et Lampadaires

Dessin

 

DESIGNER

Catherine Memmi

 

MATERIAL

Chrome

 

DESCRIPTION

I love the simplicity and the clean lines of this elegant light fixture. This lamp collection was designed by one of favourite French designers Madame Catherine Memmi. 

 

This is what I like to call “quite-elegance”.

 

I highly recommend you to visit Catherine Memmi’s website.  Her site is worth the visit.

 

YUMMY FACTOR

Sweet !!!

 

 

Source: Meade Design Group - The Blog

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  • Seattle Public Library
    Last weekend I had the opportunity to visit The Seattle Public Library for the first time.  I was mesmerized by its supreme architecture and clever design.  The simplicity of the materials, but the complexity of its construction has made of this building an architectural icon in the United States.   I was also lucky enough to have this building as my hotel view during my stay in Seattle.   The Central Building for the Seattle Public Library was designed by Rem Koolhaas and Joshua Prince-Ramus of OMA/REX.  I found the space really inspiring, so much that I would like to share some of my favourite shots.   Next time you are in Seattle, this is a must see building.   Sculpture at the Main Entrance   Achitectural View   Flooring   Accent Wall – Children’s Section     Walls and Ceiling Structure   Glass Reflection     Bookworms  Auditorium   Ceiling Reflection   Exterior View   Exterior View     Thanks to the magic of Wikipedia here are the facts - The Seattle Central Library is the flagship library of the Seattle Public Library system. The 11-story (185 feet or 56 meters high) glass and steel building in downtown Seattle, Washington was opened to the public on Sunday, May 23, 2004. Rem Koolhaas and Joshua Prince-Ramus of OMA/REX were the principal architects and Hoffman Construction Company of Portland, Oregon, was the general contractor. The 362,987 square foot (34,000 m²) public library can hold about 1.45 million books and other materials, features underground public parking for 143 vehicles, and includes over 400 computers open to the public. Over 2 million individuals visited the new library in its first year. It is the third Seattle Central Library building to be located on the same site at 1000 Fourth Avenue, the block bounded by Fourth and Fifth Avenues and Madison and Spring Streets. The library has a unique, striking appearance, consisting of several discrete "floating platforms" seemingly wrapped in a large steel net around glass skin. Architectural tours of the building began on June 5, 2006.     Seattle Public Library by Iván Meade Iván Meade is a local designer and principal of Meade Design Group, a multidisciplinary interior design and graphic design studio in the heart of downtown Victoria B.C. Canada – www.themeadegroup.com
  • Giveaway Winner!!!
  • In Conversation with Birgit Piskor
    Birgit Piskor   As seen in SNAP July, 2010.   Birgit was introduced to me earlier this year by my dear friend, Liz Mackay of Ambiance Consulting - I actually featured one of her pieces, "Floraform", as one of my eye candies of the week back in February. Since then, I have had the opportunity to get to know Birgit better and have seen the stunning new collection that she is launching; I am excited to announce that Meade Design Group - the blog has the first interview with the artist about her new pieces, complete with photographs and inside information - Enjoy!   "Known for her light, sensual, undulating forms, Birgit’s unique sculptural works are most commonly purchased internationally by art collectors and high-end interior designers. Her work is constantly evolving - from large-scale abstract pieces to fine objets d’art, each of Birgit Piskor’s pieces is individually created with exceptional attention to detail; no two pieces are alike.   Hardworking - and surprisingly strong for her small stature, Birgit channels the industrial essence of concrete into shapes and textures that defy the inherently rigid nature of the medium.  The flowing organic concrete forms she produces are tactile expressions of transformation and visceral moments of beauty.  Each handcrafted sculpture is constructed of only the highest quality materials that are both attractive to the eye and built to withstand the passage of time." - birgitpiskor.com   Iván Meade - What was your first experience with concrete?   Birgit Piskor - I would have to say that my first experience with concrete was when I consciously became aware of it as a thing of beauty rather than just the cold, grey, industrial material that parkades and sidewalks are made of. I was in my early 20’s, excited to be in Barcelona – young and completely ignorant of many things including the genius that was Gaudi. So when I came across his work for the very first time it was mind blowing! I remember feeling completely transfixed by it. It was as if I had accidentally stumbled into some inspired Gothic fairytale. The undulating organic forms, they were so sensual, so impossible. I couldn’t believe it was concrete!   Rap Series # 5 Fine Sculpture by Brigit Piskor   Iván Meade - What made you choose concrete as your primary medium?   Birgit Piskor - I’m really passionate about my concrete! It appeals to me on so many different levels – it has an ancient history, it is of the earth, it is strong and enduring and, because it has no intrinsic form, concrete is also an incredibly versatile medium. By its very nature concrete embodies the transformative experience. It begins in a messy, wet, fluid state and becomes this solid, stone-like substance, hard and calm, cool to the touch. I love that!   Freya Fine Sculpture by Birgit Piskor   Iván Meade -What inspires you trademark organic, flowing and sensuous forms?   Birgit Piskor - I’m very fortunate to have traveled to some amazing places and to live in an incredible part of the world surrounded by such intense natural beauty. And Nature is absolutely alive with ravishing lines and provocative curves. So seductive. Who can resist?  And in this curved universe there is constant play and creative tension – a ceaseless becoming. This transformation is often terrifying, yet beautiful and absolutely necessary to life. I also work from a strong sense of my own body and tend to see some element of the female form in virtually everything that I observe.     Flora Form – Silver Leaf Fine Sculpture by Birgit Piskor   Iván Meade - Your sculptures are teeming with lavish and inviting textures. Why is texture such an integral component of your work?   Birgit Piskor -  I remember, years ago, feeling a little uncertain about having people touch my work. They seemed to have this compulsive need to run their hands over my sculptures. It was fascinating because I could see that some people were obviously struggling with the conventions of gallery etiquette while others were unabashedly stroking everything! It made me nervous until I realized that they were actually paying me a very high compliment that it was in fact a form of communication – a communication not only between me and the view but also between the viewer and themselves. Texture also gives an illusion of movement, and vitality – a visceral sense that a piece is just about to take on another form.   Torso by Birgit Piskor   Iván Meade - Are there any sculpture artists whose work you admire?   Birgit Piskor - Absolutely! Barbara Hepworth would probably be first on my list. There is a meticulous purity and, I guess I would say, a certain concentrated stillness to her sculpture that really resonates with me. Her work is also incredibly tactile, rich with human emotion and physical sensuality. It’s so inspiring! Isamu Noguchi is also on my list for his staggering craftsmanship, profound commitment to simplicity and the poetic suggestiveness of his forms as well as for his playfulness and the fact that he was able to bring modern sculpture into the realm of everyday life. I also love Henry Moore’s work.    Neosphere # 1 by Birgit Piskor   Iván Meade - How long does it take you to create a sculpture?   Birgit Piskor - It generally takes 2 – 6 weeks to complete a sculpture depending on the size of the piece. Now that’s not to say that I am working on a particular piece for that entire length of time but because my medium is concrete, after the initial work is done, a certain curing  period is required. It is only after this chemical reaction is complete that I can apply the final finish be it additional colour, metal leaf, various waxes and oils – whatever it takes to bring alive the beauty and texture of a given sculpture.   Lady in Waiting – Fine Sculpture by Birgit Piskor   Iván Meade - What type of concrete do you use?   Birgit Piskor - Over the years I have developed my own custom formula, one that affords me the most creative control and freedom while ensuring extreme strength and durability. I work to very exacting standards and my sculptures are built to last for generations. I’m also constantly on the look out for innovative new products, researching the most environmentally sensitive options. For example, I have recently begun using reinforcing fibers made of 100% recycled nylon from reclaimed carpets thereby helping to reduce energy use, greenhouse gas emissions and landfill waste.   Relief Sculpture by Birgit Piskor   Iván Meade - How are your sculptures built?   Birgit Piskor - Each of my sculptures is painstakingly hand built and begins with the fabrication of a steel skeleton, or armature, over which I apply successive layers of small hand mixed batches of concrete. Once the final form has emerged, the next important stage is to work the surface. Because this final stage is so crucial to the success of a piece, I will often pause at this point and spend some time reflecting on the form, intuiting my way towards what exactly it is that I am trying to communicate and how best to convey that by means of colour and texture. My process ensures that each piece is an inherently unique creation.     Birgit Piskor working in her Studio Iván Meade - What puts the “Fine” in Birgit Piskor Fine Sculpture?   Birgit Piskor - You mean besides the fact that they are drop dead gorgeous??? Seriously though, I believe that one aspect that distinguishes my work are the results that I achieve by hand building each piece –a certain intimacy and honesty that arises. I feel quite strongly opposed to casting. In part my opposition is a reaction to what I find to be the distressing societal trend towards valuing lower cost over handcrafted artistry. But it’s mostly because I truly love what I do – the feel of the concrete in my hands, the physical interaction with the piece – there is a kind magic that happens. I rarely have a fixed image in my mind of the finished sculpture. I generally begin with more of a visceral impression of where I want to go. The final form gradually emerges and involves a sort of giving over, or surrender. The process becomes like a beautiful dance that constantly challenges the notion of what concrete can become. I should also mention that each of my sculptures includes an exclusively designed signature plate as well as a signed certificate of authenticity.   Fine  Sculpture by Birgit Piskor   Iván Meade - If you could pick one word to describe your work, what would it be?   Birgit Piskor - Wow, that’s a tough one to answer. I suppose if I had to choose, I would say sophisticated. Or alluring… captivating…. provocative… Do I really have to choose just one?   Art in Situ by Birgit Piskor Space Designed by Susan Hargraves   Iván Meade - As a successful artist, are there any words of advice or lessons learned that you can share with working artists ready to take their art to the next level?   Birgit Piskor - I love my life and where it has taken me but it is definitely not any easy path to walk. Keep the faith, have courage, and work, work, work. Then work some more because there is no substitute for the growth and magic that happens when you are in process!   Birgit Piskor gold leafing at her Studio .   Iván Meade - What projects are you currently working on?   Birgit Piskor - I’m really excited right now to be working on a new line of objets d’art, a series of small scale sculptures that will be perfect for table tops and mantels.   Art in Situ – Flora Form by Birgit Piskor Meade Design Group Studio   Iván Meade - What future projects do you have planned?   Birgit Piskor – There are so many images flooding into my mind at the moment! I'm really eager to start experimenting with some of these new concepts and expect that they will form the core of an exciting new body of work.   I'm also currently trying to secure a solo exhibition in Mexico City early in the new year - I'm over the moon about this potential opportunity!!   Relief Sculpture by Birgit Piskor    Iván Meade - You have already gone through many transformations with your work and found great success, what would you like your legacy to be?   Birgit Piskor - I was thinking the other day about my inability to have children and how my life doesn’t have that kind of continuity. Then it occurred to me that my sculptures will still be here for decades to come – they are concrete after all. The fundamentals of life, the pain and the beauty of transformation, cross international and cultural boundaries. I put so much of myself into my work, it is my hope that long after I am gone, whoever sees and touches my work will catch a glimpse of who I was and recognize some aspect of them selves in it.   I invite you to discover Birgit Piskor's work at her website   FACEBOOK   Ivan Meade is a local designer and principal of Meade Design Group, a multidisciplinary interior and graphic design studio in the heart of downtown Victoria – www.themeadegroup.com
  • Our First Giveaway – 28.1 Single Pendant by Bocci
      28.1 Single Pendant   We are very excited to have our first giveaway. To enter to win this fantastic 28.1 Single Pendant by Bocci Giveaway, you just need to follow us – If you are already a follower just sit back and relax, you are already entered.     There are 3 ways to enter:   1) Become a follower of Meade Design Group – The Blog 2) Like Meade Design Group - Facebook 3) Become a follower of Meade Design Group – Twitter   And of course, the more ways you are connected with us the better your chances of winning.  What are you waiting for?   One very fortunate winner will be chosen on Sunday July 4th at midnight Pacific time and announced on Monday July 5th.   EYE CANDY OF THE WEEK AND SWEET!  SWEET!  GIVEAWAY   PRODUCT 28.1 Single Pendant   MANUFACTURER Bocci   DESIGNER Omer Arbel   MATERIAL Blown Glass   HEIGHT 4.5”  Sphere – Adjustable cord length   VALUED @ $ 430 + taxes  and shipping   DESCRIPTION Proudly made in Vancouver this light fixture looks stunning as a pendant or majestic in a big group as a chandelier.  The possibilities to play with the 28 series are endless.   When you are under this light fixture you get a soft warm feeling that is uniquely Bocci.   “28 is a result of a glass blowing technique whereby air is intermittently blown in and then sucked out of an intermittently heated and then cooled glass matrix”.  - Bocci   We want to thank Only Human in Victoria BC for their partnership in this awesome giveaway.    Only Human is a great source for all things modern and cool, share the love and check out their sites as well:   Only Human Store Only Human Facebook Only Human Twitter Only Human Blog   YUMMY FACTOR Boccilicious !!!
  • Hanging Out in the Sunshine
    Today is the first day of summer – Happy Solstice!!!   I wish we had more sun around here in Victoria BC to enjoy.  But this is not an excuse to share my favourite 10 outdoor furniture pieces for the season.   Furniture pieces where you can relax and read a nice book while you sip a refreshing drink.   Which one would you like to lounge in? Royal Botania E-Z EZ 195 Designed by Zaki Molgaard and Bo Larsen Leather Swing by Egg Designs     Royal Botania Wave WV Hammock Designed by Erik Nyberg and Gustav Ström Hanging Chair – Habit           Coocon Hammock     Ferlea Outdoor Chair     Hammock Chaise by Poul Kjaerholm     Jiella Chair by Samuli Naamanka     Hansa Hammock       Maia by Patricia Urquiola
  • Eye Candy of the Week – Ivresse Des Bois Decanter by Marcel Wanders
        PRODUCT Ivresse Des Bois Decanter Clear Crystal Stopper   DESIGNER Marcel Wanders   MANUFACTURER Baccarat   MATERIAL Clear Crystal   AVAILABLE MODELS Clear and Red Stopper   HEIGHT 11.61 in   DESCRIPTION I love the sense of humour in this piece – There is not a doubt that Marcel Wanders is a master of reinventing object that become current while they still maintain the best elements from the past.   This is also a fantastic example in branding.  The top decanter is Marcel Wanders mark.   YUMMY FACTOR Boire de l'eau fraîche !!!   .
  • In Conversation with Kelly Wearstler
    Kelly Wearstler   Kelly Wearstler started her company, Kelly Wearstler, Inc. one decade ago in Beverley Hills, California (which is incredibly fitting for Kelly as she is known for her luxurious lifestyle). She has since grown to become a household name. Kelly is one of the esteemed judges on BRAVO’s interior design competition show, “Top Design” alongside Jonathan Adler, India Hicks and Margaret Russell. She also has several product lines including fabric and wallpaper lines with Kravet, a carpet line with the Rug Company as well as a multitude of signature bedding, dinnerware and table linens available through fine retailers and her own boutique within Bergdorf Goodman. Kelly has also somehow managed to find the time to pen three books: Most recently HUE 2009, Modern Glamour:The Art of Unexpected Style in 2004 and Domicilium Decoratus in 2005.   Ms. Wearstler has found herself a perfect niche to fit her luxurious contemporary yet unexpected designs, in addition to her residential, retail and office projects, Kelly has also designed several hotels throughout the U.S., Mexico, the Caribbean and the Middle East. Her projects are not only published in interior design magazines but also travel, lifestyle, business and fashion magazines.   Kelly Wearstler for Schumacher   Kelly is also well-known for her high-fashion style, she was named one of the best dressed of 2007 by Vogue Magazine and her public appearances always create quite a stir in the fashion community. She is always the epitome of glamour in her photographs and books, she is beautiful and she knows it! I can always appreciate when people aren’t afraid to show their confidence personally and professionally.   Iván Meade - What was your first experience with design?   Kelly Wearstler - I grew up in a home that was constantly evolving, so I was always surrounded by beautiful and unusual objects, textures and colors. My mother is a closet interior designer. I grew up in an environment where everything was always in a state of flux - I’d come home from school and the dining room would be a totally new color.   My college education [Wearstler received her BFA from the Massachusetts College of Art] and internships with Milton Glaser Inc. in New York and Cambridge Seven and Associates in Cambridge, MA afforded me access to the tools of our trade. I’d be so much less confident today if it weren’t for those years immersed in learning.   Interior Design by Kelly Wearstler   Iván Meade - Who or what has influenced your style?   Kelly Wearstler - Many people, past and present, inspire my work. It ranges from architects like Carlo Scarpa for his use of unconventional forms, geometric fields, interesting textures, and material juxtaposition to John Woolf for his glamorous interiors, delicate architectural proportion, and graceful details; interior designers from Jean-Henri Jansen for his exquisite panel detailing and fabulous, superior-quality furniture designs to David Hicks for his effortless approach in mixing patterns and his dramatic use of color; furniture designers from Ettore Sottsass, who was an absolute genius when it came to the colorful broad strokes in his architecture, sculpture, and product design, to Maria Pergay, who had a distinct sensuality in her remarkable works; artists from Sheila Hicks, a textile phenomenon with an unbelievable talent for texture, color, and scale to Victor Vasarely for his extraordinary high-voltage use of color and optical illusion; and sculptors from François Arnal for his crisp use of metals and forms in objects and furniture to Pedro Friedeberg for his whimsical, fantastical, and colorful spirit.   In the fashion realm, I admire designers such as Valentino for his dramatic use of color and dynamic patterns, Sonia Rykiel for her color sensibility and avant-garde combinations, and Coco Chanel for her revolutionary use of contrast, texture, fabrics, and weaving.   Interior Design by Kelly Wearstler   Iván Meade - How would you describe your style? Kelly Wearstler - Unexpected! My stye is constantly evolving as I gain knowledge about antiquities, uses for different materials... I feel more confident, which means I’m willing to take more risks in my work.   Kelly Wearstler for Pickard   Kelly Wearstler for Groundworks   Iván Meade - I think one of your greatest strengths is you ability to maintain and adapt your signature style to be unique to each project. What can no “Kelly Wearstler Project” be without?   Kelly Wearstler - As I said, my style is always evolving, so it’s impossible to pinpoint it exactly; however, I feel that a winning design has a perfect mix of tension and drama.   Interior Design by Kelly Wearstler   Iván Meade - What do you consider to be your greatest strength and your greatest weakness?   Kelly Wearstler - As a designer, you have to be a great listener. I think my most valuable asset is a combination of perseverance, hard work and loving what I do. The hardest part of my job is being away from my family.   Interior Design by Kelly Wearstler   Iván Meade - What books are currently on your bedside or coffee table?   Kelly Wearstler - The Berenstein Bears – I usually read to my sons before bed.   Interior Design by Kelly Wearstler   Iván Meade - What are you excited about right now in the world of design?   Kelly Wearstler - I get excited about what modern technology can bring to design. Who can ignore the advantages of smarter, greener living?   Interior Design by Kelly Wearstler   Iván Meade - You are clearly a fashionista, what kind of cues do you take from fashion to use in your interiors (if any)?   Kelly Wearstler - My mantra is to have fun and put unexpected mixes together. That goes for both fashion and interiors. Always be fearless and have fun. If it’s something you love, then just do it. People will always tell you, “Oh, you’re not supposed to do that,” but I’ve found that if you follow your instincts, you can achieve unbelievable results. You step outside of what everyone else is doing and create something that is truly your own.   Interior Design by Kelly Wearstler   Iván Meade - With such a great sense of style have you ever thought of creating your own fashion line?   Kelly Wearstler - It’s something I’ve always been interested in, so you never know…   Interior Design by Kelly Wearstler   Iván Meade - You have a brilliant eye for creating patterns and using them in multiple applications. They are contemporary classics. What is your process for creating these striking compositions?   Kelly Wearstler - You can mix and match different patterns as long as they are in the same color palette. I designed my collection of fabrics with Groundworks at Lee Jofa to work seamlessly with one another. Don’t be afraid to try unusual combinations – I always say that the best ideas are born out of risk.   Interior Design by Kelly Wearstler   Iván Meade - What would be your dream project?   Kelly Wearstler - The White House.     Interior Design by Kelly Wearstler   Iván Meade - What project has given you the most satisfaction?   Kelly Wearstler - My sons’ bedrooms. When they told me how much they loved their rooms, it was one of the proudest moments in my career.     Interior Design by Kelly Wearstler   Iván Meade - You are very experienced in both forms of interior design, what do you find to be the greatest difference or challenge between residential and commercial?   Kelly Wearstler - A residential project tends to be more detail-oriented, and there is generally a bigger budget cost per square foot. Plus, you have an opportunity to work with a broad range of clients who educate you during the design process.   Commercial projects are very sexy because so many people get to experience the space. There is also not as much hand holding in this type of work as with residential projects.   Interior Design by Kelly Wearstler   Iván Meade - What is your next design venture?   Kelly Wearstler - I just released my third book, entitled HUE, this past Fall. It features all of my latest commercial and residential projects and focuses on color.   I’m currently preparing my first international Viceroy location in Anguilla. It is filled with organic elements, such as driftwood lamps, petrified-wood tables and travertine marble floors, coupled with textiles and techniques from all over the world, including hand-carved wood pieces from Asia and hammered metalwork from India and beaded artwork from Africa. These pieces offer a striking visual contrast to the geometric lines of the architecture and grant a distinct singularity to the resort.   On the product front, I just launched my first collection of dinnerware with Pickard this Fall. There are four different patterns designed to mix and match with one another. I’ve been collecting vintage china for ages, so it was a real treat to be able to create my own collection.     Iván Meade - Lastly, you have already created a stunning body of work with many mediums and styles. What would you like your legacy to be?   Kelly Wearstler - It’s too soon to say… There is still so much more I’d like to do in my career!   Interior Design by Kelly Wearstler   I invite you discover Kelly Wearstler’s stunning body of work:  
  • Princesses for a Day – Happy B-day Echito!
      Today we are officially celebrating Echito’s quarter of a century celebration.  Due to the fact that this is an accomplishment we decided that we needed to be “Princesses for a Day”   Our day began with our wardrobe choice [pink dress code – of course!] complete with Tiaras – I didn’t know what I was getting into.       Of course we had to spoil Echito and the team presented her with a  regalito [little present] in the form of Burberry Brit Sheer Perfume [again, pink of course and wrapped in pink] See Echito’s Bridal Celebration for proof of her pink obsession.   A very PINK celebration!   After a long hard day at work we took Echito for lunch to Cactus Club with her Mom and Myself.  Echo’s Mom Sharon brought her a beautiful bouquet of flowers in Pink – of course!     After a very delicious lunch we obviously needed some relaxation so we headed to Willow Stream Spa at The Fairmont  Empress for a Balance Body Experience.    “Total Relaxation. Balance uses the Willow Stream Signature Aromatherapy blend of Vetiver, Cypress, Lemongrass, Ylang-Ylang, and Spikenard oils to balance spirit, body and mind. The experience begins with a footbath and exfoliation, continues with a hydrating oatmeal & honey body scrub (the best we’ve ever tried) and ends with a full body massage. A great experience for relaxation or if you need help sleeping”.   The Spa was very thoughtful  and brought a little gift and Echito’s favourite treat – Chocolate Covered Strawberries [even those were pink chocolate, how did they know?] The service was excellent – Thanks! Christine and Sharon.     All in all it was a pretty rough day, but we survived.   I think I could get used to this “Princess” thing.   HAPPY B-DAY ECHITO!!! and many many mooooooooooore! .
  • In Conversation with Charles Gabriel
      As Seen in SNAP Victoria – June 2010   Local glass sculptor Charles Gabriel has created a niche for himself with his beautiful creations using textures and combinations that are unique to his pieces. A self-taught artist, Charles felt that there was a void in the medium, and pushed himself to explore and invent new techniques and applications. When he began his exploration in glass design in 1980, his focus mainly involved surface etching and creative realism with amazing use of tones and shades, this study continued throughout the eighties and nineties.   Charles Gabriel   During the last decade, Charles’s work has evolved to become more sculptural. At the beginning of the new millennium, he consulted many professionals in his field to better achieve the finishes he wanted and the “stable molecular balance required for practical utilization” to ensure his work could stand securely in all applications including private and public.   He describes himself and his work perfectly on his website as having a “strong dedication to a successful end, real-world problem-solving experience, and a dash of sheer Scottish stubbornness, all combined with an honest appreciation for both the simplicity, and complexity, of light passing through glass”.   Please read on to learn more about this talented artist…   Iván Meade – What was your first experience with design?   Charles Gabriel – I was only nine when we left the UK, but both there and here, my parents were always renovating or building our family homes. With my mother as a draftsperson who worked from home, I was exposed to building renderings from a young age. So for me, early exposure to real design came in the form of building structure. By seeing the framework and workings of both stone and wood buildings, I think the development of an appreciation for both the aesthetic and the function of design was very organic.   Melross Residence – Charles Gabriel   Iván Meade – Who or what has influenced your style?   Charles Gabriel – This probably doesn’t sound too high-brow, but as a kid I loved a handful of artists I found doing comics, or graphic novels. I guess the availability of the medium as a youngster allowed me to follow their creativity. I remember liking the thought that they weren’t constrained by ‘grown-up’ themes, but rather were allowed to create whole fantasy worlds, replete in design, and stylize every single aspect of it, right down to how each scene was lit. What more could a creative person with a pencil want? Now that I’m (a bit) older, I’m drawn to the more realistic works that have obviously received a full and immersive dedication to their design…objects that have addressed the form as a critically important component of the function. We’ve an Eames Aluminum Series chair, for example, that I glimpse at different angles from different locations at different times of the day. It has sat there for over a year now and I like it, but every time I catch the view of it’s back I’m excited, inspired, and feel challenged to go work on something fabulous myself! Grand scale building as art has always fascinated me. Gehry’s Bilbao Guggenheim and Calatrava’s  ‘Quadracci Pavillion’ portion of the Milwaukee Art Museum are drawing me the most at this point. From gothic architecture to art deco, minimalist furniture to the exoskeletons of insects, not to mention the sound of a gurgling river, David Gilmour Strat solo, or some fine string chamber music, I have been and continue to be influenced by so many things...     Chocolate – Charles Gabriel   Iván Meade – How would you describe your style?   Charles Gabriel – Ever-changing. I’d imagine that there is a thread throughout everything to date, but I couldn’t say for sure what that is. I’ve usually adapted to a variety of external conditions or demands where I’ve had to work within the parameters of an existing aesthetic. I find the freedom of an unfettered creative license almost overwhelming… Plus, I’m a subconscious sponge of experience both visual and immersive, as are we all, I’m sure, so I wonder how anyone could ever keep the same outlook? What I am currently fascinated with is the ubiquitous interaction between man and technology. I love the physical workings of machinery, although I wish everything that machinery had been created for was actually making life better! I enjoy so much of what’s brought to me by technology but I’m also aware of our increasing dependence on it. At what point are we actually separate from it? I guess questions like this inform my style to some degree. Perhaps I’ve reached a certain place in life where I feel confident enough to create something simply because I want to see how it looks, but I still really feel driven to include some suggestion of order or rhythm in the designs. I think I try to suggest the mechanics of a thing or idea, but by using more elemental textures and shapes. The best works always do what they need to with the fewest lines, and the trick for me is not to get too wrapped up in detail or showcasing technical ability. I think a careful, conservative approach can imply so much more through suggestive form than any detailed definition ‘tells’ us. Its definitely a tricky balance between providing enough information and too much.   Charles Gabriel – Glasswork   Iván Meade – What is your design philosophy?   Charles Gabriel – Well, first its got to fit with itself. What I mean is, whether its an artwork or a item of some other function, it has to have an inherent balance (turn it upside down, does it still look right? That sort of thing...). Glass design is specific that way as it usually has to be appreciated from both faces. Then, to place it into a larger context, it has to fit within its surrounding aesthetic.   As far as a philosophy goes, I’m adamant about making certain that the design in question is going to be the very best solution before committing resources to the finished project. I’m really against wasteful and short term solutions. I strive to create fewer, more meaningful ‘heirloom’ pieces which I hope can inspire for a long time. Its not inconsequential to make a thing, and so that thing should have a positive resonance for its life, and that life should hopefully be a long one.   Clive’s Lounge – Charles Gabriel   Iván Meade – What drew you to working with glass as your primary medium?   Charles Gabriel – Just serendipity, really. I never planned to keep with it this long, but new ideas and challenges continuously presented themselves… and still do. Once I end up getting the equipment to work the way I want, I find even more satisfaction, so many of the ideas spring from new ability, both through better technology and developed skills. A cyclic evolution, if you will.   Charles Gabriel   Iván Meade – What is your favourite process or technique in working with glass and why? Could you tell us a little about the steps involved in this choice?   Charles Gabriel – Well, as you mentioned earlier, I did used to fiddle about trying to make works resemble real images, probably because it was challenging. Now I’m much more interested with how light works on, and through, carved edges in thicker material. So much so, that a lot of the design comes from development of shapes and textures that I see as eye-catching, simply if they were carved.   My favorite finish process is the ‘hi-fired’, surface-revtrification of a carving. It just looks finished to me and it’s easily cleanable in a single pane application.   To start with I layout the design onto a resist which covers the glass blank. I’ll draw this by hand and then pre-cut the lines by hand for a staged removal during the blasting process. Using different angles, distances, pressures, and sometimes grits, I’ll carve the image. I’ll then prep it for kiln-firing which will ultimately create the fire-polished surface finish I’m after. The kiln work is no easy task and I entrust this to one man, Brian Edmunds, with whom I have worked for years to develop the process. The temperature required for my needs is just a few degrees off the temperature where glass wants to form into a solid (technically it’s a really cool liquid) and begin turning opaque. A carefully regulated cooling procedure also anneals the panel and allows it to take a temper and meet building code requirements. Depending on the design, I might add some contrasting post-fire texture at this point. Trying new procedures always bumps up the failure rate, but for the most part, we’ve developed a successful process.   North Vancouver Library   Iván Meade – What is your design process?   Charles Gabriel - Generally, I like to see where a work is intended to sit, primarily to appreciate the lighting, both natural and otherwise. This is somewhat critical in determining the approach of the design. Then, as it is usually part of a larger environment, I work to address both the structural requirements expected of the work (if any), and the surrounding aesthetic. I really enjoy a collaborative process, and the opportunity to create a solution that’s both functional and attractive. I find working with a client or designer allows me to personalize each work to both the people and the space. Also, this usually introduces elements or ideas that may I may never have considered.     Charles Gabriel – Anya Lane Residence   Iván Meade – What are you excited about right now in the world of glass design?   Charles Gabriel – I’ve recently been creating standalone pieces such as wall hangings, which are not commissions or part of an installation. I’m including a couple of additional elements in the way of materials, and sometimes colors. I’m pretty excited about that. I’d also like to try bending more of the finished pieces. The light really does interesting things on curves!   Charles Gabriel – Anya Residence   Iván Meade – What would be your dream project?   Charles Gabriel – I don’t know, Ivan, but it would probably be big, would take a lot of thought and time, I’d have a lot of artistic license and would get paid for every hour of work that went into it. The key word here was “dream”, right?   Seriously, it would be collaborative within a larger creative space. It would probably be a multi-panel installation that helped introduce light into an area, and it would contain a narrative arc that evolved across several sections. I think that could be a challenging and rewarding dream project.     Charles Gabriel – Glasswork   Iván Meade – What project has given you the most satisfaction?   Charles Gabriel – They all do Ivan! (PC, hey?) Every one of them has my full attention at the time and generally gets my subconscious rating of “this is the coolest one so far…!” -at least until the next one! I’m still a bit partial to a set of glass made for Clive’s Classic Lounge in Chateau Victoria, early 2009. Gillian Ley (Ley Art and Interiors) was designing a beautiful new lounge and I had the opportunity to work with her, which was great. Totally organized and professional, she knew exactly what she wanted to do throughout the space, but still gave me quite a bit of freedom with the nature of the glass’ design. The initial call was for approximately 200 sq ft of divider glass between the lounge and the south-facing, glassed-in lobby. Some days this lobby would be absolutely bathed in sunlight so I couldn’t ask for a more dynamic light source! There were some lovely fluid lines in Gillian’s booth seating so we agreed that an ‘aquatic-suggestive’ theme would work. I designed a series of ‘flowing reeds’ to be carved into ½” glass, interspersed with streams of alternately colored little blue and green bubbles done with translucent kiln-fired bottle frits. I also had two pieces with the same artwork curved for the entrance. I had never tried that before and they just look fabulous. There is more work inside the lounge, but that entry wall when the sun catches it is a particular favorite. Oh, can I add another favorite? From strictly an organic design perspective, I was pleased with “MELROSS”, used an interior railing with a splash of red. The clients had a set of red chairs made for the sitting area immediately adjacent. This color statement was a design cue to start from. They agreed to a pattern from a set of concept designs that I had drawn. After laying up the piece full size in-studio, though, I sort-of ‘overlooked’ the initial pattern and took a chance free-handing a design up on the resist-covered glass. I kept in mind the very contemporary space where the work was going, but also the dynamic personalities and lifestyle of the clients themselves. The night wore on and then the next day I added and changed it some more. By the time they saw the new design idea, there was no discernable resemblance whatsoever to the original concept. They had faith and we ended up (happily, I believe) with “Melross”.   Clive’s Detail by Charles Gabriel   Iván Meade – What is the best advice (art related or otherwise) that you have ever received?   Charles Gabriel – Somewhere, probably more than once, I came across the idea that if you love what you do, then its never really a job, and you should never give up on what you believe will work. It’s been an uphill grind to get to this place where I can solely do the glasswork, but at the end of the day, the satisfaction comes from successfully executing a piece that the client really loves -and could not get anywhere else. It makes all the second-guessing and process-related frustration worthwhile. I also appreciate all the positive support and excellent clients that have spurred me to continue the development in this direction.     Charles Gabriel   Iván Meade – What are 3 things you each can’t live without?   Charles Gabriel – First, I’ve got the most beautiful and supportive wife I could ever ask for (lord knows I’ve yet to give her the life-style she’d like to become accustomed to…!). Second, of course, I’m so grateful for my senses, all of them. Simply having the ability to appreciate all the things in life is a gift. And thirdly, I guess there is a 1965 Weber dentist chair with chrome bits on it that sits in our living room (…did I mention my wife is an angel..?). I’ve had it for 20 years and I guess could probably live without that, if I had to… so third would be ‘hope and inspiration’ -with hope for the prospect of positive change no matter how small, and inspiration from seeing good things come from humble beginnings. Oh, the dentist chair is accompanied by a turn-of-the-century Ritter dental operatory; replete with two light-up sections, chromed “gadgets”, and no less than three pieces of cast and frosted old glass…it’s almost 100 yrs old and still got stunning aesthetic in spades!...but I digress..   Le Trone – Charles Gabriel   Iván Meade – What is your next design venture?   Charles Gabriel – Thanks for asking, Ivan. I’m currently embarking on some wall art pieces which don’t really address the practical requirement most of my glasswork has done, to date. It’s time, I think, to realize some concepts that have bounced around in my head for awhile. They include incorporating additional media, mostly in the form of machined mounting hardware and backing board materials, but may grow to include other materials as sculptural elements. Still, it’s primarily about the glass. Although they’re generally technically complicated, I try to keep the compositions simple. Here in Victoria JC Scott (JC Scott Design Group) is opening his Eco-Gallery which is centered around supporting locally sourced solutions for design projects. He has invited me to display some works in the gallery which most I’m honoured to do. The sustainability notion behind his design philosophy is entirely the right thing. Far from being mutually exclusive, I believe the two concepts of design and sustainability are essential to consider together especially in light of all the knowledge we now have about the world and the impact we’re having on it.   Melross Residence - Charles Gabriel   Iván Meade - You have already produced a stunning body of work; what would you like your legacy to be?   Charles Gabriel – If even one work, subconsciously or otherwise, inspired one person to take one step in a positive direction with design, or to see the world with a greater appreciation for the amazing detail, diversity and design within it, that would be an amazing thing.   I invite you to visit Charles Gabriel’s site and see his stunning body of work at:     .
  • Style at Home – Shop Etc Victoria
      If you are wondering what my favourite shops are in Victoria you must rush out to buy the July issue of Style at Home out on news stands.   You can find the article “Shop-Etc” [page 112] in which I wrote about some of the best interior design shops in Victoria, BC.     I am very pleased to see my article and shop selections being presented in such a beautiful and elegant way by one of the top design magazines in the country. The team at Style at Home were phenomenal with their guidance. A big “THANK YOU” to Julia Armstrong for her support and patience.   I am not only promoting the magazine because I appear as a guest writer. The magazine also has stunning content like the notes from editor Erin McLaughin “An Unexpected Adventure” - totally worth reading. The article "Painted Ladies" features Martha Stewart, Margot Austin and Sarah Richardson and their colour selections for the summer (Margot Austin selections are my favourite). Also worth reading is an article featuring Carlos Mota – One of the best Stylist in the Interior Design World. The Donna Hay recipes for Semifreddo look very yummy – I can’t wait to prepare the Mint Chocolate Cookie Crush Semifreddo. Filled with beautiful images and decorating ideas I ensure you its a great issue that will give you much reading pleasure - especially my article - page 112.   Happy Sunday Reading!

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