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Barton Myers: Works of Architecture and Urbanism
September 12–December 12, 2014
With works as varied as a Vidal Sassoon Salon from 1968, the U.S. Expo Pavilion in Seville, Spain in 1992, and his steel houses, this exhibit will present an overview of almost fifty years of architecture. Barton Myers first attracted attention in the late 1960s for his civic buildings and urban projects in Canada. He returned to the United States in 1984 to open a Los Angeles office and became known for his performing arts centers, campus buildings, and steel houses among many projects. 

The Barton Myers papers were donated to the Architecture and Design Collection of the AD&A Museum, UC Santa Barbara in 2000.  The archive covers Myers’s work from 1968 through 2002 and includes sketches and computer drawings, watercolors, images by well-known photographers, detailed study models and models of blocks-long sections of cities, as well as research notes, correspondence, lectures, and writings.

The West Hollywood Design District Presents Decades of Design 1948–2014
November 19, 2014–February 2015
The first-ever retrospective exhibition uncovering, examining and celebrating six decades of rich design history in West Hollywood. The curated ­­gallery will showcase design pioneers and present tastemakers through bold graphics, photographs and original product.

Heath Ceramics Annual Sale
November 21–25, 2014
Heath's annual sale at their locations in Los Angeles, San Francisco and Sausalito offer deals on merchandise along with special presentations.

FOG Design + Art Fair
January 15–18, 2015
Benefiting the San Francisco Museum of Modern Art (SFMOMA), FOG Design+Art is a four-day celebration and exploration of modern and contemporary design, architecture, and art with dynamic exhibits, custom installations, art galleries, lectures, and discussions with leaders in the art and design worlds.

 

 

Competitions

Registration Opens: October 1
Breaking New Ground
The California Endowment

Deadlne: November 30
Sir Geoffrey Jellicoe Award
International Federation of Landscape Architects (IFLA)

Deadline: December 8

2015 Diversity Scholarship
Gensler

Deadline: December 15
2015 Preservation Awards
Santa Monica Conservancy 

Deadline: December 31
Kitchen Design Contest
Wolf and Sub-Zero 

Deadline: January 16
Ceramics of Italy Tile Competition 2015
Ceramics of Italy 

Deadline: February 23
I Like Design
Interiors & Sources 

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Wednesday
May072014

FORM on Design: Emma Gardner's Poetic Fibers

Emma Gardner Design's new collection of carpets includes Nautilus. Each design comes accompanied by a haiku written by Gardner to describe her creative process. Image courtesy Emma Gardner Design.

Rugmaker Emma Gardner Design will be debuting three new designs, together dubbed Metamorphosis, at this year's ICFF. The result of two years of design and development, the new carpets take their inspiration from nature, Asian motifs and Modern art. Each piece also comes with a haiku, composed by Gardner herself, that offers further insight into their inspiration. We were intrigued by the designs and their literary bent, so we asked Emma to fill us in on some details.

What prompted the new collection?

It had been a year since my last collection—an understated one—and I wanted to create designs that were modern and full of bold, brilliant color. I can’t say that the designs were the result of a conscious undertaking; rather, they were a manifestation of the themes that were preoccupying me at that moment: natural elements and forms and a desire to play with their recognizability—or lack of it.  As a result, I came up with three designs that are pretty abstract but rooted in nature. Nautilus is a highly stylized version of the beloved mollusk, Rainy Day was born from my own photo of a rainy day moment and Organica was inspired by some bougainvilleas that I had also captured in a photo.

How does it depart from your other designs?

These designs are more experimental than past designs. This freedom is most evident in Organica and Rainy Day. I haven't tried this exact kind of organic exploration before—blowing up and completely abstracting forms, coloring them and treating them playfully, almost like a puzzle.  It was definitely a new approach for me. 

Organica is an abstract floral. Image courtesy Emma Gardner Design.

How does it complement existing designs?
I try never to repeat myself but I think I have a style that seems to show up no matter what I do. In that way, these designs fit in with what exists in our line. Also, all the colors come from our existing palette. There are so many permutations, though, that it's easy to keep the colors fresh without removing them from the family, so to speak.

Did the design process for this group differ from previous ones?

The design process is usually about the same: I have some ideas—thematic, graphic, stylistic, color-based, etc. —play with them, discard what's not working, keep improving on what is, bring color into the conversation to see where it leads the design and make sure the designs in a collection relate to each other in some way.

What's different here and with each new collection is in the nature of the themes being explored—I always learn from past efforts and bring cumulative wisdom to each project. That, and software is always changing so the designs that are significantly developed on the computer sometimes benefit from the new technologies.

Watery hues for Rainy Day. Image courtesy Emma Gardner Design.

The haikus? What inspired the pairing of the verse? Was it something percolating during the design process?

They actually started as a kind of joke. So often when I'm asked about inspiration I find myself groping for answers. Occasionally there's one clear source but often there just isn't. So much happens in the act of designing itself that the original inspiration may not even be relevant anymore.

So, it was almost in frustration that I started to pick adjectives and images and put them into the familiar haiku structure. I don't take them seriously as poetry but it was engaging and so much fun! And I discovered that with the haikus, I could define and express the essential nature of the designs much better than I could with a pieced together version of what did or didn't truly inspire me to begin with. Stay tuned for more, I hope!

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