Richard Powers is an exemplary photographer of residential interiors and Dominic Bradbury is a fluent writer. They've collaborated before, to great advantage, on The Iconic House and The Iconic Interior, but they are unable to strike a spark with this new collection. Layout, graphics, and landscapes are undeniably beautiful, but too much of the architecture seems to be no more than a standard-issue retreat from a frenzied city or a foil to nature. And the interiors feel inert, as though they were expensive showrooms, never to be inhabited by real people.
In FORM’s new issue, our Showroom column features some recent outdoor furnishing designs. For our Web readers, we’re delighted to share our interview with Richard Frinier, a dean of contemporary design. Here, he discusses how he came to be in the business, how he approaches his work, what makes a good chair and some of his surprising sources of inspiration.
Since Terri Moore and Marcus Friesl founded LA–based Moore + Friesl Design Group in 2011, the pair have taken on international architectural projects in the worlds art, fashion and finance, producing tour-de-force work generated from their facility with cutting-edge software and deep knowlege of high tech materials and their properties. At the firm, Moore, who caught the design bug early from her interior designer mother, works on project management and as a project designer. She's also actively involved in the Step Up Network, which mentors young girls for college and professional careers. With such wide-ranging interests, we were intrigued to hear her thoughts on design and architecture, and she gladly obliged. Here, she shares her passion for design–and Nutella.
Esther McCoy summarized the importance of Arts & Architecture: "A magazine as flat as a tortilla and sleek as a Bugatti...became the greatest force in the dissemination of information, architectural and cultural, about California." East Coast publications largely ignored the best of the West. Arts & Architecture gave generous coverage to regional modernists, but also featured houses by Marcel Breuer, Paul Rudolph, Harry Seidler, and Oscar Niemeyer. Editor John Entenza had his blind spots, scanting the originality of Schindler and Lautner in favor of orthogonal orthodoxy. But he was far ahead of public taste and most of the profession, and his genius was to win converts to modernism, and plant a seed that would keep blooming. The Case Study house is still a viable model.