Let’s face it. We’re living in a neutral world. Just ask Dan Maddox, CEO of the LA–based Cromatti. “We saw how most home products are offered in a limited range of neutral colors and wanted to create something different,” he says. “We believe color is a celebration of life.” To that end, he teamed with Alan Rauta to create a collection of furnishings that emphasizes clean lines and color not to mention choice.
A while back, we shared the story of EPT Design’s innovative TREK (Travel, Renewal, Exploration, Knowledge) program, the brainchild of the firm’s partners Nord Eriksson, Matthew Hall and Steven Carrol. Each year, two firm members are selected via a competition. The winners are given a small stipend and additional time off to travel and explore. They come back invigorated and inspired and ready and willing to share the knowledge they’ve gained with their colleagues. Over the years, participants have traveled all over, from just up the coast to the Pacific Northwest and all the way to Australia.
There's a lot going on with our industry partner, the AIA|LA. There are calls for entry, not to mention plenty of other events and programming. We're delighted to give you a quick rundown of coming attractions—to pique your curiosity and give you the heads up so you can mark your calendars for what promises to be a busy 2014.
When one of the most important American architects of the last 50 years singles your product out as revolutionary? How can you not collaborate? That’s the position the folks at QuickDrain USA found themselves in back in 2009, when Michael Graves, the American architect in question, singled out one of their linear drains in a keynote speech in front of some 500 architects at the 2009 Healthcare Design Show in Orlando. It seems that he’d purchased one for his own home—QuickDrain had no idea—and told the audience that the drain was the future of ADA and barrier-free showers, something dear to the wheelchair-bound architect’s heart.
Living in the apartment where the Eames prototyped their first designs in the 1940s, I've always been fascinated by the subtle changes iconic pieces undergo as they are first put into production and later revived. Herman Miller, which began as a traditional Michigan furniture maker, was introduced to modernism by Gilbert Rhode in the 1930s, and again by George Nelson, who was their director of design, 1945-1972, a tenure no-one is ever likely to match. He designed an entire range of basic furniture himself in a year, and then brought in his friends, Charles and Ray Eames, who have been the company's household gods ever since. Over the years, as Herman Miller put a greater emphasis on the contract market, some of the Eames's designs went out of production. A few were pirated, European rights went to Vitra, but most of the drop-outs have been brought back in sparkling new editions.