Magazine Layout Design

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Sheila Bridges Designing Woman Maya Lin Box House Design

Dekahon Neo Furniture

SENSUOUS MODERN HOME

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FEBRUARY 2013 | WWW.KASA.COM

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boldKOHLER

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ERNIE SCHENCK ([email protected]), a freelance creative director, writer and advertising columist, is the author of the Houdini Solution: Put Creativity and Innovation to Work by Thkinking Inside the Box. He wrote the Advertisint column.

DERRICK DOUGLASS is a writer and content strategist with more tha a

decade of experience. He creates compelling copy for magazines, blogs, websites,

scrappy entrepreneurs and established brands. His articles have are everywhere from Industrial Interior

Design, Graphic Design, Web Design, Thriftstoreremix and The Excalibur. For several years, he organized the prestigious I.I.D. Annual design review competition.

HSERENA H A Y N E S

Highly motivated UX, Graphic and Web design professional would like to join the Symplicity team to provide customers with easy to use interfaces, work in a collaborative teams and increase profits.

H A R I S M A PATEL ([email protected]) is a Boston-based graphic designer, writer, artist and educator. She has taught at Rhode island School of Design, The Art Institute of

Boston, Simmons College and MIT. Patel wrote the Photoshop Essentials column.

C

ON

TRIB

UTORS

THE LOUNGE HITS 2000 - 2007A&M Records

DESIGNWITHINREACH

Where SIMPLE Beauty Lives!

www.dwr.com

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INSIDE

SHEILA MCBRIDEThe challenges

and opportunies of being a top

African-American Interior Designer

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NEO DESIGNS Cardboard boxes remixed

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MAYA LINDesigns a cool new

boxy home

32

KASASENSUOUS MODERN HOME

PUBLISHER • Derrick B. Douglass

EDITOR-IN-CHIEF • Rachel Ross

EDITORIAL ASSISTANT • M. Patel

COPY EDITOR • Joseph Thomas

ART DIRECTOR • Tom Grant

DEPUTY ART DIRECTOR • Hector P. Bacon

GRAPHIC DESIGNER • Derrick Douglass

PHOTOGRAPHY EDITOR • Lori Jones

ASSISTANT PHOTO EDITOR • Vincent Z.

DESIGN INTERN • Art Harris-Haynex

DEPUTY MANAGING EDITOR • Jona H.

INTEGRATED MANAGER • Red Williams

MARKETING DIRECTOR • Harris Brent

PRODUCTION DIRECTOR • Rachel Weisz

PRODUCTION MANAGER • Hector P. Bacon

CHIEF EXECUTIVE OFFICER • Derrick B. Douglass

GROUP PUBLISHER • Vincent Davis

DIRECTOR OF OPERATIONS • Lisa Wynne

EMAIL: [email protected] SERVICE: 678.439.6082

ADDRESS

KASADouglass Media LLCPO Box 5770Derwood, MD 20855Please include your name, mailing and e-mail addresses and telephone number with any correspondence.

SUBSCRIPTIONS: 1 Year (12 issues) US $32.95, Canada $42.95, Foriegn: $44.95

DOUGLASS MEDIA, LLC

BLOG @ EDITOR

RECENTLY, I RETURNED HOME FROM A dinner run. Shortly thereafter, I discovered that my rice wasn’t included. I should know to always check my order before leaving the restaurant. A friend purchased an appliance, whose parts didn’t fit, at a thrift store. They discovered the problem when they the appliance home. They said, a new appliance wouldn’t have had this problem.They should have checked to see that the appliance and its parts worked correctly before purchasing the items new or used.

Design like all art forms, demands that you learn the fundamentals.“Cut once, measure twice” and “Success is 10% inspiration and 90% perspiration “and many other sayings are easy ways of remembering methods that lead to successful projects. Furniture design is a discipline and demands rigor, hard work and discipline. There are no short cuts!

So, learn from as many sources as possible. Never stop learning! It is alright to make a mistake. But learn from your mistakes and use the lessons to expand your skill set. Lastly, develop the right fundamentals that’ll help you avoid many pitfalls and create new and unique remixed objects.

DERRICK B. DOUGLASSEditor-in-Chief

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SHEILA BRIDGES IS THE founder

and CEO of one of the most prom-

inent interior design firms in the

United States. Named “America’s

Best Interior Designer” by both

Time magazine and CNN, she is

perhaps best known for having

designed the Harlem offices of for-

mer President Bill Clinton and his

staff.

Her signature style combines a

firm grounding in the traditional

with her wide-ranging taste for

contemporary art and design - an

enticing mix that has attracted

high-profile clients ranging from

Sean Combs and author Tom

Clancy to Princeton and Columbia

universities.

Born and raised in Philadelphia,

Bridges graduated from Brown

University before completing a

postgraduate degree in interior

design at Parsons School of De-

sign. She also studied decorative

arts in Florence, Italy, and to this

day cites overseas travel as one

of the biggest influences on her

work.

She founded Sheila Bridges De-

sign, Inc. in 1993, and in 2007

she launched her own line of home

furnishings with Sheila Bridges

Home, Inc. She is also an author,

having released Furnishing For-

ward: A Practical Guide to Furnish-

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ing for a Lifetime in 2001, which was one of

Amazon’s top 20 decorating books for nearly

a decade.

In addition to her design work, Bridges is

widely known for her work in television. A

frequent contributor to the Today show, she

has been a featured guest on The Oprah

Winfrey Show and The Nate Berkus Show

and has been profiled by ABC News. She

also hosted four seasons of the series Sheila

Bridges: Designer Living on the Fine Living

Network. Bridges has been profiled in count-

less national and international publications,

including virtually every major design mag-

azine as well as Black Enterprise, Essence,

Vanity Fair, In Style and the New York Times.

Sheila Bridges: No, I had no idea. I studied

abroad my junior year in Rome, and I think

that’s the first thing that really opened up

my mind to the possibility of being a design-

er. In Italy I was really struck by the way the

decorative arts are considered professions of

real value -- unlike here, where typical status

professions like medicine and law are much

more encouraged. And I flourished there --

there were so many things I found inspiring.

TR: You also have your own line of home furnishings. What inspired you

to expand into that alongside interior design?

SB: Because I do high-end residential work, I’ve always designed cus-

tom furniture and furnishings for clients. If someone wants to buy a

sofa, we usually design it and have it made so I can be sure of its

quality. But custom-made furniture is pretty expensive, and I wanted

to create things that people who might not be able to afford my inte-

rior design services can have access to, so I’ve put my own spin on a

Design has always been a pretty

elitist profession...”

few items that are more affordable. One of

my better-known wallpaper designs is called

Harlem Toile de Jouy, but at $150 a roll, it’s

kind of expensive -- so I’ve applied the pat-

tern to dinner plates, glassware and bedding

for the design lover who doesn’t have such

a big budget.

TR: Do you feel that being black has or has

ever had an impact, either positive or nega-

tive, on your career as a designer?

SB: I’ll just say this: Design has always been

a pretty elitist profession, so there have defi-

nitely been a lot of challenges along the way,

and many of them have had to do with be-

ing black. Even at this point in my career,

a couple weeks ago I walked into an an-

tiques store -- a new one, where they didn’t

know me -- and asked the price of a pair of

Louis XVI chairs, and the woman just said,

“They’re very expensive.” Period. Design

is now democratized in a much bigger way

than it used to be -- the Internet and design

TV have given everyone the ability to at least

see good design. But that doesn’t change the

complexion of the industry from the business

side, and that continues to be a challenge,

particularly when you’re black. I’m contacted

by a lot of young black designers who are

just starting out and are finding it very dif-

ficult to penetrate the design world. I tell ev-

erybody that it’s hard but I think being black

helps prepare you, because we have to deal

with these kinds of obstacles -- obviously --

in other areas of our lives. Or at least I do.

TR: We spoke with another black designer

of high-end interiors who declined to answer

that question at all and didn’t give a reason

SB: Well, I’m pretty outspoken. I’m not afraid to say that being black

does present some challenges when [you’re] working in this industry,

because it’s true. All you have to do is flip open the pages of any big

design magazine or turn on HGTV to see that we’re underrepresented

in the profession.

CHANDRA JAMES

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DO YOU SPEAKCHERRY CREEK?J. CREWB E B ED I E S E L L E V I ‘ S

Want to be heard? Speak up.

We’re talking Cherry Creek-speak.

The dialect of design. So many

stores, both expressive and fun.

Spoken nowhere else in the

Rocky Mountain West. Nieman Marcus, Saks Fifth Avenue

Lord & Taylor and Foley’s. Valet Parking.

303.388.3900

Click on www.cherrycreek.com

to find the sales at your favorite stores CHERRY CREEK

S H O P P I N G C E N T E R

kasa mobile

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As the green campaign fever continues to be a global phenomenon, many environmental groups have been touting cardboard

furniture for its benefits to the planet. However, using cardboard furniture goes well beyond the “green” movement campaign, especially when compared to traditional furniture as the Philippine company Dekahon wants to prove in their unique cardboard furniture pieces.

Dekahon, which is Filipino for “in a box”, also known as Heavy Duty is a packaging company that has been in

existence for eleven years that exclusively services requirements of

Philippine Economic Zone Authority (PEZA) locators throughout the Philippines. However, last year, the principals behind the company, Kenneth and Chester Lok and Tok Corpus, wanted to try something interesting with their corrugated boards and had experimented with a number of prototype cardboard furniture with the help of their occasional legal consultant Dennis Eala who ends up as the designer of the cardboardfurniture pieces.

“Dekahon presents cardboard furniture that transcends novelty, made of the strongest industrial cardboard available. Our cardboard furniture pieces are also durable, modular and highly functional, and is designed to allow for dismantling and packing for easy storage and transport,” said Dennis Eala, designer of Dekahon.

The heavy duty chair made from cardboard is one of the

bestsellers of Dekahon (Photo by Rajo Laurel) Traditional tables and chairs can be quite expensive. Often cheaper to buy up front since it is made from relatively inexpensive and usually recycled material, shipping cardboard furniture is also a lot cheaper because it can be transported in a flat shape and does notweigh as much as traditional furniture. Once inthe home, cardboard furniture is easily assembled. Many pieces are designed to fold up when not in use, which makes them easier to store in small places. Despite this portability, cardboard tables and chairs are made to hold hundreds of pounds. It goes with the product lines of Dekahon where products are all handmade, using only box cutters and paper glue but are proven to last.

“The first idea was to do kids furniture but with all the limitations I could not come up with designs, which, for me, were particularly distinguished or exciting. We did have a lot of accessories in the factory, and I slowly developed a concept for modular furniture using those accessories, something like cardboard LEGO furniture. We have not seen anything like that, and we thought it would be enhancing industrial cardboard’s advantages and mitigate its perceived disadvantages,” said Dennis Eala who also voluntarily designed Dekahon’s first cardboard furniture pieces.

Cardboard gets funky

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With their slogan “utility is the true criterion of beauty”, Dekahon’s cardboard furniture tries to rise up to the challenge of producing world-class design and sustainable home furnishings even if they are just starting. “We continue to develop existing products, and the erstwhile box makers at Heavy Duty, have turned into craftsmen. We are also developing several new items and we are working with real designers,” added Eala.

Dekahon first joined Manila F.A.M.E. International, a government-led bi-annual trade exhibition for home and fashion lifestyle products, last April 2010. Eala relates that joining Manila F.A.M.E for the first time has opened a lot of lessons and opportunities for them. “Manila F.A.M.E. International has its own character and a profile of foreign buyers. We understood the preference of these buyers.” One of Dekahon’s bestsellers, the Secretary-a practical desk for organized people minimalist design. Currently, Dekahon’s clients are principally local but they are gaining more grounds abroad. Eala said that people who have a strong interest in their current line of products are urban dwellers where space is a premium, generally environmentally- conscious, with a preference for functional As Dekahon continues their creativity in making cardboard furniture, they are coming up with new designs and lines which do not have functionality as the main value proposition but also gives emphasis on novel design, value and fun (for kids).

See more creative and innovative furniture pieces that made from nontraditional materials as Manila F.A.M.E. International opens its 52nd edition on 18-21 October 2010 at the World Trade Center Metro Manila, World Trade

Tex-Mex Vegetarian Cuisine

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20 21VANITY

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Deiss van der Vall Couch

7DESIGNS T U D I O SADVERTISEMENT SECTION

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Sloth Physical, mental or spiritual laziness

VANITY The desire to be more attractive than others

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G L U T T O N YThe over-indulgence of anything

to the point of waste

werwewerwer

LUST

Intense desire of sex, money, fame, or power

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¶

Asian puzzle boxes with secret sliding and pivoting panels first inspired Maya Lin’s architecture in

the Norton Apartment in New York [RECORD, September 1999, page 132]. There, multiple planes folded open or closed, transforming the interior into a pied à terre for one, a home for a family with children, or a space for an elegant soirée. More recently, when Lin received a commission for a house in the Colorado Rockies, the idea of a box toy sparked her imagination once again, but this time, with a full building, she decided to take the notion further.

“At first glance, my architecture appears reserved—unlike my sculptural pieces, which are more gestural and clearly about the landscape—but the Box House may be deceptively simple,” suggests Lin. “As you gradually discover, it’s also quite playful.”

This tendency toward outward reserve was hardly a problem for the Colorado clients, a couple in their 50s who were already knowl-edgeable patrons of architecture. Because their primary home, in another state, acts as a magnet for architecture aficionados, they envisioned their mountain retreat as

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a private place, where they could simply enjoy hiking and bird-watching. So they carefully sited Box House on hundreds of acres, which they generously deeded to a conservation easement. This arrangement will preserve—and protect in perpetuity—much of the wild beauty bordering an in-creasingly popular ski area. Be-sides Lin’s Box House, the only other structure that can ever rise on the land is a future caretaker’s cottage.

The architect then positioned the house so it can’t be spotted from any other property. Instead of perching the building majestically on the highest point, she placed it on a lower mesa (9,921 feet high), ringed by mountains, affording panoramic views of the surrounding peaks. A private road (an old rancher’s route, already in place) leads the way, with 2 miles of switchbacks, up to the house. “The idea was to create a modest and discreet structure—and then reduce it even further, minimizing your first perception of it,” says Lin. Initially, you see only the narrow end of the building’s long, rectangular form. Then, as you draw closer, the full composition begins to emerge: two teak-clad boxes, totaling 6,760 square feet on two stories, joined by a second-floor deck. One volume contains the kitchen and main living/dining area beneath the

master bedroom and study; the other houses the garage, at grade, rising to the home gym and sole guest room.

Well crafted inside and out, the nesting volumes utter not so much as a creak. The house main-tains a quiet presence among the aspens, but if you peel back its layers and open its boxes to the sun’s rays, the whole ensemble becomes animated—and really begins to speak.

Sarah Amelar

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Sugar HillIronworks

Build

Build

cReate

800 ART WAYPHILADELPHIAPENNSYLVANIA19044

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FEBRUARY 2013 | WWW.KASA.COM @ Herman Miller

SourcesAll non-picture images, graphics, layouts, concepts and designs were created and copy written by Derrick Douglass.

All picture images and articles were sourced from Deviantart.com, ImageClub10.com and other inter-net resources. These assets are owned by their respesctive copyright holders.

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