Have you ever had someone ask you to cover your eyes and then there is an anticipatory pause as you stand there anxiously or they guide you – no peeking – in your temporary darkness, to a point where they say “you can look now!” and you do so with great anticipation? The elements of surprise and discovery are put into play to create drama. Hopefully, the unveiling is met with the positive reaction that the presenter had in mind.
Recently I was called to the home of a wife and mother with a dog. Only she was in evidence and present for this meeting.
Her initial contacting our office and brief correspondence prior to meeting was done via email regarding her introduction and retaining me to assist her with her newly acquired home. Her first concern, conveyed even before we met in person, was one of achieving a “cozy” interior.
The home’s contents were partially dismantled as the original owners were in the process of boxing up and moving out. In all fairness, despite the unfurnished state, it was devoid of mystery or interest. It did offer a commanding view of the mountains seen very closely through an expansive north facing wall of glass. But as magnificent as the unrestrained scene was, the drama might better have been revealed by invitation rather than seen in its entirety, from outside the un-obscured glass front door and large flanking sidelights straight through the house and without interruption. This presented an exciting opportunity.
By invitation, I mean selecting who sees into your home and how far. Who sees the intimacy of the interior and the would-be personal vantage-point of the dramatic scene. The opportunity was to control this drama and give it even greater impact by concealing and revealing. The opportunity to create a design which offered privacy, bit of mystery and discretion – with the ultimate revelation of the startling glass wall and jaw-dropping view.
This sketch by architect Matthew Frederick illustrates the effective use of “denial and reward” to enrich the approach to the ultimate unveiling of the destination.
This home I’m describing offered little or none of these characteristics to entice the guest/viewer and, with that, certainly defied the word cozy.
The objective, as originally stated by my client, was to achieve a cozy interior. Presented with all hard surfaces of stone, tile, steel and glass, the problem seemed obvious, offering possible solutions was my task.
When I suggested a partial-height point-of-arrival wall be constructed inside the entry to stop the view and allowing one to assess and receive the guest and/or conduct a transaction, I was instantly met with “Oh, but it’s that view that my husband loves! He wouldn’t go for that.” And I’m thinking…but seeing all from outside the front of the house straight through and out the other side?
First roadblock. He who has strong opinion and, in his absence, is inserted into the conversation, without benefit of thoughtful exchange, strongly suggested that further evaluation of this option seemed moot. This through-space seen in its entirety, without interruption from outside the front door to the back of the house, was totally transparent and the representative (she) of the team was referencing his seemingly over-riding preference, in contrast to her stated concerns…cozy. Not to mention private.
To create a successful design, it is important to consider contrasting elements. All hard surfaces begged for softening counter-balance. Transparency suggested the need for partial obscurity – at least at the point-of-arrival.
Wouldn’t it be interesting to obscure some of that magnificent view from anyone who approached the door and rather invite those so chosen to discover the mystery and drama once they’re brought into the space? This addresses both privacy and drama with greater sensitivity while beginning to address cozy, by concealing the living space from public view.
Un-obscured glass on the back of the house is the private drama. Seeing the view from inside and connecting the outside to inside, for personal enjoyment is unique. By allowing only family and guests be given that vantage point, from the interior and private backyard exterior to the inside, is the privacy bonus. Drama and privacy achieved.
As with most things in life, you get more punch from the element of surprise. To have guests arrive, be received and then invited to proceed, to experience the drama, is far more effective than seeing it all without the heightened expectation or even unexpected surprise.
Hearing their comments as they passed through the spaces was amusing in their commonality. Everyone was amazed at the amount of work done, creative elements incorporated, fun finds she had collected to transform this modest house into this cozy cottage. Her two cats have wonderful vantage points to watch the activities in the rooms below as guests gathered to celebrate the weekend’s family wedding festivities.
The ladders and other tools of the installation unintentionally supported the amazing trompe l’oiel effect. It was not a piece under cover at all – but the cover formed to suggest that there was a statuesque clock beneath it WAS the art!
Here we found the story. It is a story of passion for the arts, dedication to preserving and presenting, offering to the public these rare opportunities and during its life it has been confiscated and re-purposed for wartimes, protected by Jackie Kennedy and preserved under the official order of Lyndon Johnson that it be returned to its original purpose to be “Dedicated to Art” as a the unique exhibit space it was designed to be. 
and look up and you will be dazzled by a permanently exhibited Chihuly chandelier dangling with droplets of green glass that looks like it was dispensed from a frozen yogurt machine – soft and spiral, layers of iridescent and luminous forms.
Oh well…
It truly is a wonderment for all ages. This architecturally magnificent building designed in 1859 by James Renwick, in the then chic Parisian Second Empire Style, is the elegant backdrop for a most progressive and creative collection of present day modern artists’ works. Diverse examples, of spectacular displays using simple materials, brought to life in forms unexpected – of grand proportion and thrilling magnitude. Although my learned and previewer cousin had introduced me to the exhibit in advance, it captivated and engaged beyond my expectations.
The glitz and bling make such a striking, formal, contemporary statement in this expansive volume that it startles with joyful contrast. The artist, Leo Villareal of whom I had heard in advance, was originally from Albuquerque – where we now call home. A remote desert origination transplanted into the fast pace of the urban centers of the east coast resulting in this shiny experimentation with light, form and wonderfully reflective surfaces. Villareal melds basic high-tech coding to use his own algorithm of the binary system 1s and 0s communicating to the lights when to turn off and turn on – yet sequences that are never exactly repeated .
It’s not just your linear code of characters that is read on a screen – here it is an artistic experience shared by all who look up in this gallery’s exciting exhibit.
Large scaffolding at the end of the room suggests the manual installation that was required to suspend this wondrous drape catching light and glowing with golden aura. 
We were at once drawn into these cozy nurturing cubbies of what appeared to be nature – not forms created by man. Nature. Organic and raw, elegant and graceful winding toward the far reaches of the very high ceilings. Like a sculptor who says that the stone dictates what it wants to be and how he carves it – Dougherty knows that the long willow branches have a true will and bend their own way challenging him to work with them toward that goal of partnership with nature. The beauty is in the end result. People of all ages wandered in and out, peeking through window-like openings pretending to be exploring an enchanted forest of wonder.
Have you ever experienced Tent Rocks? 
Have you ever looked upward and around and through the magnificent forms created by nature eroding the earth’s strata revealing layers of color and creating spires of rocky towers? It is a magic land just south of Cochiti in a very unexpected pocket of nature’s magnificence in our Land of Enchantment. And the spires that artist Tara Donovan created with stacks of index cards – an overwhelming accumulation of millions of index cards suggest grey spires replicating nature’s wonders in the canyons among the spires of the Tent Rocks. 
It’s as though a photographer captured this natural formation in black and white. Donovan’s interpretations are tones of grey as a result of the stacked white index cards with slivers of shadow sucking away light in between each of them. Clustered and staggering in height, the “Untitled” towers are inviting to walk amidst and pass between, winding around them like a tourist or explorer or perhaps inhabitant in ages past and present as they have stood for ages.
How could a human working only by hand – without computer generated machines digitally fabricating such perfection create this finished piece that we are studying with such wonder? How can this fine tedious seemingly impossible count of thousands of threads be executed with such grandeur and grace by one mere mortal? 
The artist Gabriel Dawe transcends our ability to comprehend the exactness of his beautiful accomplishment with extraordinary patience, precision and creative foresight to imagine the end result and bring it to fruition. It is a wondrous, luminous sculpture of rainbow colored threads inspired by the skies of his native Mexico and current home in East Texas. The fine weavings also inspired by his Mexican heritage are interpreted, stretched and exaggerated here reflecting the light and spectrum of color from its base to ceiling. 
