Framing                                                                                                                                                                                                                                                                                                                                                                                                                                                  People buy art for a variety of reasons, whether for its captivating beauty, its power to viscerally engage us or to heighten our intellectual awareness through its symbolic language.  Whatever the reason, it will provide us with years of enjoyment especially if care is taken in the proper framing and displaying of the work.

Poor quality mounting and framing damages more works of art on paper than any other agent.  A professional framer can provide you with options for using acid free materials and glass that offers UV protection.  If you are purchasing unframed art on paper, try to handle it as little as possible, since oils and pressure from hands can stain or smudge the work

The type of medium used to create the art often dictates the type of framing that is appropriate.  For instance, historically, the mounting of photography to a cardboard substrate was the only way to display it.  This is still often preferable since the image will not be subject to the glare of a glass cover.  Today there are options to use non-glare glass or Plexiglas, which offers additional protection while minimizing reflections.

Many contemporary works on canvas are displayed without a frame which often can be what the artist intended.  But nothing finishes a piece of art like a well-chosen frame.  Modern art looks best in minimal frames of wood or metal, one of our favorite styles is the ‘floating frame’ which allows the entire canvas to be viewed without cutting off the edges of the painting and creates a lovely reveal between the painting and the frame.  Traditional and Old-world styles of art look best in larger decorative frames.  The carved motifs on a frame will often evoke a particular style that will be compatible with the art.

Placement                                                                                                                                                                                                                                                                                                                                                                                                                                             Framing your art is the first step for displaying your art.  A general rule is to hang your artwork so that the center of the piece is 60” off the floor.  But rules are meant to be broken.  Placing art in unexpected places can heighten ones experience of the work, such as hanging a small piece at ‘eye level’ when seated in your favorite chair.  Or just above the highboy that you stand in front of every morning to get your clothes.

Our work in the interior design profession leads us to look beyond the obvious solutions to place art where it will be seen to its full potential.  When we consult with our clients on art placement, we consider the best possible grouping of pieces and how the arrangement complements other design elements in the room.  We are connected with a network of experienced framers and installers who can provide a high level of safety for valuable and fragile works, including securing sculpture and decorative items to pedestal bases.

At Robin Muto Interiors, we welcome collaborations with architects, art consultants, framers and art enthusiasts.

Lighting is an integral part of how a work of art tells its story.  Light is the supporting cast member to the art which is the star of the show.  The relationship between these two elements has a profound effect on how the art is experienced by the viewer.                                                                                                                                                                                                                                                                                                                                                                                                           There are many factors to consider when designing a lighting scheme for a collection.

• Conservation
• Flexibility
• Style
• Color
• Budget
• Energy

Conservation                                                                                                                                                                                                                                                                                                                                                                                                                               Certain materials are more susceptible to degradation, such as wood, textiles, leather and works on paper.  Light damage is irreversible and cumulative so if conservation is an issue, it is important to design the lighting to the recommended light levels thereby eliminating UV light and reducing exposure to lighting related heat emissions.

Flexibility                                                                                                                                                                                                                                                                                                                                                                                                                                        Ideally, the fixture selection should offer options to adapt to changing artwork.  The ability to fine-tune the lighting after it is installed is almost always required, even after extensive planning.  Track lighting offers the ultimate flexibility since track heads can be moved, added or removed from the track.  For a less obtrusive lighting system, we recommend a good quality recessed adjustable fixture that allows for the addition of accessories.  Some of these accessories can include glare reducing louvers and a variety of lenses that can soften or reshape the spread of light.

Style                                                                                                                                                                                                                                                                                                                                                                                                                                                             In general, the best lighting for art should not be noticed; it should be transparent by drawing ones complete attention to the art.  But depending on the architectural surroundings, the addition of decorative light fixtures such as wall sconces or picture lights would be considered highly appropriate.  Aesthetics and scale of lighting equipment can either support or detract from the overall design of the space.

Color                                                                                                                                                                                                                                                                                                                                                                                                                                                          The incandescent / halogen light bulb is still the ‘gold standard’ in its ability to render colors to what we perceive as true.  The crisp, warm tone of this light source is still the preference.  As improvements are steadily made in lighting technology, especially LED’s, there is a growing acceptance in the use of slightly cooler, more neutral color of light.  In my experience, there are certain collections, typically modern works that are visually enhanced by using this neutral colored light source.

Budget                                                                                                                                                                                                                                                                                                                                                                                                                                                  When it comes to design, there are no hard and fast rules.  It is not a question of right or wrong but more a question of the appropriateness of the design to achieve your goal.   Our experience in lighting design can offer guidance in finding the right solutions that match your expectations to your budget.  We can offer services from consultation to developing a comprehensive lighting and electrical plan.

Energy                                                                                                                                                                                                                                                                                                                                                                                                                                                      We believe that you do not need to sacrifice the quality of light to be energy efficient.  At my design firm, we have our finger on the pulse of the rapid changes in lighting technologies and the products available on the market.  A good lighting design is inherently energy efficient because it puts the light, precisely where you need it with the proper degree of brightness to bring out the beauty of your artwork.

I recently discovered these minimalist children’s story book posters by Christian Jackson.  I think they are brilliant in their simplicity.  Sophisticated enough to grace the walls of any kid’s or grownup’s space.

I recently discovered the work of architect Jim Olson through his current retrospective show at Washington State University.  A passion for Art and Nature profoundly influences his architecture.  Jim’s philosophy about his work resonates with my personal sensibility about Interior Design, as Jim eloquently states,  ‘Architecture is one big continuous environment that includes the Climate, the Landscape, the Building, the Interior Furnishings and Art…it’s all one thing.”

“Architecture should serve Art because Art is about imagining things without limitations and we learn a lot from Art because of this”.

Jim takes many approaches to how Art will integrate into his Architecture, similar to nature, “it’s as endless as what your imagination will allow. There’s Architecture that creates an appropriate background for Art, as if the Architecture becomes an extension of the picture frame.  There is Art that becomes part of the environment itself like a Mural that wraps around walls and creates a feeling that you are sitting inside of the painting.  Jim also is interested in the concept of Light as a medium that can be controlled and sculpted, which is inspired by the work of artist James Turrell “.

Living in NYC in the late sixties, I witnessed the emergence of craft studios opening in many neighborhoods.  My boyfriend, at the time, was working at a pottery studio in Greenwich Village and the earthy energy I experienced there was like nothing I had experienced before.  Being young and filled with the romance and idealism of Woodstock – Joni Mitchell, Crosby Stills, Nash & Young, etc, I decided that I was going to be a potter, live off the land, dig my own clay….you know the drill.   Although my interests have developed into the related field of Interior Design, it should come as no surprise, especially to those who knew me back then, that the Craft Movement is still near and dear to my heart.

In the tradition of Rochester’s ‘First Fridays‘, my blog on every first Friday will be dedicated to a topic on the relationship between Art and Design.

Opening this October at the MAD in NYC (Museum of Art and Design) is the show “Crafting Modernism: Midcentury American Art and Design”.  This show covers work in all craft media and explores the connections between craft and the design world.  Also examined are designers who incorporated craft techniques or craft aesthetics into wide-scale production such as Edith Heath (Heath Ceramics) and Charles and Ray Eames.

The modern day craft movement began to evolve after WW II as a backlash to the machine aesthetic of mass production.  Strong ties between the craft and the design world began to develop and craft programs expanded into university art departments.  Some artist-craftsman increasingly explored sculptural and aesthetic qualities of their materials over the making of functional objects.

As craft objects began to be included in museum and gallery exhibitions, it added to the ongoing political and social dialog in American art and life, serving as a representative of a counter-culture lifestyle.  Represented in this exhibition is Wendell Castle and one of my all time favorite textile designers, Jack Lenor Larsen.  If you can’t make it to NYC to see the show, it will be at the Memorial Art Gallery here in Rochester, NY in February 2012.

Lidded Vessel by Joel Edwards c.1966

Bas Relief by Jack Lenor Larsen 1968

Handbag for Janis Joplin by Linda Gravenites 1960s

High Back Lounge Chair and Ottoman by Harry Bertoia after 1952

Untitled (stained glass window) by Adolph Gottlieb c.1954

In the spirit of great 20th century design masters, Studio Printworks collaborates with fine contemporary artists to create wallpaper; “not as a quiet backdrop, but as a stimulant for the eye and soul”.  In this tradition, Studio Printworks began its Great Contemporary Arts Collection with the goal to re-connect the Decorative Arts and the Fine Arts.  Throughout history, ‘fine’ artists also produced decorative work; from the internationally famous Buffalo artist Charles Burchfield to the likes of Picasso, Dufy and Michelangelo.

The Great Contemporary Arts Collection  began in 2008 when renowned artist Kiki Smith created a hand screened wallpaper for her show, Kiki Smith: Her Home at the Museum Haus Esters in Krefeld, Germany. The wallpaper that she created was not just a design but she actually traced the design onto the acetate for the production of the screens, thus, this paper is produced by the actual hand of the artist.

Of special interest are two papers by Mark Fox entitled “Phantom” and “Relic”.  Marks artwork is currently on exhibit at the Culver Road Armory till October 2nd, it this is a truly must see show!  Coming full circle to the topic of this article is that much of the current work in the show- Mark Fox: CUT..ting Edge begins with paper…paper that he has written on or wiped his brush on (cleaning his brush off from other projects), and then meticulously cuts out these words and images and re-assembles them into amazing paper works that hang on the wall.  Of course, these are not merely decorative, they explore concepts of perception of front side and back side, light and shadow and so much more.

Studio Printworks: The Great Contemporary Artists Collection

Mark Fox design: "Phantom" Wallpaper - Colorway: Mirror

Kiki Smith - postcard from Brooklyn Museum, showing "Maiden & Moonflower" wallpaper design

I recently was interviewed for the September 16^th issue of Rochester Business Journal via a phone call with Debbie Walzer, a freelance writer.  As always, when I can preach about the value of good design to a sympathetic ear I am at no loss for words.  I didn’t have a clue what the article was going to focus on, but as long it was about design then I was happy.

“Interior design projects without guidance pose risks” Working with no plan can mean losing sight of the big picture, designers say….and so the article began.  Particularly fascinating to me is that three interior designers (one of them me) were interviewed independently and we shared very similar experiences.  Heather DeMoras’ solution for clients without a plan is straightforward: “Work with a professional to create a long-term plan, which can be executed over time and in the end, a well-conceived plan will save you money.”  Jason Longo’s advice: “Invest in a good interior designer and the expertise will help you understand the value of this profession.”

In my personal experience, the most successful results are achieved when the client hires interior design services in the beginning of a project.  In the case of a new build, this can sometimes mean joining the design team when the preliminary architectural drawings are done.  Unfortunately, too many people resist hiring a designer until they have already made many costly mistakes.  There is always something I can do to remedy the problem but usually the room will never achieve its full potential that would have been achievable if the project got off to the right start.

The following drawings are examples of how I begin designing a room.  First I begin with the floor plan and furniture arrangements.  You will see the shape of the new built-in cabinetry in this family room.  The fireplace is the only thing that exists in the current space.  Since the room is quite large, the furniture arrangement is created to achieve a conversational grouping and yet the primary seating faces the TV or the fireplace.  To add additional character to the room and create a cozy intimate feeling in a space of this size, I decided to show my clients how the room would look if we continued the woodwork all around the room.  They loved the idea and after finessing the designs, a local woodworker was hired to build the custom cherry cabinetry and frame and panel walls.  With all this beautiful cherry in the room, we were struggling to find the right size end tables in the right style, so I designed a pair of tables that my woodworker will create as well.  You might be thinking that custom furniture would be extremely expensive, but his price was competitive with similar tables that we saw in stores, plus my clients think “it’s really cool” to know the person who made their furniture.

Family Room Floor Plan

Design for Built-in Cabinetry

Design for Cherry End Tables

Some call it Decorative Art, or Fine Craft, others call it Applied Art or Design but when a maker and medium unite in skill and clarity of vision, art is born.  ‘The Spirit of Modernism’ a current show at the Museum of Fine Arts in Houston, celebrates a distinctive collection of painting, sculpture, furniture, lighting and metalwork, gifted to the museum by the late John R.Eckel Jr.

Of special interest (to me) are the 27 objects of modern design by some of the most significant American designers of the mid-to late twentieth century.  Included in this collection is a custom clock by George Nelson, a lounge chair by Vladimir Kagan, a chaise lounge and occasional table by Edward Wormley.  Artists who were at the forefront of the designer-craftsmen movement of the 60′s and 70′s such as Paul Evans,James Prestini and Philip Lloyd Powell have furniture and objects in this collection as well.  This acquisition also includes post-modern design by well known architects.  Several works by Shiro Kuramata include furniture, lighting and works by Richard Meier are also important additions to the collection.

Awesome!

Cabinet of metal and slate by Paul Evans

George Nelson and Company for the Howard Miller Miller Clock Company

How High the Moon Chair by Shiro Kuramata

]]> http://www.blog.robinmuto.com/2011/08/30/on-and-off-the-wall/feed/ 1 http://www.blog.robinmuto.com/2011/08/15/comfort-is-the-ultimate-luxury/ http://www.blog.robinmuto.com/2011/08/15/comfort-is-the-ultimate-luxury/#comments Mon, 15 Aug 2011 22:19:32 +0000 Robin Muto http://www.blog.robinmuto.com/?p=754

Sunday: August 14, 2011 - At 3:00 this afternoon, as I watched the sky darken and heard the thunder in the distance, I had a change of plans. My new plan was that I was cancelling all ‘plans’ for the remainder of the day….I would stay home and read all my favorite design magazines.

As I lay on my favorite couch, enveloped in my favorite pillows,  feet brushing against my dogs furry body and stacks of magazines by my side, I looked around the room, glowing with soft warm light and said to myself  -  “this is luxury”.

The late, great interior designer Billy Baldwin once said “Comfort is the ultimate luxury.”  But how do you create comfort?  I ask myself this question routinely as I develop rooms for my clients. When I find myself getting too rigid or too obvious with the design, asking myself this question helps to shift my focus, because ultimately what people want is emotional, physical, and visual comfort.

Flipping through the pages of  ‘shelter’ magazines,  experiencing moments of design nirvana, I come upon an interview with one of my favorite designers, John Saladino.   Here is his ‘recipe’ for creating comfort: “I like to imply rather than be explicit, whether it’s minimalist or period style: simple geometric shapes-nothing overly excessive-and restraint with the palette and furniture. That’s what makes a house timeless.  When you do that, you’re hopefully designing something that won’t embarrass you in 30 years.”  If you are interested in reading the full article, see the May 2011 issue of House Beautiful or check out their blog at House Beautiful.com

Interiors by John Saladino

I am thrilled to have a “Guest Blogger”  today.  This post on Lighting for Dark Corners has been written specifically for my blog: Smart Design for Inner Spaces. I have read many of the blogs written by the staff at Design Shuffle and have found them to be highly informative.  I hope you enjoy this post….Robin

Almost every home has a room with a dark corner. These spaces might be tucked in a living room or entry, part of a dining room or hall.  Finding a lighting solution for dark corners takes some clever interior design ideas and sometimes ingenuity, but luckily there are some simple solutions. Here are some of the simple and clever ideas we found for lighting those dark corners.

Pinterest via

From Design House Stockholm, this corner lamp is literally a wedge shaped shade that perfectly fits a corner. Ingenious design for a tight space.

Roe Mahku via

Small sculptural pendant lights bring interest and light to a dark corner. A single pendant light or a small grouping will illuminate a corner.

Whole Living via

Diminutive lights or candles on a small side table or shelf work to brighten a dark corner or tight space. Wall mounted or shelf mounted task lights are great ideas as well for any den design.

Studioist via

From CB2, simple can lights placed on the floor are an easy solution to brighten a dark corner. Placed behind a piece of furniture, these little lights can create a dramatic effect especially for your bedroom design.

Flickr via

Found this photo in Bibidream’s stream over on Flickr. The shiny silver table lamp and mirror add light and sparkle to this dark corner. A mirror is a great way to enhance the effect of a lamp or natural light.

Roadside Scholar via

The Tazana foliage pendant lamp adds not only light but a bit of color to a dark corner.  These pendant lights are small enough to be hung in a group—for terrific decorating ideas, group them in odd numbers.

Platforma Design via

The Established & Sons Corner Light by Peter Bristol would work for a contemporary space. Its minimal lines create a glowing triangle when illuminated.

Garden Trading via

And lastly, don’t forget those dark corners outside your home. Simple barn lights can add light to a porch or garage to light the way.

This post comes courtesy of Design Shuffle, where you can find top tier interior designs from around the world – from New York interior designers, Los Angeles interior designers, and more, check out the latest at Design Shuffle.