Modern, luxurious, and architectural. Known as a painter, Cody Hoyt has
developed a technique for drawing with clay (pictured below). Tessellated
shapes are fit together like a jigsaw puzzle and formed into slabs that are then
fabricated into larger constructions. It’s a labor-intensive way of making pattern
but one that allows for a special purity of color and richness of surface.
Offering functional modernism with a material twist, the furniture of Los Angeles
designer Brian Thoreen creates a simultaneous synesthetic blending of sensual
experiences, at once manly and monumental, yet approachable and polished (
pictured above). They look one way but feel another. The shapes seem simple but the
delicate balance of elements is quite complex. Nothing is as it immediately seems
and yet there is an inherent and rare beauty that makes us want to stare forever.
The bombe façade on the rubber credenza collapses to double as the
door handles. The surface has a molten look but is soft and almost squishy to
the touch. The top of the mixed marble coffee table is a modern composition
Frank Stella would have appreciated, but when the stone top is paired with
the silicon bronze base it appears almost delicate. These pieces promise a
pleasure in use and a joy to live alongside.
AFREAKS COLLECTION BY THE HAAS BROTHERS
The Haas Brothers operate on the avant-garde edge of a long line of designers
who explore fantasy as a motivation for design. They create another world,
one complete with its own unique life forms.
The fraternal twins Nikolai and Simon teamed up with the Monkeybiz
crafting collective from Cape Town, which is known for accomplished
beading techniques. Fanciful creatures scamper under giant mushrooms.
Every surface is lush, with dense beading literally raising from the surface in
dimensional patterns. This is contrasted with polished bronze elements in a
happy world you won’t
want to leave too quickly.
Najconchilgi is the Korean art of mother of pearl surfaces. Kang Myung Sun
moves this ancient technique forward by creating never-before-thought-possible forms. Her objects are exercises in undulating surfaces. Once flat as
a pancake, they are transformed into voluminous solids, bending planes, and
wavy edges. Her shapes actually maximize the natural luster of the material.
She pairs mother of pearl with lacquer contrasting dense opacity with luxurious
sheen, highlighting the inherent properties of each material.
Furniture designers have long let architecture inform their forms, and Kim
Sang Hoon’s work is no exception. The difference is that he utilizes the most
cutting-edge architectural ideas about transforming volume through autogenic
means. He is interested in marrying differences: the outdoors and the
indoors, the macro and the micro, one material with another. The pairing
provides new emotional context. His coffee table looks like a map of landscape
with the glass-mimicking pond: water meets land, glass meet steel, and we
see the world anew.
ARCHITECTURAL CERAMICS BY LEE HUNG CHUNG
Lee Hung Chung is both architect and practitioner of a traditional Korean
ceramic technique and his work is a true marriage of those disciplines. As
far as hand-formed ceramics go, his work is massive in scale, pushing the
boundaries of the medium: oversized benches and stools, a solid bathroom
sink pedestal and bowl, and a luxurious, deep bathtub.
The ceramics are considered to be of the buncheong ware type, which is
characterized by a relatively coarse gray body embellished in various fashions with
white slip, and covered in green-tinted semi-translucent glaze. Buncheong ware
has been prized in Korea since the 14th century, but no one used the material to
achieve monumental scale until Chung. His use of glaze is notable; he is as much
a fine painter as he is an architect and ceramicist.
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