The only word I can think of to describe this delightful interpretation of a sink skirt is “confection”. It is both a fanciful and imaginative way to cover the bottom of a marble slab, create some invisible storage and make a design statement. The skirt follows the shape of the top, a lovely detail, and the lace is an inspired choice as a material in this setting. While the marble feels solid and heavy, the lace is ethereal and would blow in a breeze.
We all know and love John Derian for his outstanding tromp l’oil objects from trays to paper weights and dishes. Recently we had a peek into his new loft in New York published in T Magazine. He refers to the work done in his space as the the non-renovation renovation. He said the changes he made were a series of small tweaks. His goal was to preserve and revere the spirit of the artists and garment works who were his predecessors in this loft. He remarked that the work that has been undertaken is merely an exceedingly subtle face-lift. Preserving the old floor boards and patched tin ceiling, matching new walls to the old will keep the spirit of the place alive.
This is a very clever and modern solution to the corner problem. It adds a little counter space, often needed in a small bath.
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Many of us find ourselves very short on space in either a powder bath or, occasionally, a full bath. Finding the right solution for these space constraints is never easy. I was poking around and found one solution to resolving this spatial dilemma: the corner sink. While the corner sink solves the water delivery issue, it is not necessarily the prettiest resolution. But, for washing hands or brushing teeth, it gets the job done.
An elegant rendering by Richard Cameron for a portico at a private residence. Sketches establish the most general appearance and function of a building.
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Several weeks ago, the Waterworks showroom in Greenwich, CT hosted a book signing for Philip James Dodd, the author of The Art of Classical Details: Theory, Design and Craftsmanship. In this beautifully organized and photographed book, Phillip proves that architecture, to be successful, requires not only a knowledge of theory and practice, but also an understanding and appreciation of the craft of building. He features architects and craftsmen who have a love for classical detail. They are students of the classical orders: Tuscan, Doric, Corinthian and Composite. Each order provides a system with its own distinct proportions, details and identity. Without them, classical architecture does not exist nor is it understood.
