the Value of Beauty

Still Life by William Nicholson c. 1900

So what is beauty?  Every civilization has a different standard or ideal of what beauty is.  It is based on our history and our collective cultural experience.  Moreover, within each culture, our tastes, likes and dislikes are unique to who we are.  What I find beautiful, my wife or son may not.

As a designer, I find that one of the greatest challenges is to create beautiful objects, be they buildings, furnishings or graphic patterns that have a broad appeal and aesthetic longevity.   After all, isn't one of the greenest approaches to design and manufacturing to create things of enduring relevance?

I think it's important that we all pause to take stock of what we find beautiful.  Look around your home.  What objects have you cherished for more than a few years?  Is there a consistency to those things.  What about your community?  What are the structures that are preserved, restored or well maintained?

Detail of the Sistine Chapel Ceiling
by Michelangelo c. 1510

While beautiful things do not guarantee happiness, they add a texture of palpable vitality to our lives.  And yet as Alain de Botton notes in his book, The Architecture of Happiness, “To care deeply about a field that achieves so little, and yet consumes so many of our resources, forces us to admit to a disturbing, even degrading lack of aspiration.”  Yet given the seemingly folly character of aesthetics, we are driven to continuously appreciate, and even rival the beauty that nature surrounds us with. 

I’m not sure what constantly drives me to want to make beautiful things.  All I know is that I am driven.  I hope that the work I create is met with eyes that appreciate my personal interpretation of beauty, and derive pleasure in doing so..

Back to Nature

In this crazy fast-tracked life where we live, there is a strong movement from high-tech to soft-touch.  While the i-phone has become the de rigueur accessory for the average American, we yearn for the feel of natural materials with a palpable sense of life. 

Designers in all disciplines are tapping into more natural pallets to soften the edge of life.  My 15 year-old son recently purchased a “skin” for his i-phone that is made of bamboo veneer.  I own a pair of eye glasses with teak temples.  And I recently received a Fathers’ Day gift of a Wee Wood watch that my thoughtful wife found on Pinterest!

Natural materials are being rethought in the home as well.  Exquisite tiles are cut from hardwoods.  Vessel sinks are honed from solid blocks of stone.  

We at Ramsay Gourd Architects recently completed a restaurant design that acknowledges the region's rich history of quarrying marble.  There we back-lit locally sourced marble in order to highlight the materials natural characteristics.  

My New Venture

I am thrilled to announce my new business!  Ramsay Gourd Home is a collection of fabrics, furniture and wall coverings that grew from years of design observations and musings.  The collection reflects my appreciation for classical design, infused with an energy that befits our modern lifestyles.

I have designed each fabric line with a number of patterns and color ways,
 making them easy to coordinate.  Illustrative designs, strong geometries, and subtle patterns come together to offer a wide range of visual emotion.  Many of the patterns are available as wall coverings as well. Contact us if you have a special application.  I love to explore new possibilities and have great flexibility with short turn-around times!


My bench-made furniture line is individually crafted in the U.S. by hand-selected artisans.  The finest materials and workmanship go into every piece.  Each design is fully customizable and may be tailored to meet your specific needs.   New pieces will continue to be added to the collection and I offer a bespoke design service, collaborating with designers and owners.

As an architect and designer, I am thrilled to offer my work to a much larger audience.  I am excited to see how the patterns and forms I have developed provide inspiration to your next project!

I invite you to explore the web site at ramsaygourd.com and see what I've been up to.  Please feel free to contact me with any questions or observations.  One of the beautiful things about a small young business is its ability to nimbly respond to market demands, and with our bespoke service offerings, we know that Ramsay Gourd Home can find a place in your home!

RAMSAY  GOURD  HOME

Fresh Classics for Modern LivingTM

Garden Structure

I woke this morning to a fresh dusting of snow.  It blanketed the lawn and garden with a downy quilt, tufted by the undulating greenery that is our simple border garden.  At the end of the row stands a moss-covered stone cherub.  In his snow cap and cloak, he stands sentinel as some form of punctuation, pausing the eye before it explores further into the woods.

My little friend reminded me this morning of the power and importance of structure and hierarchy in the garden.  When abstracted to its simplest form, as ours was in its snow-covered essence, a garden should have a clear, legible concept.  Because we split time between Martha’s Vineyard and our Vermont home, I have not had a real garden since our days as innkeepers.  But the principals of good design are pertinent on all levels, from formal parterres to simple flower beds.

When planning a garden, I like to think not only of the context of the environment (Solar orientation, nearby structures, approach and point of view), but also of the experience and story it wants to tell.  And so, I look at the layout as the story outline that will be in-filled with colorful words and phrases.  However, it is the permanent forms which add punctuation and structure that outlive the panoply of seasonal greenery. 

Whether intended as passage or pause, the offerings of garden elements are unlimited.  Garden gates and paving materials speak of movement and regulating the gate at which you pass through the experience.  And while benches and shelters are often literal destinations for pause and reflection, garden sculpture acts as visual respite, and a place to stop, observe and mentally regroup.  

Sentinel Lions from Barbara Israel Garden Antiques

There are many different styles and aesthetics of garden elements.  If looking to add a sense of history to your landscape, one of the East Coast’s greatest sources is Barbara Israel GardenAntiques in New York.  Her inventory of both period pieces with significant provenance and impeccable reproductions is unparalleled. 

A Pair of Muder Skiles Benches by John Danzer

For a fresh approach to garden furnishings, check out John Danzer’s hand crafted designs at Munder Skiles.  His updated pieces add elegance in their abstraction and grace of form. 

One of my benches photographed in an historic garden setting

I like to bring color to the garden that doesn’t rely on what is in bloom.  Painted pieces that compliment your pallet can add an exciting pop of color like a Cardinal in a snowy woodlot.

Flat-Weave - The Classically Casual Rug

Flat-weave rugs have become the de-rigueur selection for floor covering of the millennium.  They have a simplicity that denotes a casual, laid-back lifestyle. That having been said, the offerings run the gamut.  From synthetic weather-resistant outdoor carpets to hand woven bath-mats, there is something for just about everyone and every budget.

Stripes are a staple of the flat-weave market.  This effect is simple to achieve by varying the color of the warp threads in a pleasing pattern.  However, world-over, there are historic examples of wonderful geometric flat-woven designs.  From Navajo blankets to Indian Dhurries, tribal traditions have infused meaning into the patterns that represent their cultures.

 

Today Dash and Albert offers panoply of outdoor rugs.  Woven from spun polypropylene, these carpets hold their color, resist mildew and are tough as nails!  We have one of these work-horses in our mudroom and it holds up to all that Vermont can dish out (including Mud Season!).

There are a number of retailers who have tapped the resources of mills in Asia to offer exceptional values in either cotton or course wool.  I recommend doing some research into the social responsibility of these manufacturers, as many of these sources endorse exploitive work practices.

For a truly special application, you might want to consider a custom woven rug.  Select colors from a wide range of pom-poms.  Develop a design or select a pattern from the weavers’ portfolio.  And roll out your truly custom creation.  These rugs make for great stair runners when woven in all wool.  Working with a skilled installer, fine details like mitered corners and hemmed edges bring a level of sophistication to this simple material.

Re-use, Replace or Reupholster

When working with clients on interior projects, one of my first tasks is to inventory their existing furnishings and artwork.  I am often asked by my clients the benefits of reupholstering versus buying new furniture.  Here there are a number of questions I ask to establish the viability of recycling a piece of upholstery. 

A well loved family sofa re-invented as a fun focal point

Does the piece have sentimental value?  Was this your father’s chair that was reserved solely for him when you were a child?  Does it evoke visceral memories of pipe smoke, single malts and newspapers? 

Is it beautiful?  Ignore the thread-bear arms that are held together with duct tape.  Does it have sensual lines or unusual massing.  Think about it as if it were a person.  Would you be interested in knowing it’s story if you met it on the street?

Is it exceptionally comfortable?  Does it have the perfect seat depth for your extra-long legs or the ideal angle of repose for napping?

If you cannot answer one of these questions with a resounding “yes”, it may be time to reassess your relationship with this house-mate of yours.  And while jettisoning an old couch and finding a fresh new shape might be OK in the world of furnishings, I don’t recommend taking this approach with spouses prior to serious soul-searching and intense counseling! 

The truth of the matter is that, depending on the condition of your frame and internal support system, it may be cost effective to buy a new piece altogether.  Some things to look for in an older piece might include:

A well made antique wing chair
midway through restoration

Solid hardwood frame construction with mortised and pegged connections

Hand-carved details (And not those that are “hand-carved” by women and children on a production linein  an emerging country)

Horse-hair stuffing and edge-roll

Down filled cushions

Hand-tied springs

One of my closest friends, Isaiah McCauliffe, is an exceptional upholsterer.  And I am often intrigued by seeing his patients lined up in the waiting room, ready to go under the knife of this skilled cosmetic surgeon.  Each has a story.  Some are nostalgic, like sofa that was laden with presents every Christmas morning for as long as memory serves.  While others are tragic, like the chair with three broken legs that was the collateral damage from a dormitory brawl, or the couch who’s back panel was chewed by a teething puppy.

This chair is NOT too far gone
and worth the investment of
reupholstery!

My friend, Isaiah, was quick to remind me not to give up hope when you think a piece is too far gone.  Even with internal organs trailing across your living room floor, that beloved ottoman may be salvageable.  “It’s what I do!” said Isaiah, referring to the reconstructive surgery of his trade.

If, once you have weighed the pros and cons of the decision of rehabilitating versus replacing a piece of furniture, you still cannot decide, flip a coin.  If you’re not happy with the outcome of the coin toss, you had already made up your mind!

Closure: The final chapter of a series on the design process

A couple of weeks ago, I took a trip to New Jersey to photograph a project about which I've been writing occasionally.  Unlike previous visits to the site, this was purely for my own benefit.  The house is complete, furnishings placed, and the owners have moved in for their beach-side holidays.  I packed my bags and camera and booked into my home-away-from-home inn.


It has been a long process.  But the builder, Gary Hedrick, along with his incredible crew, made the journey as painless and pleasant as possible. This was my time to see where we've arrived.  However, in order to understand the impact, I think it's important to see a little of where we've come from.

The Original Home

An Early Character Sketch

The Finished Home

Whenever I have the opportunity to return to a project, it is like visiting a child whom you've watched grow and mature.  There is a connection to the built form that is hard to explain.  While I work hard to capture the essence of who my clients are, a part of me gets knitted into the project's fabric.

Entry Hall

Given the scope of the project, combined with the restraints of the prescriptive building envelope, I am very pleased with the spaces we were able to create.  There is a true variety of scale, mood and texture in the house.  However, each of these spaces is held together by a common thread of detail and proportion much like contrasting yet coordinated beads on a string.  

The Library

I am greatly indebted to the craftsmen who took as much pride in the project as I.  Only through a team with a consistent commitment to quality can such a project come together smoothly.  From precise framing to artisan woodworking and finishing, each layer of workmanship relies on the foundation of the one set before it.  Not only is this a beautiful home to look at, but one can also feel the integrity of the workmanship that is systemically incorporated throughout.

The Great Room

Designed as a gathering place for extended family, this is the kind of home that one can easily see passing on through many generations and serving as the backdrop for some of life's greatest memories.

Developing Style

In a recent posting, I talked about our commitment at Ramsay Gourd Architects to use design elements to paint portraits of our clients.  The key here is to not let your own tastes get in the way of your clients’ personalities.  This is a real challenge if you want to make consistently beautiful projects, but an important aspect of working with clients.

Daring Color Carried with Authority

Yesterday, I started posting to my new Pinterest account.  This was eye opening for me.  While I spend so much of my time listening to clients’ aesthetic needs, I rarely listen to my own design voice.  I guess I take my personal style for granted. 

The truth is, every decision we make is a reflection of our personal style.  Each choice is like a brush-stroke in our own self portrait.  In talking about marketing with our staff, I am known to say that every selection we make is one of marketing.  That’s true on one level.  Our outward appearance is the marketing we offer the world. 

The other aspect of personal style is how we chose to live our lives.  Are we involved civically, spiritually and politically within our community?  Are we generous with our time, spirit and talents? 

True style is something that is completely natural.  While you might be able to wear that sweater that your mother-in-law gave you, your peers will know it’s not of your essential taste.  The same is true for lifestyle integrity.  How often have we met a teacher for whom their career is just that, and contrasted it with a teacher who has found his or her calling?

This is not to say that style cannot be developed.  Like learning a new sport, sometimes developing a style comes from changing patterns and practicing them repeatedly.   Whether it’s starting to add color to your wardrobe or philanthropy to your bottom line, start with baby steps and develop a habit.  

Portrait of a Client

 I’m often asked “Do you have a design style?”  I find that a tough question to answer, as my work is project specific and stylistically varied.  As an architect, illustrator and designer, my goal is to convey a message, evoke a feeling, and most often, paint a portrait of my client.  Few people hire a custom designer to create a project that looks just like their neighbor’s.

Whether designing a home, a room or a restaurant, my first objective is to get to know my client and understand his or her vision.  I send clients off from initial meetings with a homework assignment.  Our programming worksheets ask the clients a number of questions about the project in question.  Digital or tactile clippings files of inspirational images are requested so that clients can graphically communicate their tastes and preferences.

On the designer side of the equation, I like to take research field trips.  I will often schedule to visit my clients’ homes or explore similar program type precedents.  (I recently visited a couple in New Jersey to better understand their personal tastes as I prepared to design their Vermont home.  And a tour of New York brasseries armed me with a vocabulary to pursue a recent restaurant project.)

 

In the end, every project I design should be a clear reflection of the owner.  Infused in its fiber, needs to be a DNA as unique as a fingerprint.  That core thesis in turn, informs every decision about the project, such that each detail supports the whole, creating an end product that is about its built, temporal and personal context.

Architectural Salvation

 For old houses, salvation comes not in the form of a Messiah, but rather, the hands of a talented crew of dedicated builders.  I am fortunate to have a large portion of my practice focused on the restoration of wonderful buildings that have fallen prey to the hands of time.  It takes a special team of clients, designers and builders who see the value in preserving and restoring these historic gems.

Often with old buildings, there is a palpable sense of history that has little to do with the remaining sticks and bricks that stand before you.  Our job is to capture that spirit, by thoroughly documenting the character-defining attributes and developing strategies for bringing the structure up to modern performance standards while preserving the essence  of the building.

Our current extensive rehabilitation project is one that has caught the attention of the community.  Sited on Main Street, in Manchester, Vermont,  it is a contributing building to the Village Historic District.  In its heyday, it was a delightful summer home, with wrap-around porches and gracious lawns.  When the current owners bought it, the porches were falling off, trees were growing out of the roof and wild animals had taken up residence within.

The Independent - Thursday, April 7, 1870

Before we could start developing a plan, we spent a great deal of time documenting the existing structure, and trying to establish the chronology of changes that had occurred over the life of the building.  Photographs and drawings were made to chronicle the building details that would require re-fabrication.  Builder, Paul Mackson, peeled back layers of finishes, and tore out non-load-bearing walls that had been superficially erected to create a warren of rooms.  Organic insulation believed to be seaweed and old newspapers were removed from wall cavities.  A Wall Street Journal from 1875 and an 1870 issue of The Independent firmly positioned the house in the late 19th century.

Ready for jacking!

A good foundation is paramount to any structures longevity.  Once the primary demolition was complete, Connor House Movers came in to jack up the structure off of its assemblage of stone walls that had shifted over the past century and had gaping holes and waterways running through them.  Excavators are in the process of digging out the basement.  Soon the house will be lowered back onto a clean, dry and insulated basement.

Positioned for its new foundation.

When complete, this village gem will once again be a positive contributor to the charming character of Manchester, Vermont.  Its lucky inhabitants will reap the benefits of a tight and energy-efficient home that boasts the conveniences of modern living while maintaining the nostalgic grace of a bygone era.

Going the Distance

At Ramsay Gourd Architects, we have a policy that we want to be your architect for life.  And while not on the same level as the covenant of marriage, we do take our relationship with our clients very seriously.  Not always will we see things eye to eye, but through open and candid discussion, we can usually gain an insight into each other's paradigm and learn to appreciate our differences.

 Park Avenue Residence

I believe this is why so much of our our work is with repeat clients.  From our little practice in Vermont, we have had opportunities to work, not only in New England, but also in New York, New Jersey, and most recently, Southern California.

While I am a big advocate of regional contextualism, I believe that through careful study, good visual communication and an understanding of site conditions and indigenous construction practices, a thoughtful designer can do responsible work.  Sometimes, this requires tapping into local talent to achieve our goals.  In Manhattan, I have employed an excellent expediting consultant to help navigate through the bureaucratic labyrinth of New York permitting.  On the New Jersey coast, I worked with engineers who understand the nuance of appeasing the Zoning and Building Administrators.  In Monecitto, CA, my role is that of the designer, working with an architect of record who will be doing the heavy lifting by generating the working drawings and permitting packages.

Montecito, CA Residence

While this may seem like a laborious and potentially costly way to approach the design process, it does have some built-in efficiencies.  Primarily, we know each other.  As a designer, I understand my clients' tastes and idiosyncrasies.  They know how to communicate with me, and hopefully have established a level of trust in our work.

Food for Thought

Computer Model View of Dining Room and Open Kitchen

 For over a year, I have had the pleasure of working with a passionate couple who are following their dreams to Vermont.  Michel Boyer and Beth Whitaker packed up their stable urban life to move to the country and open a Provence-inspired Brasserie.  Michel has spent his life in the hospitality industry, most recently as manager of Brasserie 8 1/2 in New York.  Trained as a graphic artist, Beth has developed her hand as a fine oil-painter.  This husband and wife duo combines their creative energy with experience in the business of hospitality.

Michel labored over the restaurant's name.  He wanted something clearly French, pronouncable by the great American un-washed, and reflects the sense of place he envisioned. Brasserie L'Oustau de Provence sums that up for him.  For those of you, like me, who have no idea what that means, the following definition should shed a little light.

Oustau  (oo – sto’), -noun  1. an ancient Roman agricultural homestead structure found in the South of France, often occupied by landowner, farm workers, and their extended families, serving as the heart of community. 

Working with Steven and Lauren Bryant, who helped to locate and evaluate potential properties, we seriously studied two other sites before selecting the building at 1716 Depot Street in Manchester.  The property was a going concern, but had little to do with the concept or menu of what was to become Brasserie L'Oustau.  What it did have were high ceilings, an open kitchen and an antique bar that oddly enough was perfect for our vision.

I took a field trip to New York and attended the annual hotel and restaurant show there.  While in the city, I met with Michel, and he took me on a whirlwind tour of the best brasserie spaces that Manhattan has to offer.    Balthazar, with its cool vibe and great sense of place has the recipe well worked out.  The architecture and details at Brasserie Ruhlmann are exceptional.  But what would would you expect from a restaurant named after the great Art Deco designer Emile-Jaques Ruhlmann?  Artisinal Bistro on 32nd and Park combines the brasserie dining experience with an exceptional fromagerie that purveys some of the finest hand-crafted cheeses available in the city.

Massive Columns,  brass-capped banquettes and
carefully selected lighting combine with a custom mosaic
floor to create a true brasserie environment.

Armed with this vision and sense of experience, we attacked the plans with enthusiasm.  (I had also just read Danny Meyer's book, Setting the Table, which re-lit my hospitality sense from my years as an innkeeper.)  The thesis was clear.  The concept concrete.  And the scope of worked pre-defined.  We set out taking down walls to create the open feel and dynamic flow.  I designed a custom mosaic tile to paint the floors with, and detailed massive columns that are iconic elements of our brasserie precedents.


We are not yet two months into the project, and as the tile is laid, the space is really coming together.  Lighting will be installed next week and furniture arrives as staff training takes place the following week.  A soft opening will launch three weeks from now, and I can hardly wait.  I'm sure that L'Oustau will prove to be a comfortable and envigorating hub for our community.

Eat Your Garden!

Ellen Ecker Ogden’s new book, The Complete Kitchen Garden has just come out, and it is worth buying if you are at all interested in growing your own wholesome food.  The book is a great collaboration, bringing together Ellen’s vast knowledge and eloquent writing, Ali Kaukas’ brilliant photographs and a catalogue of watercolor illustrations that I painted.

The New York Times book review states “Ogden’s recipes zero in on the freshest possible ingredients.  If you don’t have a garden when you crack this book open, you’ll be ordering seeds by the time you put it down.”

Ali’s photographs range from the broadly illustrative to the intimate.  Her landscape shots will take you away to warmer days and secret gardens while her close-ups will make your mouth water.  Ellen’s fourteen garden schemes make for delightful watercolor compositions.  Intricate geometries are rendered with a loose hand that brings about colorful interpretation.

More than just an inspiration, this book provides step-by-step instruction on how to develop a beautiful, edible landscape and literally bring the fruits to the table.  You can now purchase copies through Ellen’s website, or at the Northshire Bookstore in Manchester, VT.

Designing for Designers

This morning I had the pleasure of working with photographer, Lisa Cueman, and client and designer, Daphne Markcrow on a scouting session at Daphne’s barn conversion.  What a treat it was to have all of that talent coming together from different disciplines.

Craig & Daphne Markcrow were amazing clients.  Craig’s business, Vermont Structural Slate, provided the resources for the beautiful stone slabs and tile we used on the job.  Daphne is the founder and lead designer of the equine –inspired handbag and luggage company, Oughton Limited.  Her understanding of detail and construction paired with a disciplined editorial eye meant that she could clearly articulate her vision. 

The resultant project is so simple and elegant.  It is a reflection of both confidence and sensitivity.  If my job is to provide a portrait of my client through the built environment, the success of this project lies in the simple sophistication that this talented couple exhibits.

Today we hung some of Lisa’s amazing photographs in the space.  Her equine portraits and abstractions were such a natural fit in the space, they looked as though the project had been designed around them.  Check out her work at her website.  

Additional snap-shots that I took at our session can be seen at Ramsay Gourd Architects.

Getting Coordinated, Part IV in a series on the design process

It has been quite some time since I updated my blog.  I wanted to bring my readers up to speed on the progress being made on our case study.

Through the photos attached, you can see how the prescriptive bylaws of this seaside community shaped the final building massing.  We were not able to add the shed dormer to the left of the primary gable, as that area falls outside of the building envelop.  The primary roof ridge is pre-existing, but taller than is currently permitted.  This is why I had to step the building down where we extended it to the right.  As architects, our job is to work within the confines of zoning restrictions, client needs, engineering limitations and site context.  We produce our best work when we meet these challenges head-on. 

My last trip to the site was a time for systems coordination.  I have been meeting  with the HVAC contractor, plumber and electrician to coordinate trades and make certain that things like ventilation grilles don’t end up in either unsightly locations or in configurations that are at conflict with how the house will be furnished and used.

By looking at our point of construction, it may seem early.  But all plumbing, lighting and appliance selections should be made by now.  We have assembled comprehensive fixture schedules that are keyed into the drawings.  Once fixtures and finishes  have been selected, we draw them into the interior elevations, indicating tile layouts, lighting and plumbing fixture locations and any other specific product installations that will need to be accommodated.   It is this early coordination that limits the number of costly mistakes that can be made along the way.