Week 2 in New York

Throughout week 2, I continued my media capture and continued my research. I continued viewing exhibitions and continued capturing media. This week I focused on capturing media using Super 8 film and 35mm film. Through my continued research this week I focused more on finding scholarly resources that could be used in my research paper for this project.

Additionally, I experimented with editing software to figure out a possible way to mix digital and film footage without it being jarring. I have created two test clips from the same original footage and although the aspect ratio is wrong to mix them, they fit fairly well together.

This coming week, I will transition to a full-on writing mode where I will begin creating my written research paper and full exhibition review, which will be concluded the following week. 

Week 1 in New York

Throughout this week I began my physical research and media capture. Throughout this week I visited several museums, visited the archive, and began to capture media around the city.

MoMA

The first exhibition I viewed was New Order: Art and Technology in the Twenty-first Centuryat the Museum of Modern Art. This exhibition took works from MoMA’s permanent collection that dealt with the ways artists are experimenting with technology (both in correct uses of materials as well as misuse) to challenge the ways people currently use and experience these technological forms. 

Photo by author.

Photo by Author.

Photo by Author.

The works in this exhibition ranged from a self-playing and generating video game, to a simulation presented as a 16mm film video and a work that examines the history of video and sound mediums as a way of exploring infrastructure and the ways technology influences the collective understanding of time. Overall this exhibition is an interesting way to see how artists are currently pushing the boundaries of technology.

Guggenheim

At the Guggenheim I viewed the exhibition Implicit Tensions: Mapplethorpe Now. This exhibition is first and foremost a retrospective of Mapplethorpe’s work. It includes pieces throughout his entire career and includes not only his photos but some of his constructions as well.

Photos by author.

NYPL

In commemoration of the Stonewall Riots, the NYPL has the exhibition Love & Resistance: Stonewall 50. This exhibition presents items from LGBTQ history as well as photographs from the library’s archives to show how Gay Liberation exploded. 

Photos by author.

Archives

This week I visited the archives at the New York Public Library Schwarzman building. In this visit I specifically focused on viewing materials about masculinity, sex roles, and other related topics. This archive has some of the most extensive collections in not only physical documents like ephemera, photos, and ads, but also video, interviews, and scholarship. Overall this visit gave me a different perspective to look at the topics I am dealing with in my art. 

Media Collection

Throughout this week I also began collecting media for the creative portion of the project. Overall, due to the sheer amount of changes in NYC from the last time I went (read gentrification) I am not finding the amount of media that I would like so I will be also adding materials from rural areas as part of my project to provide that final part of the contrast and strengthen this work.

A person standing next to a tree

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A store front at day

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A group of people in a city

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Photos by author

Street Photography & Videography

            Street photography and videography in a most general sense is about capturing candid moments in time. It becomes about capturing the ephemeral in order to express the spirit of humanity and those who occupy the space. In general street photography is defined by its lack of defining characteristics. While there are quite a few artists who focus on street photography and videography, there are three, 1 filmmaker and two photographers, that begin to stand out based on the works they are creating.

Tim Sessler

            Tim Sessler is a German born filmmaker working in New York City. In his works he seeks to tell the stories of people and places in visual and engaging ways (Sessler). While he uses stabilizing equipment to get his shots his goal is also to not allow the final product to become to sterile while also testing the limits of the equipment (Brooklyn Aerials). His storytelling is seen through two of his works WOLAKOTA (fig. 1) and MOMENTS // NEW YORK CITY (fig. 2).

            The term Wolakota stands for the Lakota’s sacred way of life and stands for “peace, harmony, good relationship and respect between human beings and all forms of life” (Sessler). By using this term and juxtaposing the imagery from the Lakota reservation and New York City, Sessler is contrasting two stories that would fit this same way of life.

            In MOMENTS // NEW YORK CITY, Sessler wanted to capture the lives of everyday people in New York city along with how “awesome and inspirational” the city is (Sessler). In a sense, Sessler wanted to make the everyday extraordinary through this street videography in New York.

Phil Penman

            Phil Penman is a noted British born photographer working in New York City. His work seeks to show the various kinds of people in the city and capture the emotions around him in order to force the viewer to reconsider their perspective of the world (Photolemur). His work currently is showing the juxtaposition that is New York currently with the influx of the super-rich forcing those with less money out (Photolemur). This juxtaposition becomes clear through two of his pieces, DRUNK IN MIDTOWN, NEW YORK, 2018 (fig. 3)and DOWNTOWN GRAFFITI, NEW YORK, 2011 (fig. 4).

            The image DRUNK… shows a woman in Midtown Manhattan who is displeased with something and needs to get her fix (fig 3). This image is not something that a tourist bureau or city government would want out about their city, but the image depicts the reality of some individuals there.

            The image DOWNTOWN… also shows a large juxtaposition that Penman captures in his work. In the background of this image there is construction going on for a new building and there are these pristine other structures, but in the foreground, there is a mass of buildings that aren’t particularly clean and are covered in graffiti (fig 4). This image captures the reality of the city not just the pristine marketing front.

Diane Arbus

            Diane Arbus is a noted street photographer from the twentieth century. She produced work where she depicted the lives of those who lived outside of society’s norms (MoMA). Additionally, when taking street portraiture, Arbus befriended her subjects instead of objectifying them, which resulted in intensely powerful works (MoMA). Two of her more important works are Identical Twins, Roselle, New Jersey, 1967 (fig. 5) and A young man in curlers dressing for an annual drag ball N.Y.C. 1966 (fig. 6).

Identical Twins… notably has important implications, which further adds to the uncanny nature of this photo. Even though these two young girls are physically almost the exact same there are little details that show the viewer glimpses of their differing personalities. For example, one is smiling and slightly forward while the other is slightly farther back and frowning (fig 5).

A Young man… also has important conceptual implications in her work as a whole. It depicts an individual who is openly defying societal norms during a time when norms were conformity was preferred above all else.

Figures

Figure 1. Tim Sessler, WOLAKOTA, 2019.

Figure 2. Tim Sessler, MOMENTS // NEW YORK CITY, 2015.

Figure 3.Phil Penman, DRUNK IN MIDTOWN, NEW YORK, 2018.

Figure 4. Phil Penman, DOWNTOWN GRAFFITI, NEW YORK, 2011.

Figure 5. Diane Arbus, Identical Twins, Roselle, New Jersey, 1967, The Art Institute of Chicago.

Figure 6. Diane Arbus, A young man in curlers dressing for an annual drag ball N.Y.C. 1966, HarvardArt Museum.

Works Cited

Arbus, Diane. A young man in curlers dressing for an annual drag ball N.Y.C. 1966, HarvardArt Museum. https://www.harvardartmuseums.org/collections/object/286038?position=0

– – –. Identical Twins, Roselle, New Jersey, 1967, The Art Institute of Chicago. https://www.artic.edu/artworks/67958/identical-twins-roselle-n-j

Brooklyn Aerials. Blog. http://www.brooklynaerials.com/blog

MoMA. “Diane Arbus”. n.d. https://www.moma.org/artists/208

Penman, Phil. DRUNK IN MIDTOWN, NEW YORK, 2018. https://www.philpenman.com/artworks/11-phil-penman-drunk-in-midtown-new-york-2018/

– – –. DOWNTOWN GRAFFITI, NEW YORK, 2011. https://www.philpenman.com/artworks/categories/2/25-phil-penman-downtown-graffiti-new-york-2011/

Photolemur. “Photographing Everlasting Diversity of New York City with Phil Penman.” https://photolemur.com/blog/photographing-new-york-city-with-phil-penman

WOLAKOTA, Vimeo, uploaded by Tim Sessler, 2019. https://vimeo.com/315586873

February 23, 2018- Weekly Studio Update

In printmaking this week, I started working on a monotype. I have never done this process before but it is the closest you can get to painting with a printmaking process since each print will look totally different from the one before it. The monotype process I’m using is a reductive monotype. A reductive monotype is the process where you take a process color (Cyan, Magenta, or Yellow), roll it out on a plate, and then remove the areas you do not want to show that color. You start with the lightest color (yellow) and move to the medium (magenta) and then on to the darkest (cyan) to get your initial design. If you are familiar with commercial printing this process is essentially the art version of it. The cool part about this process is after doing the original three layers you can then doing additional layers of the process colors to experiment with more color interaction and get the final results you want. Below are some images of my works in progress.

For my digital works I created a podcast “The World as it Is”. This podcast parodies the right wing talk radio while also educating listeners on the scary things going on in the world today. I hope to possibly expand on this project in the future since podcasts are more of a series, but we need to see how this one goes before I decide on that. If you want to listen to it, I have it on my website as well as embedded from sound cloud below.

In Graphic Design this week, I completed my children’s book cover. This project was cool because it required us to think about a demographic that we wouldn’t usually make work for and make things that aren’t usually cute, cuter. I am finished with this project and I am happy enough with the way it turned out, and might end up turning it into an actual book (if only there were 30 hours in a day).

Finally, for my personal work, I created a couple of drawings. One is just a nice octopus drawing and the other is a more political drawing of a hand gun following the numerous mass shootings entitled Baby Killer. This piece describes how most of us are feeling following these attacks where children are senselessly murdered at school. Hopefully, this piece can help change some minds.

Also, check out how I have been updating my website with some of my more recent work.

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January 26, 2017- Weekly Studio Update

So I wanted to start a new blog series to post my happenings in the studio each week. As many of you know I am an art student and this semester I have 3 studios in addition to my personal work so this will be a good outlet to keep everyone up to date on what I am creating.

In my Printmaking course, I just finished the first project. This project was a collagraph, which if you’re not familiar is the process where the plate is built up with found objects, glue, and other random stuff to be able to print. It is honestly a really cool process that even non-artists could have fun doing! After building up the plate I did a series of relief prints (which took longer than it should have since I was trying to get used to the Medieval torture device press), a series of etching prints (or for those of you printmakers out there intaglio), and a series of combined prints. Below I’m including a picture of the three best that I used in the class critique.

In my Advanced Multimedia course, which is a combination of video art and interactive media, I have been working on my first project which layers two videos with Millumin and uses a Kinect to track a person’s movement in order to reveal the video on the lower level. Oh and I almost forgot that I made my own sounds for the video to further get my message across. Through testing the project is coming along well, but there will be more to come on this project next week.

In my Graphic Design course, I am in the process of finishing the first project which I chose to design the wrap for a donut truck (the other option was a heating and cooling truck). In this process, I went from basic sketches to a full-blown digital 3D rendering of the final product. Now to create the presentation!

 

Finally, for my personal work, I am beginning to think more about how I want to focus my work thematically. Currently, I am wanting to experiment more with art from an activist point of view in a similar fashion to Pablo Picasso. His work, especially during and after WWII, made commentary about world events which is part of what makes visual art such a strong medium for communicating ideas.

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Death Blindness

Benjamin Franklin once said, “…in this world nothing can be said to be certain, except death and taxes.” In the developed West, especially in the United States there is a large swath of people who don’t seem to understand this idiom. While the latter is one argument, the former has a significance on culture that is typically ignored. Death has become a taboo topic where people thing they are invincible and able to escape death. This mentality stems from fear, which leads to death being ignored and sanitized from the public eye to the extent that family members fear being around the deceased instead of taking an active role in the burial. This avoidance leads to people not allowing themselves the ability to mourn and experience grief. Sight is essential to the grieving process to create closure in the mind and allow the person to move on. Death is paramount to the human condition, and in the United States the culture has become sanitized of death, which does not allow people the ability to grieve and move on with their life.

The idea that death rituals in the United States have changed is not debated, through lobbying and the passage of laws the death rituals of the United States have been completely changed; however, the old ways are significantly healthier mentally. This classic death ritual, today known as a natural burial, can still be performed in some locations today but due to lobbying by the funeral industry, it is becoming few and far between. Caitlin Doughty, an alternative mortician and the premiere voice on alternative burial rituals, states, “The world used to be our burial ground. We buried bodies on farms, ranches, and in local churchyards––anywhere we wanted, really” (From Here to Eternity: Traveling the World to Find the Good Death 216). Historically, the family would prepare the deceased for viewing and then the burial took place in a private cemetery on private family property with the family or religious leader leading the burial followed by burial by the family. This direct role helped the family work through the grief that the death caused. They would hold visitations in the home and it would become a somber multi-day affair allowing the family the time they needed to grieve and the ability to have some time alone in a familiar environment to be with their loved one. In this role sight took a forefront because all of the extraneous details were removed and the family was allowed to be alone with their loved one, take care of them, and bury them once they were ready. 

Today, however, sight has taken a backseat and it prevents people from being able to grieve. Following the advent of the internet, there has been an surge of Laissez-faire direct cremations. In this system the family fills out an online form where they pay with a charge card, then the deceased is picked up from the hospital, home, or other place and transported to the crematorium where they undergo cremation, and finally the remains are shipped to the family through the postal service. The family never sees the deceased and plays no role in the ritual. While some families must do this due to financial reasons in areas where natural burials are not an option or not a known option, there are a significant number of people who choose this option because they fear death and want to act like it didn’t happen. The second is ultimately harmful for the family because they are unable to receive that closure that seeing their loved one allows. Caitlin Doughty goes so far as to make the comparison, “[this process is] the equivalent of grown adults, thinking babies come from storks” (Smoke Gets in Your Eyes & Other Lessons from the Crematory 104). This process intentionally keeps the family in the dark about what is going on and happening to their loved one. Since they are just receiving a container filled with a powdery solid instead of actually seeing their loved on their mind begins wonder whether or not they are still alive and out in the world.

To further the harm of today’s death rituals, the lack of sight has caused death to become less experiential and more intellectual which makes death denial easier. A common psychological ail in the United States is death anxiety. Every year there crowds that flock to therapists over mental anguish that the underlying cause tends to be some form of death anxiety. In their study Mark Vahrmeyer and Simon Cassar set out to identify whether death denial was essential to being alive and discovered “by intellectualising the concept of death, it has the effect of introducing a shield between the experiential stance of the client and the therapist” (162). This conclusion means, in order to truly understand the problem of death denial and work through it the patient has to experience the death of a loved one which is not happening due to today’s cultural shift. By not being able to see their loved one and be able to go through the process of grief, it makes it next to impossible for them to face their fears and be helped by their therapist. It is through this sight that makes it possible for humans to experience death and grieve for their loved ones.

This denial of death due to the lack of sight leads to yet another set of ails. Following the bombings in Hiroshima and Nagasaki the United States Government withheld information from the Japanese people about what really happened to their deceased, even going so far as to deny that the event happened. To further rub salt into the wound, following an atomic blast the deceased are typically vaporized. Barbara Marcón went so far as to say, “Victims could find neither acceptance nor support in society at large, because at this time the community of suffering was not strong enough, the cultural trauma had not yet emerged” (789). What she meant was that by hiding evidence and removing the crucial elements from jumpstarting the grieving process, the Japanese people were unable to grieve the loss of their loved ones and feel the grief they needed to move on. In addition this forced denial of death also contributes to the cultural ails in the United States today where people truly believe they are invincible and they will not die. By not being able to experience the death of someone else and being able to feel that grief something that should be an emotional experience is nothing more than a hypothetical logical experience, which are two completely different experiences. This changed experience leads to the death cultural ails in the United States.

Sight has the power to completely change a person’s mind and has the ability to jump start the grieving process. In their study entitled “The Effects of Print News Photographs of the Casualties of War,” Michael Pfau et al determined that war photography about the Iraq War had the power to trigger such strong responses that it lead the participants to become more strongly against the conflict (160). To the extent, “News stories of war casualties packaged as photograph plus caption elicited more negative affect—puzzlement, anger, and sadness—than those conveyed via text alone” (Pfau 160). These feelings elicited are good indicators that the individual is going through the grieving process. If simply the sight of photographs of deceased strangers has the ability to change an individual’s opinion on war and  jumpstart the grieving process for a complete stranger just think about how important this sight would be toward grieving loved ones.

Firsthand sight is also essential and allows for a more full experience of grief. Following the attacks on the World Trade Center on 9/11, Mayor Giuliani and his administration stopped any and all people from getting near the site and forbid the disbursement of unapproved photographs. Barbara Kirshenblatt-Gimblett stated, “To have been so close to the disaster and yet so insulated from it means that we too knew it from photographs rather than from direct experience of the ruin” (12). While photographs of the loss is better than nothing it is not the same as the actual experience of loss. While photographs have the power to jumpstart the grieving process, this kind of sight still keeps the experience a logical one instead of an emotional one by removing the person from the actual event. It is essential to experience the loss firsthand and see the loved one who was lost or else it can be easy to fall back into death denial. And this death denial doesn’t allow the person the ability to move on and come to terms with the death of their loved one.

The experiential nature of death is truly what makes grief happen and sight is the main factor. In their study Ciara McCabe et al took the same moisturizer and placed different labels in it about the richness of the cream (98). What they ended up finding was “word labels (‘Rich moisturizing cream’ vs ‘Basic cream’) could modulate subjective ratings of the pleasantness and richness of touch, and influenced the representation of tactile inputs in the orbitofrontal cortex,” (McCabe et al 105). This study shows that sight is able to influence the end belief of a situation. If it can change the thoughts on a moisturizing cream it can completely change the experience of grief from the loss of a loved one. By taking part in the death ritual of a loved one and seeing them, the brain is able to have the closure it needs to be able to work through the grief of that loss.

Following the loss of a loved one, social media is a complicated outlet to work through the grief due to sight. Social media can be a good place to work through loss and memorialize a loved one. Vani Kakar and Nanki Oberoi believe, “the major reason why people are increasingly using social media and internet blogs to voice their grief” is because “they are able to experience catharsis by simply expressing their grief on a virtual portal, without having to face the perceived lack of empathy of a fellow human” (373). Facebook, especially, includes a number of features to memorialize a loved one. Not only can a user create a personal memorial, but the memories feature can remind them about the good times they had with the deceased. In addition following a death the deceased’s Facebook page can become a public memorial to remember them. Since interpersonal communication has become more and more digital and lead to the loss of typical face to face communication, this feature set allows a wider group to be able to support those who lost a loved one and help them work through the loss. In addition it can allow those who have gone through a similar situation the ability to provide support to those who they don’t know. And, while this conclusion is valid, the overall argument is a bit more complicated. 

The internet can also be a horrible place to grieve. Kakar and Oberoi also state “the grieving often describe the grief journey to be a a long, seemingly endless one, which often leaves them devastated and frightened and at the same time lonely” (373). So, while the internet and social media can be a great way to memorialize the deceased and work through the loss, it can become a place to deny the death happened. The same feature set that makes the internet a great place to grieve can make it a place to deny death as a reality. Features like Facebook Memories can lead the mind into thinking that the deceased is still alive and still posting to social media and not aging. If photographs appear as memories in the context of a realtime news feed, the subconscious mind will think that the image is a realtime image. To build upon the Pfau article, if images of deceased strangers can jumpstart the grieving process and lead individuals to change their opinion on war, it can lead the mind into believing that a loved one is still alive. This conflicting sight can then lead to death denial and rounds back to all the ails caused by the modern death rituals making social media a complicated place to grieve through sight.

As well, it is possible to have too much sight and to take a death ritual to the extent that it becomes death denial. In the Torajan death practice described by Amanda Bennett in her article for National Geographic, “the departed—and their corpses—remain a part of the family.” In this practice deceased relatives can remain in the familial home for long periods of time before being placed in a familial tomb, where they are then occasionally taken out again for “ma’nene’” or second funerals (Bennett). In the mean time they are left in the house known as “to makula’” or sick person and treated like normal, even being given food (Bennett). One woman was even interviewed as saying, “I’m not sad, because she’s still with us,” while talking about her deceased mother. In this situation the sight in the death ritual becomes a way of denying that the death happened and acting like everyone lives forever. In this capacity the experience becomes one to act like the death didn’t happen and use sight as a means to deny that the death ever happened. 

Finally, the roll of sight in the grieving process doesn’t just end at burial, it can be an essential way of working through the grief. For some people photographs and home movies can be a great way to work through the loss, for others a memorial can be a great way, but for many artists, creating their works can be the way they work through it. One of such exhibits was Jennifer Palmer’s show Mapping Loss which was in the Barr Gallery at Indiana University Southeast. Her work typically focuses on creating maps of emotions or other higher order thinking. For this exhibit in particular she created maps that expressed her feelings of grief following the loss of her mother. The necessity of sight never leaves the grieving process, but it can take completely different forms following the burial to help each individual work through their loss.

In the developed West, the topic of death has become a major taboo, leading to major death denial and the though that death is escapable and eternal youth is attainable. This mentality stems from sanitizing death from the culture and sweeping death under the rug. This mentality leads to people being unable to grieve and feel the loss they are experiencing. Overall sight is essential to the grieving process create closure in the mind and allow the person to move on. Death is inescapable and is paramount to the human condition, everyone will experience it at some point. In the words of Benjamin Franklin, “…in this world nothing can be said to be certain, except death and taxes.”

Works Cited

Bennett, Amanda. “When Death Doesn’t Mean Goodbye.” National Geographic, National Geographic Partners, 11 Mar. 2016, www.nationalgeographic.com/magazine/2016/04/death-dying-grief-funeral-ceremony-corpse/.

Doughty, Caitlin. From Here to Eternity: Traveling the World to Find the Good Death. Norton, 2017.

– – –. Smoke Gets in Your Eyes & Other Lessons from the Crematory. Norton, 2014.

Kakar, Vani and Nanki Oberoi. “Mourning with Social Media: Rewiring Grief.” Indian Journal of Positive Psychology, vol. 7, no. 3, Sept. 2016, pp. 371-375.

Kirshenblatt-Gimblett, Barbara. “Kodak Moments, Flashbulb Memories: Reflections on 9/11.” TDR (1988-), vol. 47, no. 1, 2003, pp. 11–48.

Marcoń, Barbara. “Hiroshima and Nagasaki in the Eye of the Camera.” Third Text, vol. 25, no. 6, Nov. 2011, pp. 787-797.

McCabe, Ciara, et al. “Cognitive Influences on the Affective Representation of Touch and the Sight of Touch in the Human Brain.” Social Cognitive & Affective Neuroscience, vol. 3, no. 2, June 2008, pp. 97-108.

Palmer, Jennifer Laura. Mapping Loss. 23 Aug.–22 Sept. 2017, The Barr Gallery–Indiana University Southeast, New Albany.

Pfau, Michael, et al. “The Effects of Print News Photographs of the Casualties of War.” Journalism & Mass Communication Quarterly, vol. 83, no. 1, Spring 2006, pp. 150-168.

Vahrmeyer, Mark and Simon Cassar. “The Paradox of Finitude in the Context of Infinitude: Is Death Denial an Essential Aspect of Being in the World?.” Existential Analysis: Journal of the Society for Existential Analysis, vol. 28, no. 1, Jan. 2017, pp. 151-165.

Art & Me

As part of my digital art course, we were given the prompt to create a digital storytelling video. The field was wide open, so I decided to tell the story of my relationship with art, how art became my drug.

Get Rid of the 70s Couches

I would like to start by dispelling a myth about interior design. Many people think that your space needs to be completely clean and sterile and that the space needs to have tremendous amounts of unbroken empty space. In good design, however, the goal is to strike a balance between negative (empty) and positive (decorated) space. Furthermore, you can still do minimalism and reach this balance. While I do love some parts of the design of this room, the two big issues are the overall off balance feel and the decor of the space is not a consistent scale.

There are several parts of this room that I do love, and in my design, I am going to play them up. For example, the molding adds amazing character to the space, and that character should be played up since it can be a unifying factor for the space. The wood floor is also amazing. I am completely jealous of it, and the dark wood is easy to include in almost any design. Finally, I love the neutral textiles that are used on the sheer curtains and the rug. Having some neutral elements in a space is a good way to create a backdrop for other bursts of colors without your space becoming overwhelming.

 

The first problem that needs to be fixed is the several distinct levels on the back wall. There is the top of the radiator, the top and bottom of the shelving units, and the top and bottom of the TV. To fix this build a radiator cover and then similar storage units that can be placed next to the radiator and create a continuous credenza along that back wall. Above that hang the TV over the middle and hang floating shelves over the entire wall. This change will create a more developed and cohesive space and define a display area for various books and other decor. By continuing the shelves all the way up the wall, it will also help bring the eye up and make the ceiling seem higher while fixing the multiple different levels.

In the conversation pit there are three distinct scales for the pieces of furniture. One couch is one size, the second couch is a totally different size, and the coffee table is yet another size. These totally different scales is a big reason why the room feels completely out of whack since one couch is significantly heavier than the other pieces in that furniture grouping, which the floral print doesn’t help. To fix this replace all the pieces in the conversation pit (you can keep one couch, preferably the smaller one, if you make it a solid color). Have a single couch and two armchairs in a “v” formation which will face the furniture toward the corners instead of being parallel to the walls. Then add a small side table between the two chairs and either a square or triangular coffee table in the center of the conversation pit. This will create a cohesive conversation area that also adds some visual interest to the room by introducing a new angle to the space while correcting the scale problem.

The next glaring issue is how the lamps are just aimlessly floating in space. Not only do they feel out of place, but they are ergonomically bad; the lamps simply are nowhere near where you will use them. Just get rid of them and replace them with a table lamp between the armchairs and a floor lamp with three spotlights behind the sofa. The floor lamp can be used to give general lighting and task lighting at the sofa and the table lamp will provide task lighting at the arm chairs. Not only is this more efficient but its simply more practical and looks better. This will make the lamps feel like they have a purpose instead of just floating around.

Finally, sheer curtains are great, but they don’t have a huge visual impact. At the ends of the rod add panels that can dress up the window edge and wall. This change will make a sizable difference for visual impact and help bring the eye up for anyone who enters the room since the curtains should go from the ceiling to the floor.

 

In about a weekend with nonpermanent changes this room can be completely transformed from a drab and sterile room that is completely off balance to something that is cohesive and is a space that you would want to spend time in.

Combo Dining and Entry Improvement

In the past decade there has been the development of a new trend, the combined entry and dining room. While not a new concept, it has become incredibly popular in recent years in new construction, especially for people who entertain frequently. This space has a good start, but it could use some help so it feels less sterile. In about an afternoon this entryway and dining room in the historic apartment can be completely transformed. So, let’s design!

There are several things that I like about this space. This space has amazing historic character which you can’t imitate, so just won’t find it in new construction. This space also has a great wood floor, that albeit dark, dresses up the space. The space is also has a great white wall and moulding color which is a great blank canvas to work from. Finally, this space is a “Goldilocks room”, meaning that the space is just the right size, it isn’t so small that it feels overly cluttered  once you put in everything you need, but also it isn’t so large that you have tones of empty space.

The biggest problem in the entryway is the table. That table is not only too tall, but the balance of decor on it is off. The first fix would be to either cut the legs down or just replace the table with one that is a proper size, which is the better option. I love modern, but the ultra modern furniture does not fit in the space and feels out of place. The combination of these two factors makes replacing the better option, but if you are on a serious budget, cutting down the legs and adding some drawer pulls could also solve the problem.

To fix the odd balance of the table, get rid of the current studded lamp and re accessorize the table. On the right, hang a tall mirror, which will bring the eye up to the crown moulding and make the ceiling feel taller. In front of the mirror add a small plate or bowl to corral keys, a wallet, or other odds and ends. On the left side of the table would be the perfect place to put a small plug in hanging pendent lamp which will provide light for the table and help balance the space better. Then under the lamp place a potted plant which will add an organic feel. Finally, under the table add two large baskets in an organic material like jute or wicker which will provide a place to store shoes and add another organic element. Together these elements de-sterilize the space and help it feel more homey.

The dining space is frankly a poor use of space and it makes the room feel like some kind of office waiting room. While a drop leaf table would be great for the space, the current one is an odd square oval thing. Instead add a circle table to the center of the room that is a lighter wood tone and place the chairs in an X formation around the table so this backs face the corners. There is also no reason why the chairs should not be under the table. Then under the table add a large square rug to define the space as a dining area.

With the table pulled away from the wall, that creates the perfect place to create a focal gallery wall. On that wall hang pictures or other mementos that will give the space more character and better fill the wall, the current mirror just doesn’t do it. Then, add some plug in spotlights that will wash the wall with light. Finally over the dining table, hang a plug in chandelier that will provide light at the table. As a bonus tip adding an adjustable light system like Phillips Hue or Lutron Casita will allow the lighting in the room to be adjusted based upon the mood you want.

In about an afternoon, this space is completely transformed from what feels like a sterile office waiting room to a homey well used space. Using simple non permanent changes the space is now usable and beautiful.

Basement Home Office Redo

Designing a home office is always a fun challenge. It’s one space where everything needs to be functional and look good and to top it off, it tends to be in an odd space. This basement home office is no different. With a weekend’s worth of work, this home office can be completely transformed into a function and beautiful space.

There are several parts of this room that we are not going to change because they work well in the space. The room is a nice open rectangular plan which we are going to keep since the basement isn’t used for anything else. The window, albeit small, allows natural light into the room which is fairly rare in a basement so we are going to leave it open like it is. Finally, the recessed lighting fixtures are also nice in a basement because they provide good general lighting without making the ceiling feel like it is lower which is important in a basement. All these qualities help make the room feel more like a home office and less like a basement.

The first change needs to be the color temperature of the room. This room is oddly yellow-orange. To fix the coloring, paint the walls a high contrast or pure white which will cut down on the warmth of the walls. Then replace the recessed bulbs with a higher temperature LED light in Daylight or maybe Cool White which will have a more neutral tone than the lights currently used. Your energy bill will also thank you for switching to LED due to the increased efficiency. Then under the soffit hang a large piece of art that has cool and neutral tones that will also cover the electrical panel since no one wants to look at that. These changes will help cut down on the warm coloring of the room.

The next problem with the room is, the workspace lacks definition. Simply add a large area rug in the middle of the room in front of the large piece of art. This change will define the space as the home office and anchor the workspace instead of just having a desk floating in space in the room.

Then, the office is lacking beautiful functional storage. On the wall with the window take upper kitchen cabinets in a Shaker Style and place them on a simple 2×4 base. On top of the cabinets add a large simple 3×3 cube out of plywood that fits the space. This will provide closed storage and open display storage for the office. This change will allow books, certificates, and personality items to be displayed while keeping paper and supplies hidden. Then put the filing cabinet in the closet because it throws off the balance by being overly heavy and a mid height. That change will increase the storage and create a focal wall for the room.

Next, the workspace lacks the scale and visual impact it needs to have. To correct this, take the current desk and place it on the area rug with its length mirroring the length of the room. Then, add a smaller desk in a similar style perpendicular to that desk so it forms an “L”. On the new desk place the printer and add an All-in-one computer like the iMac which will create a defined computer work zone and make the printer feel less heavy in the space. Finally add two wooden swivel chairs for guests to the office and add a wood and leather office chair behind the desk which will create a more cohesive style for the room. These changes will give the workspace the visual impact it needs and create a more functional workspace.

Finally, the office needs better task lighting. On the computer desk place the current desk lamp. On the other desk where the paper organizer and a desk calendar will be, add a vintage-inspired library light which will create better task lighting for that work zone. Then add LED puck lighting to the shelves and above the piece of art, which will create dedicated display spotlights there and create a more upscale look for relatively inexpensive.

With only a weekend’s worth of work, this basement home office can be completely transformed from a drab and boring space into something that is beautiful and functional. Using simple, non-permanent changes the space is now usable and beautiful.