POINT OF VIEW
When asked to describe our work there's always, and still, a moment's hesitation;
Partly from a general suspicion of categorization, but more deeply from a firmly held notion that metamorphosis is deep in the DNA of what we do, the response to the question is a wry smile, and:
"Let's talk."
Growing out of our education in art history which necessitated unbiased evaluation, objectivity is our starting position. Context, and responsiveness to the client, are frequently mentioned as hallmarks of our work, but more than being merely characteristic, they are things that we actively look to celebrate. Partly out of respect for the natural, and the built environment, and partly from a deep and resonating connection to the continuum of history, we tread carefully; evolution, refinement, nuance and finesse are employed alongside innovation, flights of fancy, and coup de genii.
Frankly, we appreciate the fine and the rare, and are not shy to employ masterpieces. Just as frankly we deplore snobbishness; ("kind hearts ARE more than coronets") The simple and the modest when they are demanded, also flourish, and beckon as brightly as ormolu. It's ultimately this discernment, this knowledge of 'the right thing' that serves as an underpinning of our work. knowing the how and the why of objects, vocabularies, and vernaculars, as well as solidly understanding the needs to which this knowledge can be addressed, is fundamental to who we are.
What then might be a leitmotif is this: our environments, our microcosms, our microsystems, are exemplary of a creation that values harmony of both being and form, generous in beauty, hospitable, authentic, and...loving.
SYNERGISM
Fluency in visual language, along with the facts of the history of architecture and the arts, allows for an especially potent form of design. Our ingredients, so to speak, carry an added richness, a deeper tone, a finer timbre; the result, we feel, excites yet also caresses: It is a joy both atavistic and rational.
The union of original ideas, first generations, and passionate rediscoveries, even seemingly disparate, is a thrilling marriage; love that reaches across time, Magna Graecia to Adam period London, or le grande siecle to les trente gloriouses can prove to be very compelling passion.
We avoid synchronicity; we look to create veracity. It's in the balance of exuberance and restraint, in understanding the benefits afforded by precise decisions, and in the knowledge of the genesis of ideas, that allows compositions to be made which vastly ascend beyond the mere sum of their parts.
And it's not only in a material sense that we are connoisseurs.
Our imagination mines the vastness of time; we have the spirit of 'the now', we hold the 'zeitgeist,' but buoy it up with nothing less than something as immodest as the riches, both physical and intellectual, of the history of mankind.
This is a thrilling endeavor, alternately precise in miniscule, yet sweeping, humbling but glorifying.
We are passionate. We are optimistic. We revel in our work.
