Modern Drift

Form & Function in Your Town

2011-12-26T22:42:00.000-08:00

MTA FLOOD MITIGATION FILTER. (COURTESY LAURA ANN TRIMBLE/CENTER FOR ARCHITECTURE)

For me, living in New York City continues to give new meaning to the famous words of American architect Louis Sullivan, who coined "form ever follows function." In fact, most New Yorkers would probably agree that worthwhile spaces and objects (in their homes and elsewhere) must carry not just one function, but many. (Like the Subway Vent Benches featured here).

Can you think of a building or public space in your hometown that functions particularly well in its surroundings? What about the spaces that don't? What makes them less successful? Share your favorite and least favorite spaces with us.

-Helen Melamed, Marketing Assistant

Frank Gehry Designs Artwork for 54th Grammy Awards

2011-12-26T18:08:00.000-08:00

Credit: Grammy.com

The designer behind this year's official artwork selection for the 54th Annual GRAMMY Awards is none other than Frank Gehry. Check out the image below or visit here for a larger view, and share some of your thoughts with us!

"The Recording Academy has announced its selection of world-famous architect and multitalented artist Frank Gehry to create the official artwork for the 54th Annual GRAMMY Awards. The work integrates traditional GRAMMY iconography with Gehry's unique architectural style in a piece that mirrors The Recording Academy's commitment to celebrating excellence and diversity in art and culture year-round." — grammy.com

Interview: Architect William Krisel

2011-06-29T09:02:00.000-07:00

From right to left: William Krisel, Corinne Krisel, his wife, and David Rago.

California architect William Krisel designed tens of thousands of buildings in the 1950s and ‘60s, including entire middle-class housing tracts for the Alexander Construction Company in Palm Springs. But his were never cookie-cutter designs. He believed that good modern design enhanced people’s lives, and he got involved in every detail of his projects to make sure that the structure, the landscaping, the interior design and the colors were all in harmony. Interviewed in the film William Krisel, Architect, by Jake Gorst, he said, “I’m a firm believer that good modern design can make your life happier and more productive and more enjoyable, and I would really hope that everyone would get an opportunity to experience that.”

Over the past few years, along with the resurgence of interest in midcentury design, Krisel’s work has been gaining new appreciation, especially his airy “butterfly” roof designs, with their soaring walls of glass, that fulfill so well the modernist ideal of indoor/outdoor living. New houses are even being built from his old plans, and the architect, now in his mid 80s, is once again being called upon for his expertise.

David Rago, Modernism’s co-publisher and executive editor and president of David Rago Auctions sat down recently at the Palm Springs Modernism Show for chat with Krisel.

David: What kinds of designs did you do before you started working with the Alexanders?

Bill: In terms of style, it’s more of a language called midcentury modern. It was always expressed in the midcentury language. My work was a California interpretation of Bauhaus and International Style, plus, of course, Frank Lloyd Wright. What you see today evolved from the University of Southern California School of Architecture, trained in the midcentury language. I was influenced by Wright, Breuer, Le Corbusier, in the early days, the ‘40s. It was so exciting to me. I knew all along I wanted to be an architect and read magazines and books on the subject, on the philosophy of the subject. I understood why they did what they did and it’s why I appreciated it. I know it might sound corny, but form followed function, and I still subscribe to that today. It was a commandment you didn’t violate. Whichever project you designed had to have a function and once you solved that, the form had to evolve from there.

I like that the things we’re doing now have a name, such as ergonomic design. I get a kick out of energy conservation and sustainability. Our language was that you studied the sites and the elements and the good and bad of each, and then you compensated for them. The physical house took care of the problem with its design: heat, air, sun, etc. I oriented the house for the views and weather, sunlight, wind, etc. The function of the house was to compensate and take care of those problems.

David: What sort of direction did you get for the design of the Alexander houses? What were the developers looking for?

Bill: The typical builder/developer treated the architect as a hired gun. I wasn’t one of those. I understood the builder was in it to make money and I was in it for good design and architecture, so that people could benefit from it. My problem was to design a house the public could afford to buy. Life was easy once I figured out how to build a good home and make it profitable. Seven of the 10 top builders in the U.S. were my clients. Builders are like sheep, and if a successful builder jumps off a cliff, all the others will follow because they think that’s the way.

Being a landscape architect, I wanted to control it all, not to compromise design. I didn’t want someone else doing interior, color, landscaping, etc. I was able to do the landscaping on all of my projects. Inside, outside, gardens, furniture. We sourced other designers, such as Charles Eames, to outfit the homes from which our clients could choose.

Why did I get to design 40,000 living units? I understood the builders, I knew how to work with them. My design language satisfied their needs to work within a budget and the design tastes of the end buyer. Nothing succeeded like success.

It all came to a dead end in 1969 or so. Cinderella houses became popular: picket fences, dormer windows, etc. I wouldn’t do that. My time was over and I moved onto apartments and condos. I never did another tract house. When shelter magazines were on your side, it was great. But once they hooked onto bric-a-brac, there it went.

David: When the Alexanders were selling a “lifestyle,” what is the lifestyle that they proposed? How did the houses you designed support this?

Bill: The initial concept was that these were second homes. Palm Springs didn’t have a full-year occupancy, because air conditioning was relatively new. You went to a theater or mall for that. My homes were appropriate, easy to clean, taking advantage of what Palm Springs had to offer. The Ocotillo Lodge was the first project by the Alexanders, a destination point. For under $20,000, the first houses were almost at an impulse-buy level. They were priced at $19,000, $29,000 and $39,000. The first development was called the Racquet Club. The second was Twin Palms and the third was Las Palmas. The houses increased in size from 1200 square feet to 1600 square feet to 1,800 and 2,000 square feet. All of them were three to four bedroom homes, with AC and pools and a minimum 100 x 100 foot lot and two palm trees. Fully reconditioned, a $29,000 house sells for about $850,000 now. A $19,000 is now about $550, 000 and a $39,000 home sells for $1 to $2 million.

David: Can you talk a bit about the “butterfly” roofs and how they came about?

Bill: The butterfly roofs were not a new shape. Breuer did it. The arch, the gable, the butterfly are all building forms. The butterfly collected water and could save water. You could control the two points. I did it because when I looked at the mountains, I saw butterflies, gables and flats. Each of my homes has a different look, taking into consideration the mountains. Each had its own function.

David: What do you think of the resurgence of interest in your work? What do you think attracts people to it today? Are they the same things that attracted them in the 1950s and 1960s?

Bill: I’m pleased that midcentury modern has become an acceptable language and people appreciate it. My initial attempt was to get well designed housing into the general public. It’s very satisfying. I had 100 people come to me today to tell me how much they enjoy living in my homes.

David: What do you think about the new interest in green design and sustainability? Were you thinking about those things 50 years ago?

Bill: My homes were designed for the site. Electricity was inexpensive and we were encouraged to use more and more. You were given different ratings based on how electrified your homes were: silver/bronze/gold. Gasoline was also very inexpensive. There was no value in advertising you had a car that went 40 miles a gallon when gas was 11 cents. Midcentury architecture designed into the building, as part of the function, the environment, the elements surrounding the home . [Sustainability] was not an important sales angle. Two palm trees mattered a lot more to the consumer.

David: You have spoken about the architect 50 years ago as having designed all aspects of a house, and that today, the tasks (landscape, kitchen, etc.) are all done by different people, with the architect just supplying the empty box. Can you talk about what it was like to design as an architect 50 years ago?

Bill: Very few architects had the level of control I had. I controlled it all. All designs started with me and ended with me. Even though I had a 60-person staff, I could walk by the drafting tables and spot a mistake. Nothing left my office without my approval. That was my biggest drawback in that I was unable to delegate.

David: You have mentioned that you were influenced by Frank Lloyd Wright. What aspects of Wright’s approach?

Bill: I liked the way his buildings fit the terrain. The non-squares, the triangles, angles, forms, shapes…but it all had a reason, not just because he liked the shape. It could be justified. I asked Frank Lloyd Wright if he would allow me to come to Taliesen West for an interview. I sat at his feet and he asked me where I went to college. I told him and he said, “I said college, not high school.” He asked me why I wanted to be an architect. “We don’t need any more architects,” [he said.] “I’m still alive.” I knew I didn’t want to be a disciple but I still admire his work.

There's an App for That

2011-01-20T10:50:00.000-08:00

That's been a running joke between me and a good friend ever since that wildly popular commercial for the iPhone aired. Any occurrence in life, whether it be something entirely ridiculous or extremely practical, we respond with--"there's probably an app for that." And I've found that to be pretty true. There are apps for just about everything--an app to check what kind of hair day you'll have, a BubbleWrap app to simulate popping bubble wrap, or a Cry Translator app so you'll never wonder if the baby is hungry, tired or bored again.

I decided to see what apps I could dig up for those interested in design, architecture and sustainability. Here's what I found. I've never personally used any of these, so I'm interested to hear your opinion!

Application: The Find Green App
Available For: iPhone/iPad, Andriod phones
Perfect For: Those concerned with sustainability and living a "green" lifestyle.
What It Does: This app helps you to shop green locally. You can find businesses, services or contractors who are focused on sustainability. You can search by industries such as "Home and Office" or "Health and Wellness" and it shows you the location of the business in relation to where you are.

Application: ben® Color Capture™ from Benjamin Moore (Sherwin Williams offers a similar app.)
Available For: iPhone, Android phones
Perfect For: Interior designers, painters, anybody wanting to repaint their home, people who have a hard time explaining if a color is more bluish-green or greenish-blue.
What It Does: This app allows you to take a picture of any color you come across and immediately match it to the great selection of hues in the Benjamin Moore color system. You can save your favorites and compare colors to see how they work together. This is my dream app as I always am inspired by colors but can never seem to describe them or compare them to a color on a palette!

Application: Mark On Call
Available For: iPhone
Perfect For: Interior designers, anyone trying to redecorate their home.
What It Does: It's basically like having an on call interior designer. It "lets the interior design professional, their clients—and do-it-yourselfers alike—plan, preview and carry out their design visions while staying organized and within budget." Check out the website or watch this video to see the many features offered.

Application: Architect's Formulator by Multieducator
Available For: iPhone
Perfect For: Architects and builders.
What It Does: This app offers over 200 formulas in the areas of electrical, carpentry, and plumbing, as well as concrete and exacavations. There are categories for each area,whether it is figuring out how much concrete will be required for a job or calculating the expansion of pipes. It's a relatively hefty price at $10, but I'm sure it must be better than having to search through endless manuels to find exactly where the formula you need is hidden.

Application: Dream Home
Available For: iPhone, iPad
Perfect For: Anyone looking for redecorating ideas.
What It Does: This app gives you a wide range of design ideas for every room in your house. Keep up with the latest home design trends, browse through tons of quality images and draw inspiration from the works of professional interior designers from around the globe. Select interiors based on room type, style and color.

What applications have you found to be useful? Have you used any of these before? Share your thoughts!

-Jamie, Marketing Assistant

Steaming at Philadelphia International Airport

2011-01-20T08:59:00.000-08:00

I had never suffered from “iron-envy” until the blizzard of December ’10 stranded me for a day at Philadelphia International Airport. My flight to Houston (which eventually got canceled) was scheduled out of Terminal D, where nothing but a few overpriced newsstands beckon one’s attention. As I strolled around in search of better shopping and eating opportunities to occupy the hours, I stumbled upon a steamy exhibition of vintage electric irons from the1930s to early ‘50s, located post-security along the C/D walkway.

The irons were collected by local resident Jay Raymond and are the subject of his book, Streamlined Irons. The exhibit, which vaporizes in a few weeks, is part of airport exhibition director Leah Douglas’s effort to bring art to the masses.

If your iron is anything like mine – the most interesting feature is a retractable cord which barely works – these snapshots will leave you suffering from iron-envy, too…

Silver Streak, glass iron by Saunders Machine & Tool Co.; 1946.

Silver Streak, in blue; 1946.

Petipoint, Edmilton Corporation; 1941-47.

Flatwork Iron, Knapp-Monarch Co.; 1939-45.

HMV, HMV Co.; 1935-40.

Boring irons you can buy today.

-Jennifer, Co-Publisher

Vote Now for Modernism's Gingerbread House Contest Winner!

2011-01-04T10:56:00.000-08:00

It's time to pick a winner for Modernism's 1st Annual Gingerbread House Contest! We only received a handful of entrants for our first year, but we were very impressed with everyone's work. Thank you to all who participated. Below are our two finalists. In choosing our finalists, things we looked for included how true to modernist design the houses were, creativity and construction.

As we mentioned previously, the winner will be decided by you - our Modernism readers. To vote, simply go to our Gingerbread House album on Facebook and "Like" the house of your choice. You can only vote for one house despite how fabulous they both are! The winner will be announced next week and will receive a set of personalized note cards from Fabulous Stationery, as well as a set of Modernism back issues.

Gingerbread House #1 by Alyssa

Gingerbread House # 2 by Charlie

A Very Modern Holiday: Part 3

2010-12-23T14:41:00.000-08:00

Today is all about the holiday table! The table tends is a main point of gathering, so it needs to be pretty spectacular. Here are a few odds and ends that I wouldn't mind incorporating into my holiday table. How do you decorate for those holiday dinners?

Himmeli Christmas bowl from The Scandinavian Design Center, $27: These are so unlike the traditional bowls that my family brought out during the holidays. I love the design and the fact that there are matching mugs!

Kluster candleholder, $88: These are simple yet stylish and sophisticated. I would definitely want to incorporate these into my decorations for Christmas dinner.

Helsinki Trays from Modern Tribe, $28-88: These Jonathan Adler-designed trays come in different sizes for different uses, all in coordinating colors. The larger one would make a great latke platter.

Driedel Placecard Holder from Pottery Barn: A touch of modern sophistication that guests, both young and old, would find fun and elegant! These are currently sold out, but hopefully will be available again in time for next winter.

-Jamie, Marketing Assistant

A Very Modern Holiday: Part 2

2010-12-21T11:22:00.000-08:00

Last week we talked about modernist trees & ornaments. Today is more of a hodgepodge of decorating ideas--candlesticks, wreaths, lights, etc.

Bubble lights are a staple in decorating if you going with a retro theme. I don't have a particular place that I've seen these but you can find authentic ones floating around on eBay and other websites, plus there are newly-designed Bubble Lights available. NOMA was one of the first companies that rolled these out and they became wildly popular in the late 1940's.

notNeutral Small Frosty Snowflake Garden Stakes from AllModern, $37.99: I'm a fan of decorating outside as well but I tend not to go over the top - you can't see my home from space or anything! I think these would be a perfect addition to any garden or walkway - they give off that modern feel during the wintertime.

Alessi Christmas Cowboy Statuette by Massimo Giacon on AllModern, $42: I love finding quirky decorations to display on various tables and shelves throughout my house. While I love some of my older and more traditional decorations, I also enjoy finding something that makes a good conversation piece. There were a few others on the site but this one was my favorite!

Mod White Wreath on WingardHome: This is the wreath to go for if you want to get away from your traditional pine and holly wreaths. I think the best thing about this wreath is that it could really be displayed all year wrong. It's just so hip and I adore it. It has since sold out, but here is a great post on how to DIY.

Loop Candelabra at The Jewish Museum Shop, $30: Modernism contributor Judy Polan pointed out these modernist Shabbos candlesticks to us and we agree that these are fabulous. So unique! They also have gold plated ones available.

Jonathan Adler Hexagon Menorah on Modern Tribe, $295: Modern Tribe had a few pages of unique and modern menorahs. One that really stood out to me was this one. I love the colors (reminiscent of Tiffany blue?) and the shape. Each piece can be separated so you can shape it however you'd like.

Tomorrow I will be wrapping up this series of my favorite modernist holiday decorating pieces! I'd love to hear about your favorite modern lights, wreaths, outdoor decor, etc. How do you bring a modernist slant into your Hanukkah?

-Jamie, Marketing Assistant

A Very Modern Holiday: Part 1

2010-12-16T11:21:00.000-08:00

Decorating for the holidays was never a big ordeal in my house. A tree went up, random ornaments went on it and a mishmash of holiday decorations were thrown about the house. There was never a particular style and nothing ever matched. I guess that was our signature look--haphazard, eclectic and very mismatched. What about your holiday decorating? Do you infuse your love for modern design in your holiday decorating? Here our some of our favorite pieces to have a very modern holiday!

Modern trees: At the pinnacle of any modern holiday is a modern tree. Here are our favorites but you can find other alternatives at DigsDigs.

Superstar Holiday Tree from Modernica ; $240: An environmentally friend alternative to the traditional tree! And it's so chic! Made from natural baltic birch. These can be personalized with paint or ornaments and run in two sizes. They've also been calling this the Christmukkah tree as the owner of Modernica said that he wanted to design the tree with a Star of David to please households that celebrate Christmas and Hanukkah.

Lovi Tree as seen on Unison: $125: This is my personal favorite as it is so stylish and unique. I love the shape of it and it looks like it is easy to set up. The best part: every Lovi purchase supports a tree-planting program in a developing country.

Tannenboing Tree, $475: This spiral tree has a very fresh, sleek look to it. It's made from aluminum and is a great pick for those who trying to live environmentally friendly.

Ornaments

Lovi Hearts, $10-15: I absolutely love these ornaments. They are perfect if you are trying to have a non-traditional tree. I love that they are 3-D. They actually come flat like a postcard and you have to punch them out. Reminds me a little bit of origami!

Mid Century Modern Ceramic Ornaments on Delight, $35: These are just gorgeous! I am really loving how they look on a modern white tree! A crafty and budget-conscious blogger came up with a DIY way to get this look.

Modern Glass Ornaments by Eva Ziesal as seen on Unica Home, $30: If you like bright, fun colors, these are for you! They are so unique in their shape and they are perfect for somebody who wants to decorate a little differently for the holidays! One reviewer aptly pointed out, "that they become timeless, not bound to a holiday, but free to float in the wind like the reckless icons of color and shape that they are."

You could also check out these very cute bird cage ornaments (which are a personal favorite of mine given my love for unique birdcages) or I'd suggest looking at some vintage/antique shops online to find some really great midcentury modern ornaments.

And to top it off..

Mr. Christmas Starburst Topper

Gold Wire Star

So, tell us about your modern holiday decorating ... How do you put a modern spin on it? Stay tuned for next week when we talk about modern lights, wreaths, menorahs and more!

Jamie, Marketing Assistant

Enter Modernism's Gingerbread House Contest!

2010-12-02T08:00:00.000-08:00

One of my favorite activities during the holiday season has always been making gingerbread houses. I admit that mine were not always architecturally sound or even very creative, but I've always had fun making them. In an attempt not to embarrass myself at an upcoming holiday party that includes a gingerbread-making competition, I started searching online for gingerbread house plans. I came across some extremely creative gingerbread houses!

All these thoughts about gingerbread houses, coupled with a day in the Modernism office looking at all sorts of modern goodness and talking to our Co-Publisher Jen, yielded the idea to launch Modernism's First Annual Gingerbread House Contest!

Enter our contest for a chance to win a set of Modernism back issues, plus a set of personalized note cards from Fabulous Stationery! They have an excellent selection of modern note cards for all occasions. Here is a sample of what they offer:

Contest Rules

Your gingerbread house must be your own creation and must have a modernist theme. I know you all are much more creative than I am so I'm counting on seeing some amazing gingerbread houses!
Include pictures and a list of the supplies you used to construct your gingerbread house.
Email your submission to jamie@modernismmagazine.com by December 24th.
Finalists will be displayed on Modernism's blog and Facebook. The winner will be voted on by readers.
In addition to the prizes, the winning entry will be showcased on Modernism's blog.

- Jamie, Marketing Intern

Art and Irony in Sin City

2010-11-01T14:22:00.000-07:00

There’s a saying that “free” is the most ironic word in Las Vegas. Walking down the Strip, you’ll be offered free show tickets, free dinners, free slot play and more. Of course, it all comes with a catch - usually having to attend a time-share seminar. But one thing in Vegas that is free and plentiful is art. Yes, art!

Fresh from my Vegas birthday vacation on 10-10-10, here’s a sampling of some of my favorite free Sin City art.

-Jennifer, Co-Publisher


The Bellagio lobby boasts a massive Dale Chihuly installation. In addition, there are several Chihuly glass sculptures in the lounge adjacent to the casino floor.


Left: Several of the older casinos on the Strip retain their Art Deco architecture. Here’s a photo of Harrah’s, as seen while riding down the escalator from the monorail station. Right: I suddenly found myself fascinated with Vegas parking garages. Something about the calm symmetry and lighting, juxtaposed with the surrounding chaos…



The Neon Museum’s mission is to collect, preserve and exhibit classic neon signs that tell the story of Las Vegas’ history. Here are some of the signs they’ve installed downtown near Freemont Street, which is about a 15-minute cab ride from the Strip. (And if you missed it, be sure to get your hands on Modernism’s Winter 2009-10 issue, which contains an article about the Neon Museum. http://www.modernismmagazine.com/backissues/mV12N4.html )


Even slot machines are fun to look at. Some are uninspired, but others are quite beautiful.

	Don’t miss the newly opened casino, condo, retail complex called CityCenter; its public spaces are filled with millions of dollars worth of art from the 20th and 21st centuries. Participating artists include Maya Lin, Jenny Holzer, Nancy Rubins, Richard Long, Claes Oldenburg, Coosje van Bruggen, Frank Stella, and Henry Moore. I was most struck by the Henry Moore sculpture, “Reclining Connected Forms,” 1969-1974, which is installed in the “Park” connecting Aria Resort and Casino with the Crystals retail district.

5 Modernist Bookshelves

2010-09-24T07:40:00.000-07:00

Being both a bibliophile and a lover of modern design makes finding shelving for books difficult. I need the maximum amount of shelving to store all my books and it also has to be reflective of my tastes. Just any old bookcase won't do! Here are five of my favorite modern bookcases that I wouldn't mind displaying my books on!

Modloft Pearl Bookcase found on inmod, $1119: I love this bookcase. It is sleek and stylish and I love that there is room to put picture frames or other decorative pieces. You can also get it in a white finish or a darker brown finish.

Kartell Bookworm Bookshelf found on All Modern, $1115: Ok, so maybe this one isn't the most practical in terms of fitting all my books but I'm ok with that because this is incredible and would be the centerpiece of any wall. These shelves are flexible and can be made into any shape to suit your style. There are three sizes and a variety of colors such as white, black and cobalt. If you look on the website it shows another way that you could transform this bookshelf.

Shelf QUAD standard by Nauris Kalinauskas. Found on ContraForma, €1,150.00: This has such a funky mix of retro and modern and I like that I could fit a variety of books. I have some books that have odd shapes and sizes so this shelf would be perfect to fit some of those books on.

Console Bookshelf by Stanislav Katz: Yes, please! I'd love to have this. I went through a phase in high school and college where I loved black and pink together. If pink isn't your thing, you can request custom colors. The seating part is apparently soft and makes a great place to read!

Neulands Random Shelving found on StyleHive, $2250: This is practical and has a modern design that I love! The best feature, in my opinion, is that the shelves can be adjusted from the back to accommodate those pesky, odd sized books. I think that two of these next to each other would look great and could hold a decent amount of books!

Now that you've seen some of the bookshelves that I'm lusting after, share some of your favorites! What do you look for in a bookshelf? What does your current bookshelf look like?

-Jamie Bennett, Modernism's Marketing Assistant and Resident Bibliophile

Denver Modernism Show – Worth a Cross-Country Trip

2010-09-10T11:42:00.000-07:00

What’s the best thing about August in Colorado? If you’re passionate about design, without a doubt, it’s the Denver Modernism Show. This is the first time I have attended the show, now in its fifth year, and set up a booth to promote Modernism magazine. To put it simply, the show was just plain fun, with something for everyone. Forget New York and LA prices (and New York and LA attitude). This was a show where you could walk out with a cool, colorful Pyrex bowl from the ‘60s for $15 or empty your wallet on the finest vintage furniture and objets d’art. And, unlike the typical modernism show, this show welcomes contemporary artists.

My booth was in a prime location, right next to the main stage. Friday night kicked off with umbrella drinks flowing from the Tiki lounge and the Miss Modernism Pageant, hosted by Charles Phoenix. It was standing room only for the pageant, as a handful of retro-loving ladies donned vintage costumes and performed in a fashion and talent competition.

Saturday afternoon included a vintage electronics show; Sunday boasted a classic car show. Other weekend highlights included Hula girls performing in the Tiki bar, Tiki trivia with prizes, a demo by LUPEC (Ladies United for the Preservation of Endangered Cocktails), a Mad Men makeover booth, and a Beatles tribute band. There were vintage airstream trailers, vintage bicycles, and Sara Lee cakes a-baking.

I took home two items, both for under $30, easily packed into my suitcase. One was a no-name plastic platter, with a bold flower design, and the other was a set of kitchen serving spoons by Danish designer Heiner Boberg, in bright orange.

On a personal note, I got to spend a day with my older sister and her husband, who took me to Estes Park for a visit to the famed Stanley Hotel. Built in 1909 by F.O. Stanley (of “Stanley Steamer” fame) and listed on the National Register of Historic Places, this is the hotel that inspired novelist Stephen King to the write The Shining, one of my all-time favorite movies.

And shine the weekend did. (I even spotted E.T. at the show.) Stay tuned to our Events blog for next year’s dates. We’ll list them as soon as they’re announced.

-Jennifer, Co-Publisher

Modernism's booth.

Miss Modernism Pageant

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Classic cars rolled in on Sunday.

Airstreams ... you gotta love 'em!

One of my purchases.

I bought these from Atomic Blond's booth.

Visiting the Stanley Hotel with my sister.

Even E.T. dropped by the show.

What is Beauty Worth?

2010-06-07T09:06:00.000-07:00

I have been reading a new book called “Mexican Contemporary,” by Herbert Ypma (Thames & Hudson). There are wonderful photos of houses by Luis Barragán, among others, and an incisive discussion about what formed his style. But what struck me perhaps most of all is a quotation attributed to Barragán: “life deprived of beauty is not worthy of being called human.”

I am often troubled about what level of importance to place on design. Not the kind of design that solves important problems, such as how to keep people warm and cool without depleting the planet’s resources, or how to make safer cars, elevators or cribs, but the kind of design that creates beauty: Attention to the way light enters a room. The perfect sweep of a roofline. The color of a wall, a fabric, a backsplash. The pattern on a duvet cover, an upholstered chair, a curtain. The shape of a bowl, a drinking glass, a bookcase, a doorway. These things matter, and I often ask myself, should they? With all the terrible problems in the world — starvation, war, illness, environmental disaster — I sometimes wonder if I should give up being the editor of a design publication and go work for an organization committed to helping the unfortunate of this world.

And then I think about the age-old human aspiration towards beauty, to expressing our wonder at the beauty in the world around us, from the earliest cave paintings of the wild animals that roamed the territory of early humans, to the ideals of beauty in Greece and Rome, to the stained glass windows and flying buttresses of the medieval cathedrals, to the tiled, watered courtyards of the Alhambra, to the simple wooden houses of Colonial America. The list is endless, precisely because human beings have aspired to beauty for eons. It seems to be an essential human need or attribute, like hunger or thirst or violence or altruism, and it is surely one of the most powerful. And while we rue and fear the misery in the world, and hope to contribute to assuaging it, it is good to remember that all humans, once they have satisfied their need for food and water, shelter and peace, are eager, finally, for beauty.

-Andrea, Editor in Chief

5/4: Shades of Modern: Bedroom Paint Color Dilemma

2010-05-04T11:52:00.000-07:00

Bill Baccini, Modernism's trusty color consultant, recently received this question from a reader. If you have color questions, please send it with your snapshots to jen@modernismmagazine.com. Ideas for this reader's color dilemma? We invite you to post a response!

I have a color dilemma that I’m hoping you can help with. Please take a look at the attached photos of my master bedroom. The walls are painted a very pale purple. I think the color is called “American Beauty.” (I bought the paint from MAB a few years ago.) The color is so pale that in some lights it looks white and other times it looks blue. I like that it’s got some life to it but doesn’t compete with my modernist furniture. The problem is that I recently got married and my husband thinks the color is too boring. We live in the Pocono mountain area of Pennsylvania, and I’ve tried to go with light colors and earth tones. My husband prefers bolder colors with more pop. Can you suggest a new “compromise” color that would work for this room? FYI, the adjacent hallway is a light brown called “Irish Cream”. I’ve attached a photo showing the bedroom, looking from the hallway. We can’t afford to change all of our accessories, such as our purple duvet. Do you think a medium brown might work well in the bedroom? Would a darker purple be too overpowering?

Dear Perplexed Pocono Dweller,
While I believe marriage is all about compromise, this may be a battle neither of you has to pick. Though the design community is presently really hot for accent walls whether wallpaper or paint, I choose to be judicious on its recommendation. Your space and situation, however, lends itself perfectly to this solution. Lavenders with taupes and browns are wonderful and chic combinations. I would paint the wall behind the bed a grayed milk chocolate - not too deep, more of a mid tone. This would be a beautiful backdrop for the wood headboard, a nice contrast with the window above and add an inviting warmth that presently is a bit stark. You could then leave the rest of the room its present color or paint it (ceiling too) a shade deeper lavender, still keeping it light but with a bit more personality. In this case I would keep the purple shade fairly neutral (not too red or blue). I would also recommend a smattering of another accent color for room accessories in perhaps a dusty apricot. I do however have one last thought - why no rug? Move away from that wood heavy gymnasium look and throw down an area rug with a range of plush brown and lavender stripes. Sweet dreams!

4-28: Shades of Modern: Should Gail Go Green?

2010-04-28T11:38:00.000-07:00

I am renovating the kitchen of my Manhattan apartment and cannot decide what color to paint the walls. Really, it is one long wall (across from the windows, so it gets a lot of light) and a bit of wall between the two windows, as well as the window frames and the windowsills. All the rest of the walls (under the cabinets) will be covered with the tile you see in one of the photos on the sample card. The day that I took the photos was very overcast so the light is very blue. On sunny days, it is more golden, especially in the early morning, but the windows face north, so most of the day it is a cool light. The kitchen is usually very bright because there is open sky in front of the windows, as you can see from the photo. I thought of going with a very light green, and someone told me that that would look like a hospital. So I tried darker greens but I am afraid to have an enormous green wall. I am afraid it will reflect and make people look sickly. I haven’t tried a really grayed green yet. But it also occurs to me that possibly green is not the only color to try. The tile has green highlights and a greenish cast, and since I also have a black granite countertop and chestnut brown cabinets, I thought I should avoid introducing yet another color. The appliances will be stainless steel. The flooring throughout my apartment is red oak with a clear, satin finish. The adjacent living room is painted white. Lighting for the evening is a mix of dimmable incandescent overhead and 3100k fluorescent tubes under the cabinets above the counter. Of course there is also the ceiling, which I thought I should leave white. And I wondered whether I should paint white or a lighter version of the wall color on the window frames and sills. Finally, I won’t be able to afford a very high end paint job, so the many bumps and imperfections on the walls and door frames from years of bad paint jobs will remain for the most part. I thought that possibly a less dramatic color would minimize the imperfections more than a dramatic (dark green) one. Please help!
-Gail Burk, New York City

Dear Gail,
I must say, you win the "incredible amount of information for picking one color" award. First, judging from your pictures, you are being a little (make that a lot) heavy handed with the depth and intensity of color for the space. Remember that the wall color is a back drop for the room and it's contents and since the cabinets and the counters are strong, lets lighten up. I do think green is a fresh breath of color to soothe the red wood tones and the black counters. Try finding the palest green shade in your tile back-splash and go a shade lighter and grayer/more neutral - this will also work with the white living room better. It is hard to judge exact shade when not in the space but choose a level in depth and neutrality like Benjamin Moore's Vapor Trails #1556. Once this is accomplished take a chip and tape it to the wall and see if it looks good in all the various light situations - remember color can reflect the color around it so adhere it to a neutral area. In a space like this I would paint the trim and the walls the same color. Paint the trim in a semi-gloss and the walls in an eggshell. The eggshell finish won't be as wipe-able as a semi-gloss finish (usually recommended for a kitchen), but will hide the wall imperfections a bit better. Good luck going green Gail and Bon Appetite!

4/21 - Shades of Modern: The Blues

2010-04-21T11:26:00.000-07:00

I've tried for years to find a mid-century modern blue paint for my dining room that goes well with blonde furniture (such as light maple and wheat-finish Heywood-Wakefield), but once I get it on the wall it always seems to look more Caribbean/Southern Florida than modern. Do you have a few favorite blues I could try out? I usually buy Benjamin Moore paint, and have used 212 as a pale yellow/neutral in most other rooms -- where I display my collection of Atomic Starburst dinnerware and other mid-century modern collectibles (mostly in blue/aqua, sea foam green, lime, and red-orange). Thanks for any input! - Julie

Don't feel too blue about your choices. You are unconsciously influenced by the times you live in. What am I talking about? In everytime period there is a collective consciousness in art, music, etc. and color is no exception. In the late 50's and 60's, blue (think TWA uniforms) was one the influencers, so many colors have a blue cast - neutrals were very peachy, oranges were more rust. In the 70's yellow was the cast (think Harvest Gold) so neutrals were warmer, greens more olive. Then we had the 80's and in came reds and purples (think mauves and Nancy Reagan) beige's went pink casted, greens deepened to pine and fuchsia was hot! So, back to you, Julie. We have been coming off a warming trend but warm tones are still very popular - teals, reds, golds and warm browns, (newest now are 80's redo's but look forward to the basic nineties with stones, whites and grayed shades) so when you go to chose a blue you unconsciously go to a warmer shade (tealy). I think what would be authentic would be more of a cornflower or sky blue and would set off the yellow tones of the wood beautifully. Since Wedgewood Blue (YIKES!) and cornflowers may be authentic but hard to live with, go lighter and a tiny bit more yellow with Benjamin Moore's Watercolor Blue #793, Mediterranean Breeze#799, or (less warm and the best one in my light), Soft Sky #807. Often when looking to do a retro color it's pays to do a little research. Go to a library and look at books in color from the time period or a vintage clothing store with clothing from the decade you are researching. Colors should be similar in items from the time period given this collective theory and you just may have to lighten and neutralize them to please today’s eye. Remember lighting in the room is key and color is a backdrop for what's in the room. Good Luck Julie!

4/14- Shades of Modern: If You Can't Stand The Heat...

2010-04-14T11:22:00.000-07:00

Dear Bill,
In my kitchen I have black granite counter tops, honey maple shaker cabinets, red oak hardwood floors, and a brick fireplace. What Benjamin Moore color would you recommend? The foyer leading into the kitchen has marble tile, and the foyer walls have a raspberry Shumacher large traditional paper on them. The adjacent dining room is a very neutral beige.

I'm leaning towards natural wicker, but afraid it will turn green. The kitchen is not dark, but it's not a sun catcher either. The trim color is mayonnaise.
Thank you!
Joan

You must be a very warm person because you sure do like warm colors! With all the honey maple, red oak, brick fireplace and raspberry paper you need to cool down a bit. Oh and by the way ... what's wrong with green? The perfect lozenge to those warm colors would be cool shades of blues, grays and greens. You never want to have a room that is all warm or all cool colors and you never want a 50/50 mix either. With this balance, colors will fight with each other rather than compliment each other. Try and shoot for a 75/25 mix to have a pleasing effect. So, back to you Joan, you seem to have the 75%... now chill a bit on the walls. Pick cool neutral shades like Healing Aloe (1562), Gentle Gray (1624), Windy Sky (1629) or Mountain Mist (868). Although I would need to be in your space and light, I can assure you that these soothing shades will compliment your warm tones and go with your neutral trim and dining room .... "if you can't stand the heat then get out of the kitchen" will not apply!

4/7- Shades of Modern: Victorian Goes Modern!

2010-04-07T11:13:00.000-07:00

I am soon to inherit this painted Victorian bedroom set. It consists of the bed you see in the photos, plus a dresser and washstand that both have white marble tops. This may seem like an odd question for Modernism magazine, but the reason I write is because we are moving to a contemporary apartment, built c. 1989. I would like to paint the bedroom a color that would compliment the antique set, yet lend a bit of contemporary feel, in keeping with the clean lines of the space. Shades of green would definitely not be an option! I like the idea of giving the room a beach cottage feel, but not with a result too quaint or "twee." Any suggestions?

Thank you!
Liz in NYC

Well, that is quite the bed! Magnificent and imposing with a very strong presence, I am afraid a beachy cottage look (unless that "cottage" happens to be owned by William Randolph Hearst) is quite out of the question. This is where color can really help a set like this feel right at home in the 80's. I would recommend you go with strong colors that will give weight to the walls and anchor the pieces within. It can be difficult to assess color when you are not able to visit the site, but upon some reflection, and with a printout of the headboard in hand, I settled on two directions. For a deep solid restful look go with Benjamin Moore's Durango (2137-30). This color is a sort of charred warm gray (a bit green-casted) which will look sophisticated, have presence and show definite intentions. If you would prefer a more subdued mystical feeling try Benjamin Moore's Cloudy Sky (2122-30). This is a dreamy blue -- gray color which looks to have about the same depth as the green of the headboard and is not too far away on the color spectrum. Because of these factors, this shade will soften the lines a bit and pull together the whole look. Lastly I would paint the ceiling (eggshell) and trim (semi gloss) the same color as the wall so as to not interrupt the site line and blur where wall meets ceiling. With a heavy sisal rug, touches of gold and bronze patinas (perhaps realized in some modern light fixtures) and well chosen art work you are good ‘til the next century!

4/7 From the ‘Measure of Man’ to ‘What gets measured gets managed’

2010-04-07T11:06:00.000-07:00

The surge in popular and professional interest in sustainability in recent years has led to a profusion of information in the media (with the attendant ‘greenwashing’ and confusion), and also to increasing rigor and precision in various fields and specialties such as sustainable design.

Vague and ultimately meaningless terms such as ‘environmentally preferable’ that still crop up in the press and even among professionals are being replaced with more accurate descriptions of the actual attributes, or benefits, of buildings, products, and processes. While the intent of sustainable design may retain for some the spirit and goals of the 60s and 70s environmental movement, its focus today is much sharper, informed by an amazingly diverse amount of ongoing research.

Among the essential tools for architects, ‘measure’ is one that has maintained its fascination and relevance over the centuries. From the ancients to the Middle Ages and Renaissance, buildings derived their proportions from various systems of number and geometry that were believed to be harmonic with the universe, and that aligned the human body through the structure and great chain of being, to the reigning deity. Vitruvian ‘man’ of the Renaissance is the apotheosis of this in an iconic visualization, where the naked human figure is transfixed by, and simultaneously animates, the primary geometric figures of proportion. Despite the shattering of tradition occasioned by the French Revolution and the subsequent imposition of the metric system which broke with so many ways of proportioning and working, the desire for order through number persisted. Le Corbusier knew the power of images and systems, and proposed to install his Modulor and system of regulating lines as a modern basis for integrating the human scale and aesthetic s in his designs through mathematics. And he was not alone; countless others have sought to do the same.

Today the use of quantification in design and to measure results is pervasive. But among all the systems and types of measurement, one stands out. The iconic metric of our time is the measure of an elementary molecule whose flows may mean the difference between the continuation of civilization, and a bleak, rough, difficult, and much impoverished alternative. This is the measure of atmospheric carbon dioxide (CO2), and its equivalents in global warming effect (GWE); that is, the extent to which CO2 and other gases increase the greenhouse effect, raise average temperatures, and change the global climate in ways.

We are just beginning to measure everything we do in relation to buildings in terms of how many tonnes of carbon dioxide equivalent (CO2e) are released, stored, or displaced, by the activities required to design, build, operate, and use our buildings. A new icon has not yet appeared, but the closest we have come is the emerging use of a simple scale and rating for all buildings called the ‘Building Energy Quotient.’ Very soon, all buildings will be required to bear a rating of how efficient they are in their energy use, and hence, CO2e production. While this is not Vitruvius, Palladio, Le Corbusier, or Wright, it may be the new measure of our ability to create and sustain an environment in which we and other life forms can thrive, and in which the poetics and sensuality of space do not come at the price of catastrophe.

- Contributed By Michael Gresty, Managing Principal at ALTANOVA Energy+Sustainability

Usonia: Closer To Home

2010-04-07T10:58:00.000-07:00

A friend of mine contacted me the other day to tell me that her childhood home had burned to the ground. Although it was no longer owned by her family, she was stricken with grief. The house had been commissioned by her parents in the late 1940s and designed by a young Frank Lloyd Wright protégé, David Henken, on land in Pleasantville, New York, about 40 miles north of New York City. The community, Usonia, was planned by Wright in the late 40s and contains 3 homes designed by Wright which are excellent examples of his architecture of that time.

Above and Top Podell House, David Henken, 1959. My friend, Stephie, spent her childhood in the house that her parents built. Sadly, all that remains is the foundation and chimney.

Even from my perspective as a kid, 40 years ago, Usonia had a mysterious presence in our neighborhood. I grew up just down the street from one of its nondescript entry points (there were three), and the contrast to our own neighborhood of contractor-built homes with wide stretches of treeless lawns was stark. Usonia’s low-roofed homes gave very little away as one navigated the dark, winding streets barely wide enough for two cars to pass. They tended to open up in back, in the typically south-facing glass facades, and blended into and grew out of the landscape following Wright’s notion of “organic” architecture. The materials used to build the modest homes (small by today’s standards) were wood and local stone (in some cases right from the site), many following Wright’s idea of the “pollywog” design: a utilitarian bedroom wing, to be added to as necessary, attached to the more generous “public” portion of the house. Many of the homes – there are 47 in all – were designed by Henken and architect Aaron Resnick, both of whom lived in the community. Together with the Wright homes, this unified the look of Usonia and gave it a distinctive character.

But what set Usonia apart, as much as its architecture and landscaping, was its community spirit. To be honest, it was a little intimidating to me growing up (and not just because my dentist had his home-office there – was his first name really Icy?) They had built the community themselves, and even after 25 years, there was a sense of pride and love that was completely missing in my neighborhood. There was also a common bond of background: the creators who purchased the plot of 97 acres had moved up from Manhattan; they were young and liberal and cherished the sense of a communal, almost utopian lifestyle. (The original homes were cooperatively owned but that gave way to private ownership when they couldn’t get bank loans to build new homes.)

I no longer have friends who live in Usonia and I don't know if that same sense of community exists today. There have been many additions and expansions of the homes since those pioneer days of the 40s and 50s, and many of the houses have been sold to a new influx of those escaping Manhattan. I'd like to find out if the local pool and tennis courts still exist, if Usonians still celebrate the Fourth of July together as they used to. I would expect that some of the traditions will have faded.

And yet, looking back, I understand why, so many years later and no longer a resident, my friend is so sad about losing her childhood home, even when it’s hard for me to have any connection at all to the house that I grew up in. She no longer lives there, but she is still a part and holds the spirit of that original, pioneering community.

It makes me wonder, could one create something like that today? Can that spirit translate and gain traction in today’s insular society?

I will be blogging more on Usonia, NY, expanding on the notions of sustainability and environmentalism that were the hallmarks of this community established over 60 years ago.

I encourage those of you familiar with Usonia – or other such communities throughout the US – to contribute your comments to the blog.

Stuart

Friedman House, FLW 1948

The development of the circular geometry of this house culminated in the Guggenheim in New York City.

Serlin House, FLW 1949

Although this house is the least progressively geometric of the three, the simplicity of the overlapping forms is understated and masterful.

Reisley House, FLW 1951

Wright's use of the equilateral triangle is carried through all aspects of the house, down to the furniture and light fixtures. Of course.

Usonia, Pleasantville, NY

Note the neighboring treeless lots to the west. The community I grew up in is just to the north, and not quite as barren.

-- Contributed by Stuart Basseches, Architect

Future Sustainability

2010-04-06T10:50:00.000-07:00

The closing quote from Milo Baughman in Modernism's Summer 2010 article about his life and work sums up his deepest concerns:

‘“The structured environment, whatever it is, has to be good for the human inhabitants of that environment. It must offer significant social and emotional benefits; it cannot simply look good … I would like to set this discussion in the most profoundly moral context possible, because that’s where it belongs. In discussing the importance of environment, we are discussing primarily the quality and importance of human life.”’

His understanding of ‘environment’ could not fully anticipate the depth of interest today in environmental sustainability. Such issues were still mostly hidden in a blind spot until about 40 years ago, and only really became mainstream concerns in the last decade. Even today, the unsustainable use of materials to make most furniture and interiors continues. This results in a huge physical burden of waste and pollution affecting land, water, air, the climate, not to mention our interior environments. (The physical effects of poor indoor environmental quality from VOC emissions and particulates on occupants’ health and well-being are better known now, but most of us still live and work in compromised environments with legacy issues).

Designers, manufacturers, and customers increasingly recognize the importance of understanding how furniture can contribute to sustainability through full life cycle analysis of the environmental impacts. (This methodology informs them about the implications of choosing one process or material over another.) Our understanding of the consequences of our choices as well as the design aesthetics that make a product leap off the page or the shelf and into customers’ lives continue to evolve. Without design excellence and a full understanding of impacts, sustainable design is an oxymoron.

If he were alive today, I’m sure Milo Baughman would see the challenge of sustainable design as a logical extension of his concerns, and would apply his prodigious talents to addressing it too

-Contributed By Michael Gresty, Managing Principal at ALTANOVA Energy+Sustainability

3/31 - Shades of Modern: 60's Curb Appeal

2010-03-31T10:53:00.000-07:00

My husband and I are getting ready to paint the exterior of our home. We are in the process of scraping much of the wood, replacing what is not sound, and then priming the bare surfaces. More daunting for me than all this prepping is the task of choosing colors. We are fortunate in that we will be starting with a rather blank canvas. Our roof is 30 years old and recently was damaged by falling branches, so it will be replaced. Hence we can change the color. The stucco is also in need of repair and we plan on painting this also. The only feature which can not change is the stone facade to the left of the front door. (I hope you can see the gray, blue-gray, and rust tones) There will also be shutters added to the 2 front windows to the right of the front door. Our home is an early 60's ranch surrounded by older 3 story homes. Can you give us some direction?

Thank you for your help!
-Rose

This a nice change for me! I love to assess exteriors and help with curb appeal. I am not sure of your taste or approach so I can only assume, since this question is coming via Modernism magazine, that you have an appreciation of the sixties aspect of your home. I am going to work with a palette derived from the stone and throw in a sixties blue (but updated) for authenticity. Let's start with your roof and work our way down. For the roof I would choose a gray that is close to the deepest warm gray of the stone - move away from the present rust tone. To give your home continuity and make it feel larger I would paint the stucco and siding a shade that is close to a mid-tone color in the stone such as a warm taupe (perhaps Benjamin Moore's Willow Creek #1469). Presently your home looks like a white box stuck on the end of a gray/stone box. This color change will join the two in an elegant way and help ground your home. I would paint all trim, shutters, door and garage door a beautiful shade of blue such as Benjamin Moore's Alfresco #1672 to add interest and pull everything together in an upscale way. As an added note - these Benjamin Moore colors are an approximate derived from the photograph you sent me and could change on site. Lastly, now that you have put in all this effort, get yourself a professional landscaper, trim those bushes and show it off!

3/24- Shades of Modern: Spruce Up Your Home Front

2010-03-24T10:42:00.000-07:00

We just bought this lovely modern house in Indiana. It need to be painted and we want to use colors of the midcentury or post modern period. The stone is currently accented with turquoise and the siding is a dark brown. We would like to use a turquoise but perhaps a fresher color on the siding. We are thinking something toward a brown/gold. There is a lot of wood paneling inside so feel we should stay with something to compliment that.

Thank you for considering my request,

Chris

Hi Chris,

Well, first off, I love your house! Though the picture is hard to make out, my initial thought is that your "home front" needs continuity. There are a lot of linear planes both horizontal and vertical giving the appearance of sections and one dark "chunk" off to the right that looks to be your garage. I would tie everything together with a light, warm, grayed neutral (take a look at Benjamin Moore's tapestry beige #975) and then use an analogous color (colors that lie close to each other on the color wheel and give a harmonious effect) for all trim (like Benjamin Moore's coastal fog #976) for a subtle accent. These light color choices will help bring your home to the foreground (light colors tend to advance while darker shades recede), keep your roof supported left to right and really add to the curb appeal. Let me know how it goes!

Do you have a color question that you would like to ask Bill? Please send them to info@modernismmagazine.com

3/17 - Shades of Modern: Freshening Up a 1959 Tri-level in Madison

2010-03-17T10:31:00.000-07:00

Hello,

We have a 1959 tri-level in Madison, Wisc., and we need to repaint. At some point someone painted it the current paint scheme, a redwood color and white with contrasting colors for the windows. We feel the way it is currently painted divides the house up to much.

The brick we have has an orange-ish tint to it. I have included a close up of the brick as well as the back of the house.

We would like to stay true to a period color scheme and would welcome any suggestions you have.

Thank you

Rebecca R.

Madison, WI

Hi Rebecca,

Thanks for your question . This is one of the times (and there are many) that I wish I could be there with my color palettes in hand. The fifties were a time of optimism and light airy pastel colors - we were trying to put the drab and sad war years behind us. I know that you want to stay true to the period but I hope you will allow me to tweak it a bit. No pale blue, lilac or seafoam green for you I'm sure! I do however think, with the rusty orange brick, that a green (let's take a cue from the greens of the period and go with a bluer casted one) would be really uplifting and smart. I would go with two greens that are essentially the same hue or color but vary in value (lightness or darkness of a color) - what I would call a color and a let down or tint of that color. Because the colors are in the same family and one is really a lighter version of the other, when you paint the two sections of your home (I would still paint them different colors because of the vertical siding on one and the horizontal on the other) it will not look choppy as it does now. I would use the deeper green for all the trim, top and bottom, the white horizontal siding and the garage door. I would use the lighter green for all the red color siding. This distribution of color will look great, with the darker color on the bottom of the house (the trim will not contrast here - same color) and the lighter green shade on the top with just a bit of the deeper green trim contrasting to tie in the bottom. Take a look at Benjamin Moore Cambridge Green #468 for the darker shade and Ben Moore High Park #467 for the lighter. Hopefully these will work but at least they will give you an idea of how much the colors should vary. Good Luck .... and keep us posted on how it goes!

Do you have a color question that you would like to ask Bill? Please send them to info@modernismmagazine.com