OUT/ABOUT: Frank Lloyd Wright’s ‘Fallingwater’

In Out - OUT/ABOUT: Frank Lloyd Wright's ‘Fallingwater’

In Out - OUT/ABOUT: Frank Lloyd Wright's ‘Fallingwater’

In Out - OUT/ABOUT: Frank Lloyd Wright's ‘Fallingwater’

In Out - OUT/ABOUT: Frank Lloyd Wright's ‘Fallingwater’

In Out - OUT/ABOUT: Frank Lloyd Wright's ‘Fallingwater’

In Out - OUT/ABOUT: Frank Lloyd Wright's ‘Fallingwater’

In Out - OUT/ABOUT: Frank Lloyd Wright's ‘Fallingwater’

In Out - OUT/ABOUT: Frank Lloyd Wright's ‘Fallingwater’

In Out - OUT/ABOUT: Frank Lloyd Wright's ‘Fallingwater’

In Out - OUT/ABOUT: Frank Lloyd Wright's ‘Fallingwater’

In Out - OUT/ABOUT: Frank Lloyd Wright's ‘Fallingwater’

In Out - OUT/ABOUT: Frank Lloyd Wright's ‘Fallingwater’

In Out - OUT/ABOUT: Frank Lloyd Wright's ‘Fallingwater’

In Out - OUT/ABOUT: Frank Lloyd Wright's ‘Fallingwater’

In Out - OUT/ABOUT: Frank Lloyd Wright's ‘Fallingwater’

In Out - OUT/ABOUT: Frank Lloyd Wright's ‘Fallingwater’

In Out - OUT/ABOUT: Frank Lloyd Wright's ‘Fallingwater’

Iconic architecture makes your heart sing in a way like no other. No one forgets those treasured moments spent in buildings and spaces all around the world that enliven the senses, that move and inspire us to travel more, read, eat, dance and take a moment to just take it all in and breath.

In writing a list of places to visit in a lifetime, Fallingwater by Frank Lloyd Wright could be singled out as potentially the most iconic house. Over Christmas, our designer Dominique visited the house for an in-depth tour (which allowed photos to be taken inside the house!) and today we bring to you a small snippet of her own treasured goose-bumpy moments at Fallingwater.

Fallingwater is a house like no other, built over a waterfall in Bear Run in southwest Pennsylvania’s Laurel Highlands. Commissioned by the Kaufmann family from Pittsburgh, the house was built between 1936 and 1939 and was owned and used by the Kaufmann family until 1963, when it was entrusted by Edgar Kaufmann, jr., to the Western Pennsylvania Conservancy. To date (despite conservation works), everything inside the house remains as it was in 1963 despite receiving over 4.5 million visitors.

What perhaps is most enchanting about this house is its synonymous relationship with the environment in which it is found. Despite its assertively modern conception by Wright, it is so beautifully executed as the icon of Wright’s principles of ‘organic architecture’. The landscape of the whole Laurel Highlands is reflected, is celebrated in the house – the sinuous raw winter branches, the buttery yellow of the wheat fields, the orange of the leaves in the fall, the charcoal grey of the rolling hills late afternoon, the intense snowfalls and the long hot summers. It’s raw and it’s rugged, it’s pitching a tent in a storm, it’s seeking shade on a dangerously hot day – it’s the unmistakable sense of adventure that makes this house so truly unforgettable.

The colour palette is that of the landscape injected with the modernism of Wright’s signature Cherokee red for the steel work. Brass window hardware glints in the sun like the stream which runs underneath the building. The spines of locally quarried stacked stone are built as a stylised replication of the striations of the large natural rock shelves behind the house. The bathrooms and bedrooms are modest in scale and decoration yet meticulously detailed for moments of sheer joy such as a half arc cut out in a timber desk which allows a window to swing open (see below), to fireplaces seemingly organically carved up and out of the slate floor as if it was found that way.

It is only natural that we find ourselves captivated by the interiors of the house. Everything from the materials, to the custom designed built-in joinery (Wright’s method for mitigating a furniture fit out by his clients!) to the paint colours create a unified, rigourously yet entirely organic composition.

To our modern standards there is such austerity to the interior at face value yet in the space every single detail, every texture, every material feels so harmonious to the greater context of the building and the landscape. It is one big harmonious symphony of beauty, inspiration and delight and well worth the 3 days out of New York City to get lost in Wright’s masterpiece.

Credits: Photography by Dominique Brammah

Anna Kovecses: øyenvitne

In/Out - Anna Kovecses

In/Out - Anna Kovecses

In/Out - Anna Kovecses

In/Out - Anna Kovecses

In/Out - Anna Kovecses

Its always refreshing to see something so pure where the balance of colour and composition nestle like perfect bedfellows!

Anna Kovecses has really hit the nail on the head with these books covers for Norwegian publishing house øyenvitne (Norwegian for ‘eyewitness’). Her brief included logo mark, visual identity and covers for four crime novels by young Scandinavian authors.

Two dimensional yet collaged, their naive beauty reminds us of the painterly yet geometric compositions of Matisse and the hand-cut quality of Jean Arp and our own Kirra Jamison with a David Hockney pool series colour palette. The juxtaposition of their stylised bright covers to their content make them all the more appealing.

Anna Kovecses lives on the seaside in Cyprus with her boyfriend and small daughter creating delightful graphics with just the right dose of nostalgia – sounds idyllic doesn’t it!

Credits: Anna Kovecses

Julia Schauenburg: 52 bunches of flowers I bought myself

In/Out - Julia Schauenburg: 52 bunches of flowers I bought myself

In/Out - Julia Schauenburg: 52 bunches of flowers I bought myself

In/Out - Julia Schauenburg: 52 bunches of flowers I bought myself

In/Out - Julia Schauenburg: 52 bunches of flowers I bought myself

In/Out - Julia Schauenburg: 52 bunches of flowers I bought myself

In/Out - Julia Schauenburg: 52 bunches of flowers I bought myself

In/Out - Julia Schauenburg: 52 bunches of flowers I bought myself

In/Out - Julia Schauenburg: 52 bunches of flowers I bought myself

In/Out - Julia Schauenburg: 52 bunches of flowers I bought myself

In/Out - Julia Schauenburg: 52 bunches of flowers I bought myself

In/Out - Julia Schauenburg: 52 bunches of flowers I bought myself

In/Out - Julia Schauenburg: 52 bunches of flowers I bought myself

52 Bunches of Flowers I Bought Myself‘ by Julia Schauenburg is a study of flowers in various stages of decay. It illustrates a year of contemplation about the social connection we have with flowers, romance and relationships. Schauenburg originally from Hamburg who lived in Sydney and now lives in Berlin, explores the grief of lost love, romance and gesture, documenting the point in time when romance becomes nostalgia. This series was exhibited at Damien Minton Gallery in 2010.

The flowers seen in mid-life or at the end of their decorative purpose as a still life photograph are serenely mesmerising. Although melancholy their soft palette and poise are whimsical in both a heartwarming and a heartbreaking way. And with the next Chat in a Chair on the way there is no time like the present to celebrate the vulnerability and the beauty of flowers.

Credits: Julia Schauenburg

Declercq Mobilier

In/Out - Friday Musings: Declerq

In/Out - Friday Musings: Declerq

In/Out - Friday Musings: Declerq

In/Out - Friday Musings: Declerq

In/Out - Friday Musings: Declerq

In/Out - Friday Musings: Declerq

In/Out - Friday Musings: Declerq

In/Out - Friday Musings: Declerq

In/Out - Friday Musings: Declerq

In/Out - Friday Musings: Declerq

In/Out - Friday Musings: Declerq

In/Out - Friday Musings: Declerq

In/Out - Friday Musings: Declerq

In/Out - Friday Musings: Declerq

It’s all about a passion for bending tubes. For more than half a century Belgium furniture manufacturer Declercq Mobilier have been bending for schools, institutions, restaurants and hotels, concept stores, architects and interior designers.

They bend to make timeless and iconically simple furniture of steel pipes with continuous lines creating volume. It’s furniture-making with the pure and humble idea of designing with paperclips.

Recently showcased at Maison&Objet Paris, Declercq is a bit of classroom nostalgia with the timelessness of simple, honest furniture-making with a contemporary colour pop of personality.

Credits: Declercq

Out/About: Jennifer Tyers ‘Tropical Gardens’

In Out - Out/About: Jennifer Tyers, Tropical Gardens

In Out - Out/About: Jennifer Tyers, Tropical Gardens

In Out - Out/About: Jennifer Tyers, Tropical Gardens

In Out - Out/About: Jennifer Tyers, Tropical Gardens

In Out - Out/About: Jennifer Tyers, Tropical Gardens

In Out - Out/About: Jennifer Tyers, Tropical Gardens

In Out - Out/About: Jennifer Tyers, Tropical Gardens

In Out - Out/About: Jennifer Tyers, Tropical Gardens

In Out - Out/About: Jennifer Tyers, Tropical Gardens

In Out - Out/About: Jennifer Tyers, Tropical Gardens

In Out - Out/About: Jennifer Tyers, Tropical Gardens

In Out - Out/About: Jennifer Tyers, Tropical Gardens

In Out - Out/About: Jennifer Tyers, Tropical Gardens

In Out - Out/About: Jennifer Tyers, Tropical Gardens

In Out - Out/About: Jennifer Tyers, Tropical Gardens

Jennifer Tyers is an artist from Tasmania who is currently based in Borneo. With ‘Tropical Gardens’ surrounding her in abundance, the artist has captured a collection of 21 vibrantly paintable landscapes for this exhibition at Edwina Corlette Gallery in Brisbane.

One can vividly imagine donning a wide-brimmed straw hat and taking a long leisurely afternoon stroll or a plunge in the meandering rivers or a snooze under the shade of a palm tree in these intimate scenes of pure joy.

Jennifer Tyers ‘Tropicals Gardens’
Edwina Corlette Gallery
555 Brunswick Street, New Farm, Queensland 4005
Online exhibition catalogue can be viewed here

Credits: Edwina Corlette Gallery

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