Laurel Broughton, of WELCOME

YHBHS Interview
Laurel Broughton,

"Often overlooked as architects, the Eames were really good and serious at making their whole lives seem like a giant picnic. There is a joy in their design process as much as in the products themselves. That is much closer to what I want."

-Laurel Broughton

brief bio?

I grew up in Santa Monica at the beach. I moved to NYC to go to college and somewhere along the line I started working at Zing Magazine and then became the managing editor. Zing was an amazing experience both for the places that it took me and the people I got to work with. I studied comparative literature and critical theory with a focus on semiotics in college and the more I was involved in the art world and in the production of an object—the magazine— the more it was a natural evolution to the thinking about the design of objects and environments and buildings in a narrative way.

Eventually I moved back to Los Angeles to study architecture ending up at SCI_arc. After that I worked with a few of different architecture and design offices but most consistently for Johnston Marklee. Right now I'm focused on WELCOME as a multi-disciplinary design practice- and I am teaching in the School of Architecture at USC.

I was so inspired by the whole wall unit series. It is so interesting on so many levels. Can you talk about where the idea came from?
The first Whole Wall actually came out of my thesis project at SCI_arc called folk- it was a body of work produced around ideas about the relationship that the avant-gardes typically have to "newness" and thinking about folk culture as a movement that can create "newness" without demanding a break from the past. I produced prototypes for a number of furniture objects using traditional crafts and commonplace building techniques and materials as a jumping off point but often using new methods or technologies along the way.

The original Whole Wall was one these prototypes. In someways the basic idea is there in the title— Whole Wall- I've taken the notion of a type-V or balloon frame wall construction-studs, insulation, sheathing etc and have given it well—a girth, a thickness and a collage of textures, making something very standard into something decorative but still functional. I'm interested in ideas of appropriation, craft, layering, and also about how we use space and how (in this case) a piece of furniture can actually act as a "wall" or a divider of space. The Whole Wall Shelf is designed to be "in the round"- a screen on one side and a shelf on the other or it can be part screen part shelf on each side. The user can organize it to suit their space or to change their space. Right now I'm translating it from the prototype into a series of pieces that can be produced and sold on a wider scale- adding a desk, a bench and ideally a cabinet to the family. I've also been wanting to make a really big one...a wall literally.

how long is has taken to complete?

Since I finished my thesis in the fall of 2006, I guess you could say I've been working on the Whole Wall Family for 4 years but really in its latest incarnation, just for the last few months. I'm hoping the Shelf, Desk and Bench will be ready by the Fall.

Whole Wall Family

find it so interesting that your background is in architecture, and this piece of furniture is almost a play on that.
I think of architecture as a way of thinking about things and a way of having a conversation with what's around us— a narrative as a communicative device. I'm interested in ideas about scale and space making that architecture deals with. So can a piece of furniture create space in the way that architecture does, or what happens when a piece of furniture relies on similar systems either- in the case of the Whole Wall, a building system or a material organization or a pattern or geometric system.

Did you ever have difficulties with the seriousness of the architect community?
Yes, I often find most of the architecture community is too serious— architecture doesn't need to be a tragedy. Often overlooked as architects, the Eames were really good and serious at making their whole lives seem like a giant picnic. There is a joy in their design process as much as in the products themselves. That is much closer to what I want.

Atelier Bow Wow

I know so little about contemporary architecture, anyone you could turn me on to?
Hmm...I really appreciate the Japanese firm, Atelier Bow Wow. They have a way of being both serious and playful at the same time... finding and documenting amazing occurrences in the built environment of Tokyo and then using those observations in their own work. Their houses are lessons on making the most of small spaces.

Your pieces seem to celebrate "PLAY", almost a melting pot of Ettore Sottsass, Pee Wee's Playhouse, Roy McMakin, and others. Anyone you are specifically inspired by in your life?
You've hit the nail on the head! Definitely Ettore Sottsass and Roy McMakin play a huge roles and they make for strange bedfellows...Sottsass's use of color and shape and McMakin's subtle play with the domestic everyday. Pee Wee's Playhouse use to really creep me out as a child but now I think about Gary Panter's work all the time. I've been thinking a lot lately about the way we create relationships to objects sometimes by giving them personalities— anthropomorphizing our belongings- Gary Panter on the Pee Wee's Playhouse set took that super far.

Did you have a favorite board game as a kid?
I loved Clue...the board with the plans of all the rooms, the different floor materials and the little game pieces...- the language that was involved—"Cornel Mustard in the drawing room with the candle stick."

Plans for WELCOME for the upcoming year?
Yes I have tons of plans! Next month, Wagon, my first product is launching which I'm really excited about. I'm also working on a commission for a small group of jewelry for a friend who is launching an online store. And there is the aforementioned Whole Wall Furniture Family in the Fall.

What were two things you wanted to be when you were a kid?
I think I wanted to be a writer and an architect...kinda boring that I actually am both. I'm realizing in my old age that I'm pretty single-minded, as much I as think I'm off track I'm not...a good and a bad thing I suppose.

Knotted in the style of loose macrame or net,
Knot Security Curtain echoes the diamond pattern of a chainlink fence
or security grate and provides a softer side of security.
To be hung inside or outside!!!

A native Angeleno, Laurel explores her interests in the roles of material culture, craft, and style within architecture and design through collaborations and publications with and without WELCOME. She received her B.A. from New York University (NYU) and her M.Arch from the Southern California Institute of Architecture (SCI_arc), she is a certified LEED AP. Prior to her architectural training, Laurel was managing editor at zingmagazine in New York City. Laurel has experience working with a diverse group of architects, designers and artists including Johnston Marklee, Greg Lynn, Sussman/Prejza, Bestor Architecture, Taalman/Koch and Jeffrey Inaba as well as the artists Ester Partegas and Devon Dikeou. She teaches design studio in the USC School of Architecture. Her writing and designs have appeared in a variety of forums including, Volume, North Drive Press and the Storefront for Art and Architecture. She is also a partner in Euneveuver.

Thank you Laurel!
Go to Welcome site here...

YHBHS Interview
Laurel Broughton,


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New Vision

Sam Moyer's
Los Angeles.

A friend sent this gorgeous flyer to me last week,
and I just saw it hanging in Fix Cafe here in Echo Park.
Must be a sign!

Caitlin Wylde at Sam Moyer's workshop, Los Angeles.
June 4, 2010....


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Louise Bourgeois, 98. R. I. P.

You have to have the courage to take risks.
You have to have independence.

All these things are gifts.
They are blessings.

-Louise Bourgeois

Louise Bourgeois:

She taught me to look into the dark. To not fear the dark side.
To rejoice in emotion, and trust in my own intuition.
That sculpture and art can free us of our demons,
and point us to our path.

A sad day to hear about her passing....

"I only work when I feel the need to express something.
I may not be sure of exactly what it is,
but I know that something is cooking and when I am on the right track.
The need is very strong.
To express your emotions, you have to be very loose and receptive.
The unconscious will come to you, if you have that gift that artists have.
I only know if I'm inspired by the results."

Louise Bourgeois

Louise Bourgeois, the French-born American artist who gained fame only late in a long career, when her psychologically charged abstract sculptures, drawings and prints had a galvanizing effect on younger artists, particularly women,
died on Monday at the Beth Israel Medical Center in Manhattan.

She was 98.

NY Times...

Art is a privilege, a blessing, a relief.
Privilege means that you are a favorite, that what you do is not completely to your credit, not completely due to you, but is a favor conferred upon you.

Privilege entitles you when you deserve nothing. Privilege is something you have and others don’t. Art was a privilege given to me, and I had to pursue it, even more than the privilege of having children.

The whole art mechanism is the result of many privileges, and it was a privilege to be part of it…The privilege was the access to the unconscious. It is a fantastic privilege to have access to the unconscious. I had to be worthy of this privilege, and to exercise it. It was a privilege also to be able to sublimate. A lot of people cannot sublimate. They have no access to their unconscious.

There is something very special in being able to sublimate your unconscious, and something very painful in the access to it.....

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@ Misako
and Rosen

Fergus Feehily
June 6 Sun - July 4 Sun 2010
Misako and Rosen, Tokyo

Modest in scale and material, often incorporating found items and generally pale in palette, the works of Fergus Feehily gently, yet persistently, embody complexity while prompting patience. On first appearance soft, subsequently subversive, Feehily's work engages viewing. Subtle geographies, both psychic and physical, the paintings and objects in assorted media (sculpture, book) play- re-enacting process while activating space.

Less perceptual puzzles than possible conversations, Feehily's works elude closure; many of the recent paintings either contradictorily presenting the hidden (painted surface partially obscured behind another surface) or exposing, counterintuitively, the subtle or as he refers to it, "lower-case" violence used in their making, paintings, for example, screwed to the wall through, rather than behind, their surface.

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cirlces of
and stripes
of blue.

cirlces of
and stripes
of blue.

1. Frank Stella Rug, 1970's, via Modern One, here.,
2. Francesca DiMattio, Salon 94, here.

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1. sterling ruy
2. carl andre

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1. Olivo Barbieri, Napoli, 1982 , Colour coupler print.
2. Anna Paolo Guerra


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Anne Truitt,
1964 Out
Nippon A - Marine Finish Acrylic
on Welded Slab Aluminum

Spent the afternoon being overwhelmed by color & beauty at Christopher Farr here in Los Angeles, on La Cienega Blvd. Ptolemy Mann, an artist based in London gave an inspired talk about her work, from weaving, installations, new fabrics and architectural commissions. I was particularly obsessed with this digitally printed fabric Christopher Farr is releasing. To say it is psychedelic and charged with energy is an understatement. To say it is refined and elegant, well, that's pretty much accurate!

I left thinking today about Anni Albers, Anne Truitt, Bauhaus textiles, The Light Movement of California, Donald Judd, and looking for colored buildings as I drove down Santa Monica Blvd toward Rachel Harrison's new show at Regen Projects. Melted statues with photographs!

Anni Albers..(1899-1994) s
screenprint, 1985

China, by Allegra Hicks
Christopher Farr, Los Angeles

Christopher Farr has been at the spearhead of contemporary rug design for over twenty years. Together with his business partner Matthew Bourne, they were the catalyst that revolutionised contemporary rug design.

Starting with a small shop in a leafy area of north London, a stone's throw from Primrose Hill, this one time painter, trained at the Slade School, wrought a vision that combined the art of the times with a different form.

thank you christopher farr
and christina tullock....

Varvara Stepanova



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"If there exists a stereotype of the cannibal as a wild-eyed savage from a remote vastness, surely Tobias Schneebaum does not fit it. Turning 80 this month, he is a frail, soft-spoken gay Manhattanite of scholarly disposition and artistic bent. Once briefly a rabbinical student, he lectures on anthropology and art to Barnard students and to wealthy passengers on their lavish cruises to exotic locales.

And years ago, while on a Fulbright grant to paint in Peru, he abandoned his mission, lived among the Amarakaire Indians and accompanied them on what turned out to be a raid on another tribe, which led him to an act of cannibalism. It is this act that serves as the springboard for an engaging and colorful but somewhat overbalanced documentary by a brother and sister team, David Shapiro and Laurie Gwen Shapiro. —

Lawrence Van Gelder , The New York Times

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currently, beginning
to realize the power
of rectangles:
side by side.

currently, beginning
to realize the power
of rectangles:
side by side.

1. robert wilson beach chairs. ptown here i come.
2. edward wormley, interlock and lovely tables.
3. rolu. landscape architecture and one of the best blogs out there..

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Los Angeles:


+ Heath = :)

Very excited
for this!

Heath LA will feature an eclectic array of Playmountain products including its newest line, Chin Jukan Pottery, a collaboration between Nakahara and Korean potter/designer Hyejeong Kim inspired by and fired in a historic 400-year-old Japanese kiln with origins in Korean craftsmanship. The result is four series of modern yet modest, highly-designed yet functional ceramics from tableware to home accessories. The summer shop will also incorporate original, handmade children’s toys from Nakahara’s children’s line, Chigo; clothing by Playmountain’s neighbor, Loopwheeler, a small Japanese manufacturer that uses vintage loopwheel looms, which date back to early 1920s Germany, and which, because of the slow, quality-first approach, only process eight sweatshirts a day; and products by TEMBEA, a manufacturer known for its high-quality fabric bags durable enough to tote and bundle firewood but stylish enough for daily use. Plus, new products will be arriving throughout the 90-day event.

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Final Decline
Total Collapse

YHBHS is in the process of working on a project with Anthony Gerace,
an amazing illustrator and graphic designer based in Toronto.
His illustrated work, "Final Decline & Total Collapse" is exquisite....
Here's a sneak peak of his work, and I'll be posting more
images, and his essay throughout the month.
Hope you enjoy his work, and his words as much as I do.
Thank you Anthony........

"It began with the end. That is to say, it began with the idea of the end.
Which isn’t to say that it started with an end in mind.
But it came with an end in mind; or rather, with several ends in mind.
The original concept came from a lecture in sustainability discussing the final stages of any given culture; the last two stages, of final decline and total collapse.

Anthony Gerace is a graphic artist based in Toronto, Ontario.
His work centers around the handmade, photographic and typographic.

you can email Anthony at,
kidsignature at gmail dot com
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"...Well made furniture in solid wood was made for my building in New York and then in small numbers to sell, as it still is. In '84, I designed some chairs, benches, a table and some beds in sheet metal, which were painted one color to a piece. There were also a couple chairs and a table made of copper. This was for myself, but was also the first furniture to begin as furniture to sell..."

Donald Judd, 1993

I am often asked if the furniture is art, since almost ten years ago some artists made art that was also furniture. The furniture is furniture and is only art in that architecture, ceramics, textiles and many things are art. We try to keep the furniture out of art galleries to avoid this confusion, which is far from my thinking. And also to avoid the consequent inflation of the price. I am often told that the furniture is not comfortable, and in that not functional. The source of the question is in the overstuffed bourgeois Victorian furniture, which as I said, never ceased. The furniture is comfortable to me. Rather than making a chair to sleep in or a machine to live it, it is better to make a bed. A straight chair is best for eating or writing. The third position is standing."

donald judd.
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Triangles for Yesterday.


It's simply
the name of this game!

Living a life that I can't leave behind
But there's no sense in telling me
The wisdom of the fool won't set you free
But that's the way that it goes
And it's what nobody knows
well every day my confusion grows

- new order

I feel fine and I feel good
I'm feeling like I never should
Whenever I get this way
I just don't know what to say
Why can't we be ourselves like we were yesterday

new order....
bizarre love triangle

It's simply
the name of this game!

1. roger hiorns, c/o marc foxx gallery, los angeles
2. todd eberle, photograph, triangle house

memphis design group, cabinet.
4. phillip taffe, gagosian gallery, athens

5. robert swain, 1952. oh the colors!
6. keith haring, triangle painting.

7. forest myers, sculpture, triangular form
8. triangles make a square table!
9. vidya gastaldon, sculpture of colored triangles

you valery!

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François Halard was born in 1961 in France but now spends time between homes in New York and France. He studied at the École Nationale Supérieure des Beaux-Arts in Paris [1]. Soon after, he began working for Decoration International, and then with Conde Nast art director Alex Lieberman. In 1984, François moved to New York City where he began regular commissions for several Conde Nast publications, including American Vogue, Vanity Fair, GQ, and House & Garden.

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