square foot counts. There’s the production/ manufacturing area, the office area. Everything needs to be transitional. He shows me how a couple modern leather L-shaped couches can quickly disappear from the “office”. When managing two things—a home and a workspace—the boundaries end up bleeding together.
the imperfection of a fold takes place in the box, which then creates a unique ray from the light. Each light is made from different boxes, and we don't take labels off the boxes, so each one really tells a story. I love that there’s a message behind it, because to us design is about stories. For these lights, the story is about remembering what it was.
STANDARD: How did the laser cutter become your tool of choice? SETH: When thinking of different materials to use for furnishings, we played with the layering process, the idea of slices (made possible by the laser cutter). Junker and I were sketching ideas for chairs. We were talking about decks of cards, or stacks of quarters and being able to loosen things up to manipulate shape. STANDARD: And why used cardboard? Most of the boxes are from automotive shops in the neighborhood that are happy to have the “waste” carried away. SETH: There’s that distinct pattern from corrugation, but it’s the unique aesthetic quality you can't plan for that’s so wonderful: where
STANDARD: Tell us about the style/aesthetic of your space. SETH: It just kind of happened. Ah, finally, a good reminder that these attractive young design heroes are also just guys. I think we all have similar ideas and none of us are big collectors of things. Personally, I’ve never kept much. I have two pieces of furniture: a Jakob Wagner Ray chair and an old church pew that I found in my grandparents barn. Junker had a couch. Gentry had a desk. We’ve purged a lot. And we don’t need to have a lot. The things we have, we want to be nice. And what we don’t have forces us to make furniture. If we need something, we make it. Again, such guys. Like, we needed a third bedroom, so we built it.
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