Look Book 2019

Cover: KRONAM DESIGNED BY STEVEN GAMBREL P H O T O G R A P H E D AT D R AY T O N H A L L 1 8 T H - C E N T U R Y E S TAT E CHARLESTON, SC

Inside Flap: PLASTER RELIEF P H O T O G R A P H E D AT BUILDING 45 THE URBAN ELECTRIC Co. CHARLESTON, SC

THE CURRENT At The Urban Electric Co., a passion for craft demands an uncompromising commitment to innovation and industry. Our pursuit is, and always has been, simple: to fuse sophisticated design with impeccable craftsmanship in a way that’s relevant to our modern world and sustainable for generations to come.

VOL. 1

THANK YOU TO OUR CONTRIBUTING ARTISTS: C A R L I S L E B U R C H Illustrations PA G E S 1 4 , 1 5 , 5 1 , 6 3 , 8 9 S A R A H A L L I S O N Textile PA G E 4 1 B R A D L E D B E T T E R Sculpture PA G E 6 9 S U S A N N A B R Y L A W S K I Oil on Canvas PA G E 7 7

CONTENTS OUR CORE

16

COLOR RUSH

36

A LAYERED APPROACH

56

CAFÉ SOCIETY

82

MICHAEL AMATO

44

EVE ASHCRAF T

54

PHILIP MITCHELL

80

KEN FULK

104

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THE DOUBLE ARM PENDANT BLACK FINISH R A L # 8 0 0 4 C O P P E R B R O W N P O W D E R C O AT S H A D E S WITH HEWN BRASS INTERIOR INTERIORS BY JEN LANGSTON INTERIORS

ABBOTT POLISHED NICKEL FINISH POLISHED NICKEL SHADES GARRISON HANG HEIRLOOM FINISH PA R T I A L LY E T C H E D G L A S S INTERIORS BY JAMES MICHAEL HOWARD PHOTOGRAPHY BY MAX KIM-BEE

REX HANG ANTIQUE BRASS FINISH POLISHED NICKEL ACCENTS THE IVY CAFE RICHMOND LONDON, UK INTERIORS BY MARTIN BRUDNIZKI DESIGN STUDIO

15 YEARS AND GROWING THE URBAN ELECTRIC Co. E S TA B L I S H E D 2 0 0 3 I N T E R N AT I O N A L H E A D Q U A R T E R S BUILDING 5, BUILDING 56, BUILDING 45 O L D N AVA L YA R D , C H A R L E S T O N , S C

Because there is always a seat at the table.

OUR CORE By fully engaging our colleagues, clients and craftspeople we ensure that we make good on our promise: to remove barriers between people and possibilities. At The Urban Electric Co., we believe that the whole is always greater than the sum of its parts — something that is as true of our team as it is of the products they make.

ABOUT FACE We are fueled by the creative drive and limitless capabilities of the people behind our craft, both within and beyond the walls of our workshop. These twelve luminaries represent the human spirit bringing our lights to life.

F E AT U R E D O N T H E P R E V I O U S PA G E S : R O S E M A R Y D U N G A N Marathoner W H I T N E Y K I R B Y Health Guru K E N N Y R O U M I L L AT ‘Water’ Man D U S T I N G A R C I A Shortstop J O S H U A M O U LT R I E Tuba Pl ayer J I M L E V I N S Collector M A R G A R E T R O G E R S Wellness Enthusiast S E R G I O W A S H I N G T O N Fisherman M I K E L E W I S Musician T O D D TAY L O R The ‘Toddfather’ A L L I E C O O P E R Fl ower Child S H A R E E W I L S O N Elder Companion

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Craft Meets Culture We pride ourselves on manufacturing processes that secure the growth and sustainability of artisanal production for the future by innovating modern techniques that enhance and refine the hand-built approach as opposed to replacing it. And at the center of all of that? Our unparalleled craftsmen, whose talent, energy and commitment to teamwork drive the whole operation.

Here, four of our brightest stars share their inside accounts of what it’s like to work at The Urban Electric Co. Photographed above from left: TIM BAZZLE

Chief Operating Officer: 5 years MY NGUYEN

Senior Craftsman: 4 years DESIREE INGRAM

ON THE URBAN ELECTRIC CO. MANUFACTURING PHILOSOPHY...

JONATHAN: Everytime I think or talk about The Urban Electric Co., these words come to mind: modern design and current aesthetics.

DESIREE: The daily pursuit of perfection.

TIM: Evolving is one of the words I always come back to. Agile is another, because that’s something we’ve been working really hard on for many years—developing a culture of agility to enable people to flow to the most value-adding place in the organization at any given moment. Flow is also key: People should be flowing, products should be flowing, all in a seamless motion so that we’re able to meet and exceed expectations.

That’s why we’re here.

MY: My three words? Made to order. What we do isn’t about stocking light fixtures; it’s about building every piece from scratch, a process that begins only after a customer orders it.

TIM: Most people don’t operate on a made to order, custom basis—and that’s true both in the lighting industry as well as in the realm of modern manufacturing in general.

Master Craftsman: 12 years

DESIREE:

J O N AT H A N J E N K I N S

Our clients appreciate that something is made just for them, no one else.

Senior Fabricator: 9 year s

ON THE MEANING OF ALWAYS PROUD. NEVER SATISFIED.

JONATHAN:

MY:

Always Proud. Never Satisfied. is our internal motto, and it means everything to me. When I build something, I want it to be the best that I can possibly build. When I look at my creations, I see art pieces, not just lights. Fifty years from now, a hundred years from now, I want to have delivered something so perfect and distinct and personal that you could pull the Cosy or Factory or one-of-a-kind fixture that I built out of a pile and say, ‘That is Jonathan Jenkins’s work. You can tell by the crisp edges, the beautiful welds, the fact that there are no kinks or flaws that he made that light fixture.’ That’s my Always Proud.

Never Satisfied. moment.

When we hit our quota at the end of the day and that little green light comes on to let us know that we’ve made our numbers, it is the absolute best feeling. I’m not necessarily satisfied, but I am gratified. There are people outside of the company who depend on us doing what we need to do so they can do what they need to do — put lights in homes, in restaurants, in hotels—and we never forget them.

Everything in here, everything that comes out of Urban Electric is a piece of artwork, whether it was built just once or recreated in multiple variations a hundred times, whether it was built by one person from start to finish or part of a larger collaboration that helped bring it to life.

Each of our efforts represent an art form, and every skill is essential—from designing and engineering, to the person who takes the time to select parts and materials and then ensure they are dent-free and stay that way for the duration of the project, to crafting, finishing and shipping.

DESIREE: I couldn’t agree more. Each piece carries many different fingerprints, and every single step is equally important. There is no part of what we do that gets special or singular emphasis, because if we did that we would certainly let other aspects of our work and the process slide. And nothing can slide here, as far as we are concerned. Everything has to be in top form and executed at the highest level.

TIM: I would say that the Always Proud part of our motto starts internally and then radiates out in layers: We are first proud of who we are as a team because that’s how we measure our work, our ability to deliver what we say we are going to deliver and the success of our internal culture as a whole. We’re proud of who we are in the community, and how we engage and represent ourselves there, as well. And, of course, we’re really proud of who we are to our clients and to the design world.

But like Desiree said, none of that changes our constant pursuit of improvement. If anything, the things we’re proudest of are the things that drive us to do and be more. Each and every one of us comes to work knowing that we could be doing something different today than what we did yesterday to continue to elevate those experiences that define our business, from the way we interact and learn from each other to how we engage with our clients.

The Never Satisfied part is all about continuously evolving and improving and growing together.

ON MENTORSHIP AND PROFESSIONAL DEVELOPMENT...

JONATHAN: My proudest moment was when this guy on my team who I had been working with and mentoring for three years built a fixture from scratch and the only question he asked me throughout the entire process came at the end, when he turned to me and said, “How does it look?” It’s hard to describe a feeling like that. This was someone who had had a bit of a slow start, and his advancement and accomplishments are indicative of the entire Urban Electric culture to me. We look out for each other. We’re proud of each other. And we work together on things, never against one another. We compete with ourselves only, but in the best and most positive way. Even when I find myself getting a little jealous watching someone execute a skill or do something in a new way, it’s only because I’m impressed and inspired and recognize that I don’t know how to do what they do.

J O N AT H A N J E N K I N S

DESIREE: Or you see them do it faster, or in a smarter way than maybe you’ve been doing it, and it’s a revelation and helps reshape your own approach the next time.

MY: Exactly. We feed off of each other’s creative energy. We also cross-train to develop multiple skills, which naturally creates efficiencies. And the learning flows both ways—newcomers bring fresh eyes and perspectives. It’s all about the big picture and doing whatever is going to make us better.

TIM: In 2017, Dave challenged us to reflect on the why of The Urban Electric Co.: Why do we do what we do? In 2018, we set out to articulate that mission. When the final version was shared, I can honestly say it was a day I’ll never forget.

What resulted was a core value statement about removing the barriers between people and possibilities. And that, to me, defines everything about us, from our apprenticeship program which fosters career advancement and longterm loyalty to our commitment to recognizing and highlighting superlative work and employee behavior to continuously refining our customer experience to serve our clients at the highest possible level.

ON ALWAYS RAISING THE BAR...

TIM:

JONATHAN:

We really never think about our competitors in the traditional sense because, in our minds, we don’t have any. And I’m not being condescending when I say that; it’s simply that we are creating new standards of craftsmanship and building a company and a culture of modern American manufacturing that just doesn’t exist anywhere else. Now, we do borrow some insights and aspects of our approach from companies who specialize in lean manufacturing, but only to the extent that those efficiencies also enhance our ability to create the heirloom-quality products, expand our customization offerings and maintain high-touch relationships with our clients. What we’re doing here is so different than what any other company, any other industry, is doing that it’s less about comparing ourselves to another organization and more about pioneering our own methods and fine-tuning those as we go along.

The ability to learn on the job, to constantly be learning, even if it means experimenting and failing, is what makes this place so special.

DESIREE INGRAM

DESIREE: I love that every day we come in here and are presented with a new opportunity and a new challenge, not just to create something new but to do it better, to be better, than the day before.

We still look back on everything we’ve done and appreciate and recognize our successes, but going forward we are always focused on improving and elevating. There is always room to grow, and that notion inspires me each and every day, all day.

MY NGUYEN

COLOR RUSH Color is a foundational element of The Urban Electric Co. From patterns and textures to mixed-metal f inishes to thousands of paint and powder coat hues available through our innovative matching system, color is the ultimate expression of our customization capabilities.

E LY S TA N D O U B L E H E W N B R A S S F I N I S H W I T H R A L # 5 0 0 1 G R E E N B L U E A C C E N T S

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COSY POLISHED BRASS FINISH BENJAMIN MOORE #BM329 GOLDEN ORCHARDS ACCENTS INTERIORS BY COLLINS INTERIORS P H O T O G R A P H Y B Y N AT H A N S C H R O D E R

T H E F L AT POLISHED BRASS FINISH RAL #3003 RUBY RED ACCENT I N T E R I O R S B Y LY O N F I E L D PHOTOGRAPHY BY JANE BEILES

PICK A COLOR. ANY COLOR.

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Techni-Color CREATIVE DIRECTOR MICHAEL AMATO REFLECTS ON THE EVOLUTION AND IMPACT OF OUR COLOR MATCHING

PROGRAM, AND SHARES A FEW PERSONAL LESSONS LEARNED ALONG THE WAY.

THE CURRENT VOL. 1 44

Michael Amato Color has always been important to our work, and I take it very personally.

As an element, we incorporated color into our fixtures from the very beginning. What we didn’t realize at the time, however, was that our obsession with color would drive us to create an industry-leading color matching service.

Color is foundational.

It’s about making lights part of the overall design of a space. Sometimes, that means making them blend in. I realized this with ceilings, where fixtures often stick out. I love a monochromatic palette and I knew intrinsically that I wanted to be able to match the color of a light to the ceiling. It’s the way to make the fixture blend in and become part of the context of a space, which adds the right kind of impact (especially in, say, a minimalist environment).

Color is everywhere.

Color is also about contrast, about pattern. Color is about visualizing a space through your own lens and determining how the palette of your light fixture reflects the palette of your room. Through color matching, our lights create environments as much as they enhance and illuminate them.

Color, as an accent, can dominate in the best way.

That was the intention when we created the Cosy.

For a while, people loved the colors we created for fixtures so much that they didn’t experiment with new palettes and combinations. With the Cosy, that changed. It was one of the first pieces that people started to get creative with and apply their own takes on the color.

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Color has always meant more than just finishes for us.

Materials matter, too, and we view them as Part 2 of color. Consider the Chisholm Hall fixture, the first design we ever took to market. I pulled the original color from a pattern, and it has become a signature for us. Glass, too. I have these old lamps that had a blue glass that inspired me, and our access to and ability to create colored glass made that material the next step in adding color to a fixture.

Color has made us limitless.

A long time ago, we started with table lamps.

We decided we could start painting the shades, customizing patterns for shades and we brought all of that out to the marketplace, which was exciting. Then, we kept adding more, developing more, figuring out new ways to give our clients options through color. The idea is to make our fixtures your own, and adding color and the capabilities to match it created the opportunities for limitless possibilities.

Color is still our future, and the future is bright.

When it comes to our color matching program, I continue to think, bigger and better. Controlling more through innovation, pushing harder than ever before. We are developing our own paint-mixing capabilities, which means we are going to be able to match not just thousands of shades the way we can now but literally any color in the spectrum. It all goes back to being limitless.

SO WHAT EXACTLY IS THE DIFFERENCE BETWEEN PAINT & POWDER COAT? A primary difference is in the sheen. Paint achieves a matte satin finish, while powder coat yields a glossy enamel-like surface.

PAINT LIQ UID PA INT R EQ UIR ES A SOLV ENT TO K EEP THE BIND ER A ND PIG MENT IN A LIQ UID SUSPEN SION FOR M. PA INT IS A PPLIED TO OUR FIX T UR ES IN SE V ER A L WAYS, INCLUD ING BRUSH, SPR AY A ND BY CLOTH.

VS. POWDER COAT ORIG IN ATING WITH A RICHLY PIG MENTED POWD ER , THIS PRO CES S USES A N ELECTROSTATIC TECHNIQ UE TH AT CAUSES THE POWD ER TO CLING TO THE BODY OF THE FIX T UR E . THE FIX T UR E IS THEN CUR ED IN A N OV EN TO A LLOW THE COATING TO H A R D EN INTO A G LOS SY EN A MEL .

SIGNATURE SHADES: OUR TOP 10 HUES

R A L B A S S A LT G R AY FA R R O W & B A L L

R A L C U R RY

S T. G I L E S B L U E

FA R R O W & B A L L

CALAMINE

RAL OLIVE

RAL NEON YELLOW BENJAMIN MOORE

WHYTHE BLUE BENJAMIN MOORE

RED BENJAMIN MOORE

VA N D E U S E N B L U E FA R R O W & B A L L

STUDIO GREEN

COSY POLISHED NICKEL FINISH BENJAMIN MOORE #2073-20 AUTUMN PURPLE ACCENTS INTERIORS MEREDITH MCBREARTY

TELL US A LITTLE BIT ABOUT YOUR BACKGROUND AND HOW YOU BECAME AN EXPERT IN THE COLOR FIELD.

Eve Ashcraft The renowned color expert, whose New York–based consultancy has helped shape the palettes of institutions, design firms and paint purveyors for more than 20 years, shares her thoughts on hue harmony, debunks popular color myths and muses on the current Wild West nature of light bulb technology.

It is an interesting field, and one that I feel fortunate to have landed in, this slim slice of the design world. I grew up in a bright yellow living room in a beige world — t he daughter of an artist. I took the traditional artist path and eventually began work as a freelancer. One of my early jobs was working with Martha Stewart, who asked me to develop a color line with her. I developed two color ranges for her line. People kept asking me to consult on colors and exteriors, and that led me to where I am today.

YOU ARE OFTEN CITED FOR YOUR HOLISTIC APPROACH TO COLOR AND COLOR SELECTION. DISCUSS WHAT THIS MEANS WHEN YOU ARE APPROACHING A PROJECT.

People often want to isolate color. They will ask, “What’s your favorite color?” To which I reply, “That is like asking what is your favorite musical note.” Everything must work together. It is always about the context that you are inserting color into. There is a whole list of criteria, and everything comes into my consideration, including the kitchen sink.

AT THE URBAN ELECTRIC CO., WE ALLOW CLIENTS TO MIX METALS THROUGH OUR CUSTOMIZATION PROGRAM. HOW DO YOU USE MATERIALS TO INFORM THE TYPE OF COLOR FOR A SPECIFIC PROJECT?

Color behaves differently when it comes to application and the materials [to which]

you are applying it. I am often dealing with stone and the application of color, or glass and the application of color. A lot of times, we don’t think about the surface texture in materials and how color may behave on those textures. I also consider the muscularity in certain materials. Stone is heavy, silk is light — how does one build a color narrative based on the weight and size of objects and materials? It must be a consideration.

HOW DOES ARTIFICIAL LIGHT PLAY A ROLE WHEN DECIDING ON A COLOR?

It is the Wild West in lighting. Light bulbs have made my work a bit more difficult, especially as it relates to LED [technology] and the shift from incandescent light.

Every light bulb has a Kelvin scale — 2700 is about the same as a warm incandescent light bulb (the higher the number, the cooler the light temperature is)— but even these measurements can vary by manufacturer.

As light changes, color changes. Color is only reflective light. Without light, we are literally in the dark. We wouldn’t see color.

I am always dealing with the balance.

“I will decode a space by placing it in context, which has to do with everything I have learned about physical space and how color behaves”

“I GREW UP IN A BRI ROOM IN A BEIGE WO

YOU ARE CONSULTED DAILY ABOUT COLOR CHOICES. HOW DO YOU GUIDE SOMEONE THROUGH THE ENDLESS OPTIONS FOR COLOR? WHERE DO YOU BEGIN?

The client is the starting point. I have learned to be a good listener. People who don’t care about color don’t call me, so my clients are already knowledgeable and their projects range from residential to commercial. I listen to what their objectives are, and I view myself as a guide. After that, I will decode a space by placing it in context, which has to do with everything I have learned about physical space and how color behaves. Maybe it’s light coming in from the south and the room is only used at night, for instance. I also consider the scale of the room, and how people are going to see it and interact with it. It speaks again to that holistic stew.

WHAT ARE THE MOST FREQUENTLY ASKED QUESTIONS YOU RECEIVE ABOUT COLOR FOR A ROOM OR DESIGN ELEMENT?

Most people have preconceived notions about color, like “I don’t want the room to look too small, so I don’t want to make it a dark color,” etc. Don’t I wish that these color rules applied! It would make my life a lot easier. Sometimes a small room is so much more interesting when painted a deeper color. It doesn’t matter if it’s small or feels small, it matters if you want to go in and use it and if it’s interesting. People also need language to understand color. People want to know what the color is called, because it helps inform them.

WHAT IS YOUR GREATEST SOURCE OF INSPIRATION?

Lately, I have been doing a lot of research on frescos. I find that whole mineral surface interesting. I have also been looking into historical pigments. A lot of the time, I am directed by the project itself. For example, I have just begun a conversation with the Art Institute of Chicago about art and color. This propelled me into research about colors in museums. Museums are a life source.

Traveling is also a great big visual refresh.

It’s amazing how different New York looks when I return home.

WHAT IS THE FUTURE OF COLOR?

Changing the color of a room and the objects within it with a certain kind of light. This is informed by a project I am doing in the new Moynihan Train Hall in New York where the designers have actually developed a lighting system that can change the color of the space, so all of the sudden the whole train hall can be blue. That means that instead of painting everything, you use the light source to change the shade. I got really excited about thinking that this is the future of lighting. You could make the whole room glow in a certain way. It happens frequently in commercial environments, but eventually you will change the color of a room anywhere by toggling the lighting.

IGHT YELLOW LIVING ORLD” “The future of color is... Changing the color of a room and the objects within it with a certain kind of light”

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A LAYERED APPROACH A layered look implies curation, collection, collaboration. Pieces infused with a sense of provenance, a backstory, a dynamic quality that feels anything but static. Whether it’s through a mix of lighting, metallic f inishes, paint treatments or patterns, layering heightens drama, suggests personality and point of view and adds dimension to a space in every possible way.

CHELSEA FA R R O W & B A L L # 9 3 S T U D I O G R E E N PA I N T HEIRLOOM ACCENTS I N T E R I O R S B Y M M A R E S C A & A S S O C I AT E S

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THE FINISHING ROOM BUILDING 5 W E D N E S D A Y, J A N U A R Y 1 6 , 2 0 1 9 3:04PM

C H I LT E R N S I N G L E H E W N B R A S S F I N I S H W I T H R A L # 7 0 4 5 T E L E G R AY S H A D E A N D H E W N B R A S S I N T E R I O R INTERIORS BY SIDNEY WAGNER INTERIORS

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C H I LT E R N R O U N D ANTIQUE BRASS FINISH HEIRLOOM ACCENTS R A L # 1 0 2 7 C U R RY S H A D E S WITH HEWN BRASS INTERIOR R E X TA B L E V. 2 HEWN BRASS FINISH HEWN BRASS ACCENTS WHITE LINEN SHADE I N T E R I O R S B Y M A RY M A C W I L S O N

Because the long wait is over.

A MESSAGE FROM OUR

QUICK SHIP PROGRAM

From our shop floor to your front door in a jiffy!

HOUGHTON BRONZE FINISH ANTIQUE BRASS ACCENTS INTERIORS BY STEVEN GAMBREL PHOTOGRAPHY BY DOUGLAS FRIEDMAN

JENNIFER WALL ANTIQUE BRASS FINISH INTERIORS BY ZOE FELDMAN DESIGN

YVES FLUSHMOUNT ANTIQUE BRASS FINISH WITH POT WHITE GLASS INTERIORS BY GERALD POMEROY

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Because you may need to try it on for size.

A MESSAGE FROM OUR

LENDING LIBRARY PROGRAM

A collection of our finest fixtures, to borrow on approval for good measure.

REX WALL BLACK FINISH POLISHED BRASS UNLACQUERED ACCENTS INTERIORS BY LUCAS STUDIO, INC. P H O T O G R A P H Y B Y K A RY N M I L L E T

IMPACT MAXIMUM

FROM PERSONAL TOUCHES TO FINAL FINISHES, THE CONCEPT OF LAYERING IS BROUGHT TO LIFE THROUGH OUR LIMITLESS ABILITY TO CUSTOMIZE.

KENSINGTON HEWN FINISH JAX WHITE FINISH BLACK ACCENTS COM SHADE: S C H U M A C H E R ‘ Z I M B A’ W A L L PA P E R I N M A R I N E I N T E R I O R S B Y M I C H A E L A M AT O

W

hen it comes to adding layers to a

space, we often think of the family heirlooms, the hardwon trophies and the travel mementos and keepsakes that illuminate our personal worlds. But when we consider texture from a design perspective, lighting becomes an equally important component in defining a space and its particular point of view. After all, adding

ERDDIG FLOOR BLACKENED STEEL FINISH

lights to an environment is not just a part of the decor; it

HEIRLOOM SHADE

is a decorating plan in itself, and a roadmap for creating

I N T E R I O R S B Y M A R E S C A & A S S O C I AT E S

a rich space.

PRODUCT Lighting a room is about more than looking up or down; it’s also about the side-to-side glow, the way our image ref lects in a wall mirror thanks to the thoughtfully placed art lamp or tandem sconce duo. We look our best when lit from all angles.

SHADES Our unique custom capabilities allow for bespoke commissions of all sizes, levels of complexity and order volume—as well as work rendered from a Client’s Own Materials (known in our world as COM). Whether it’s a geometric-patterned wallpaper, a bold chintz or a subtle custom trim, we love to see our fixtures come to vibrant and singular life through our COM program.

FINISHES The concept of mixing metals is as much about confronting—and challenging—convention as it is about creating new and exciting ways to ref lect something

SYMON CUSTOMIZED

wholly unique and fresh. Whether wrought in antique

G I LT F I N I S H

brass or seaside bronze or a polished-nickel-anchored

WHITE ACCENTS

combo of the three, our lights stand alone while also

FIG

W H I T E PA P E R S H A D E

illuminating the larger design framework.

CHARLESTON, SC I N T E R I O R S B Y D AV I D T H O M P S O N A R C H I T E C T

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D R AY T O N H A L L W E D N E S D A Y, F E B R U A R Y 2 7 , 2 0 1 9 4:16PM

KRONAM V I N TA G E F I N I S H ANTIQUE BRASS ACCENTS

LANESBOROUGH ANTIQUE BRASS FINISH TRANSLUCENT ANTIQUE MIRROR ON MILK GLASS T R A N S L U C E N T A N T I Q U E M I R R O R O N C O B A LT B L U E G L A S S A C C E N T S INTERIORS BY PHILLIP THOMAS INTERIORS PHOTOGRAPHY BY MICHAEL MUNDY

URBAN SMOKEBELL HEIRLOOM FINISH CLEAR GLASS INTERIORS BY BROCKSCHMIDT & COLEMAN PHOTOGRAPHY BY WILLIAM WALDRON

CHISHOLM CLEAN MODIFIED BLACK FINISH POLISHED BRASS ACCENTS A LTA M O N T W A L L POLISHED BRASS FINISH I N T E R I O R S B Y K E R RY H A N S O N D E S I G N PHOTOGRAPHY BY JANE BEILES

LEX ANTIQUE BRASS FINISH POT WHITE GLASS ETCHED GLASS ACCENTS GARRISON WALL HEIRLOOM FINISH PA R T I A L LY E T C H E D G L A S S INTERIORS BY PHILIP MITCHELL DESIGN PHOTOGRAPHY BY ANNIE SCHLECHTER

HOW CRUCIAL IS LIGHTING TO LAYERING?

Philip Mitchell With design offices in Toronto and New York City, Philip Mitchell is a multi-dimensional wonder whose ability to create fresh concepts for every client is rivaled only by his prowess at infusing each of those projects with equal parts timeless appeal and a modern point of view.

WHEN YOU THINK ABOUT THE CONCEPT OF LAYERING, WHAT WORDS COME TO MIND?

Well, everybody loves that catchphrase "maximalism," right? When I think about layers or that layered look it’s that, but it also calls to mind a sense of luxury and richness. It doesn't have to be formal or fancy, though. You can have a very casual, historical-looking piece that also has a lot of layers. I think it's just a matter of adding to a space or an environment bit by bit, through a combination of the architecture, the decor, the accessories, the artwork, the finishes, all of those things.

You want to try to create a feeling, and the feeling that we are always trying to create is one that's conducive to people spending time together in a space, enjoying one another and just being at ease.

Very. I remember when I was young, one of the very first projects that I worked on was with an incredibly—incredibly—refined woman who was probably in her mideighties. She taught me in the beginning how important lighting was. And when I say that, I don't mean the way that they teach you how important the lighting plan is in school, or even when you start to work for a firm and they're showing you how to do a lighting plan, to put in lots of recess lighting and things like that. This woman was brilliant because she said to me, as we were walking around her house, "I just want you to look at something for one second." And then she stood in front of a pot light, and then she stood outside of it so that she wasn’t in its glow, and she said, "Tell me that I look good in that light." And I looked at her, and she's in her eighties, you know? And I said, "I totally understand." And as soon as she said that, I got it. A room full of pot lights was not for me. So you would rarely see a pot light in any residence or project that I ever work on, because at the end of the day, there is something that is really interesting about adding a tremendous amount of lighting in a space that's not just conventional. There's something about having a fantastic surface-mount, or several. There's something about having some sconces on the wall. Some picture lights. Swing-arm lamps.

Lighting is one of the easiest and most obvious yet overlooked ways to create that extra dimension—and not just with the type of lights, but with the mixture of lights in a room, from top to bottom, side to middle.

HOW DO FINISHES PLAY A ROLE IN LAYERING LIGHTS?

They are so important! From polished brass to heirloom to bronze, there is something that's comfortable, at least to me, about looking at a space that’s not all one finish.

WHAT DO PEOPLE GET WRONG ABOUT THIS NOTION OF LAYERING A ROOM OR A SPACE? WHAT ARE SOME OF THE FREQUENT MISTAKES YOU SEE?

Everything needs to relate to a degree, but at the same time, not be the same.

For instance, at the end of the day, we all have eating areas, which need to accommodate people sitting at a similar height—on a chair or a sofa, an ottoman or a bench—and that’s important; there’s something sort of disarming about having

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everything very low and having two chairs that are super super tall. At the same time, if everything lines up exactly, it starts to be too, almost like a showroom, you know?

RIGHT.

A little bit stagnant. I always like to look at variety, shapes, scale, how things apply to one another. Even though each piece is separate, there's still a relationship that has to connect everything together. Often people think, "You know what? We're just gonna put anything in and it's gonna go," and it doesn't really work that way.

WHICH ROOM OR ROOMS IN A HOUSE ARE YOUR FAVORITE?

My husband, Mark, and I just finished restoring a very old historical house in Nova Scotia, Canada. The original building on the property was from 1770, but the house dates closer to 1795. We spent the past few years restoring it and in the process learned a lot. I am completely attracted to (for whatever reason) lighter, brighter spaces. My husband on the other hand, who has great taste, loves very traditional, sort of stained, darker-feeling rooms and spaces. And so obviously there was a compromise when we were putting things together. Our dining room, for instance, isn't a room that's ever used during the day, so we've gone a little bit deeper and darker there just because we can.

In our living room, which we actually do live in, however, it's all board-and-batten planked walls and planked ceilings, and everything has been painted white. It’s filled with a plethora of different fabrics and colors and furniture and artwork and lighting. But at the end of the day it's also very light and very bright, with three exposures, two bay windows and French doors. And I just love that at any point during the day.

IS THERE ONE PUBLIC OR PRIVATE HOME, REAL OR FICTIONAL, YOU'D MOST LIKE TO STAY IN?

This is my favorite kind of question because it is really hard to answer! Do you remember the movie The Perfect Murder with Michael Douglas and Gwenyth Paltrow? Well, featured in it is this incredible penthouse, in New York, with a variety of styles, just layered and spectacular. It has this incredible Moroccan kitchen, a fantastic living room with an amazing art collection, that foyer with the travertine panels...

So incredible.

CAFÉ SOCIETY It’s called ambiance for a reason. The ambient glow of a thoughtfully lit restaurant can transform any meal into an occasion.

From the dispersal of low light in a romantic dining room to the high-velocity illumination of an all-day café to the laid-back bounce of beams in a bistro, lighting provides an element of stagecraft that extends to the home, as well, and supports the same illusion— that we are our best, brightest and most charming selves when gathered around the table.

MELISSA WALL ANTIQUE BRASS FINISH COM SHADE THE ALEXANDER BROWN B A LT I M O R E , M D INTERIORS BY OXFORD DESIGN STUDIO PHOTOGRAPHY BY AMY PEZZICARA

PENDEEN BLACKENED PEWTER FINISH WITH ANTIQUE BRASS ACCENTS THE MONARCH STEAKHOUSE, ASPEN, CO I N T E R I O R S B Y E M I LY F R A N T Z

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FOLIE MODIFIED HEWN BRASS FINISH KERRIDGE’S BAR & GRILL LONDON, UK I N T E R I O R S B Y D AV I D C O L L I N S S T U D I O PHOTOGRAPHY BY KENSINGTON LEVERNE

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CHARLESTON WALL DARKENED COPPER FINISH POT WHITE GLASS H A R RY ' S B A R LONDON, UK INTERIORS BY WE MAKE IT HAPPEN DESIGN

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Because lasting quality deserves a last touch.

A MESSAGE FROM OUR

FLEET PROGRAM

Our world-class workshop on wheels.

CAFÉ IN THE SAME WAY THE COMMUNAL TABLE SETS THE EMOTIONAL STAGE FOR CELEBRATIONS, LIGHTING SETS THE SCENE FOR MOMENTS OF CONNECTION. WHAT WE’VE LEARNED FROM ILLUMINATING SOME OF THE MOST RENOWNED CAFÉS, BRASSERIES AND BISTROS IN THE WORLD HAS INFORMED THE WAYS WE BRING THAT SENSE OF GATHERING TO LIFE AT HOME. WHETHER IT’S A SCULPTURAL CHANDELIER OVER THE DINING ROOM TABLE, PENDANTS SUSPENDED OVER THE KITCHEN ISLAND OR A FLUSHMOUNT THAT ADDS GLAMOUR TO A JEWEL-BOX BAR, LIGHTING SETS THE TONE FOR EVERY OCCASION.

AL L DAY

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M A L P L A Q U E T, P R I VA T E R E S I D E N C E , JA C K S O N V I L L E , F L

MALPLAQUET WHITE FINISH POLISHED BRASS ACCENTS PA R T I A L LY E T C H E D G L A S S INTERIORS BY ANDREW HOWARD P H O T O G R A P H Y D AV I D L A N D

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MAC BLACKENED PEWTER FINISH WITH BLACKENED PEWTER ACCENTS AND HEWN BRASS SHADE INTERIOR FINISH INTERIORS BY CHEF/OWNER MELISSA PERELLO

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WINSTON BRONZE FINISH ETCHED GLASS I N T E R I O R S B Y K AT H R Y N L A G E R D E S I G N S T U D I O PHOTOGRAPHY BY JOSH GILMORE/NASHVILLE GURU

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Ken Fulk

WHAT ELSE INFORMS HOW YOU APPROACH A SPACE?

DIMENSIONAL WAY–IT’S CLEAR THAT IS A SIGNATURE PART OF YOUR APPROACH.

We hope that you use the word “bold” when describing our interiors. I like that word choice. I also strive to incorporate things that feel evocative and remind us of other places and times. They are not historical recreations, but little pinpoints that I think add some familiarity to all of it. You can’t exactly put your finger on it– you know it, but you don’t know it—and it provides a way for folks to gain entry in a way. There is some level of familiarity, but it is hopefully utterly fresh, new or bold, or it’s that combination of all of the above.

I think that’s really true. Part of me knew when I was a six-year-old boy, who definitely wasn’t like every other six-yearold boy. I would go and climb the step ladder and pick out patterns and clip flowers and sneak into my neighbor's yard and clip theirs, too. I knew that those things mattered, and that it was about the experience. It wasn’t about my vision.

It was about the idea that, why wouldn’t we celebrate this moment? For us as a firm and for me as a person, I think that is what we do. We create experiences that sometimes last one night, like an incredible wedding, or we create something that may last generations, like a custom built multi-year project for a home. I think, in general, all of us recognize that in today’s

HAVING OBSERVED EVERYTHING YOU DID WITH LEGACY RECORDS IN MAKING THAT SPACE AN EXPERIENCE, AS WELL, AND SOMETHING TO ENJOY IN A THREE-

Ken Fulk is no stranger to the spotlight. A prolific designer with offices on both coasts and a penchant for infusing every space he touches with equal parts color and history, he has long been a go-to for restauranteurs and tastemakers at the helm of gathering spaces.

Herewith, a conversation about ingredients with a master designer.

WHAT IS YOUR APPROACH TO DESIGNING COMMERCIAL SPACES OR REALLY ANY SPACE THAT IS GOING TO BE SEEN BY A LOT OF DIFFERENT PEOPLE?

Oddly, we don’t really approach a commercial space or a hospitality space any differently than we do a home. Certainly they are very different because of who is going to see it and where it is located— and all of those are major factors—but we start every project by telling a story first and foremost: We literally write a narrative.

Because I think more than anything, we are storytellers and we are good at it. It’s where my Southern roots come into play for sure. I love to tell a story, whether it’s the narrative of a family or of a place or of an elevator where someone may have only a few minutes.

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world, where we are all hyper-connected by the devices that rule our lives or social media or the notion that the world may be going to shit, we all have a real desire to have experiences. Why they matter, how and where we achieve them—it’s all about how we imprint those memories. So when we created a space like Legacy Records [in which we featured many lights from The Urban Electric Co.], I wanted it to be singular and holistic. You may not see one element, but you experience it all together.

For me, that is what makes it successful.

WHAT ARE THE DESIGN ELEMENTS THAT ARE REALLY CRUCIAL TO A SPACE?

We try to create spaces across the board that people can enjoy and use and not feel like they are too fragile. You do have more constraints in hospitality than you have in residential, of course. You have things that move and things that carry weight, and you may not have the budget to use some things. At Legacy Records, which was truly a ground-up project, the use of bold colors gave it flair. Even walking into the lobby of the building with the floors and the walls, that building did a lot for us. And so, I try to create spaces that are meant to be used and will hopefully endure. I never want to feel like my projects are only for one moment in time.

I am not overly concerned about being “matchy-matchy.” I am constantly wanting to, as I tell my team, “muck it up.” I always say that things look too “decorate-y” and then I add in some unexpected elements.

DO YOU HAVE A COLOR, OR PALETTE OR SECRET THAT YOU HAVEN’T TOLD ANYONE? WHAT’S THE ACE IN YOUR BACK POCKET?

Well, I talk a lot so I’m not sure how many secrets are still left to reveal. I guess my one tip is this: When all else fails reach for the dimmer switch. Spaces are always weirdly overlit, especially commercial ones. We have all of this technology and consulting in lighting, yet everything is always too bright.

One of the things I frequently do is walk into a project we’ve done and head over to the light control. I do it in every space I walk into. With just a little tweaking, the mood instantly changes in the room.

"I also strive to incorporate things that feel evocative and remind us of other places and times" IF YOU COULD ORCHESTRATE THE PERFECT TABLE FOR A MEAL OR A DRINK AT LEGACY RECORDS, WHO WOULD YOU INCLUDE ON THE GUEST LIST?

I have had some pretty good ones there already! It’s all about communing in that space. I’d have to say my dream list would include a young Truman Capote, Lee Radziwill, Beyonce, Julia Child, perhaps, to add a different kind of gravitas. That would be really fun.

DO YOU HAVE A FAVORITE COLOR OR PATTERN THAT YOU ALWAYS COME BACK TO?

Yes, and I have had the same answer since I was four-years-old. My single favorite color has always been orange. I don’t know why it began as my favorite color (actually I do know why it’s my favorite: I am just not sure where it began). I am a lover of color in general. There is not a blue or a green (especially a green) or a blue-green that I don’t love, as well. Secondarily, I love pattern. I am not afraid to mix it up.

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HULL HEWN BRASS FINISH BENJAMIN MOORE #2036-10 C AT ’ S E Y E G R E E N C U S T O M P O W D E R C O AT M AT C H A C C E N T S O PA L G L A S S T H E F L AT HEWN BRASS FINISH BENJAMIN MOORE #2036-10 C AT ’ S E Y E G R E E N C U S T O M P O W D E R C O AT M AT C H A C C E N T S LEGACY RECORDS NEW YORK, NY INTERIORS BY KEN FULK PHOTOGRAPHY BY GENEVIEVE GARRUPPO

D O U B L E PA R L O R D I N N E R AIKEN-RHETT HOUSE CHARLESTON, SC F R I D A Y, M A R C H 1 5 , 2 0 1 9 8:12PM

C H E E R S T O 1 5 YE AR S TO OUR LONG-TIME FRIENDS, WHOSE HISTORY AND SUPPORT GO BACK MANY YEARS, AND TO OUR NEW AND FUTURE CLIENTS, WHO WE LOOK FORWARD TO WORKING WITH AND GETTING TO KNOW IN THE YEARS AHEAD, THANK YOU FOR BELIEVING IN URBAN ELECTRIC. WE FEEL PRIVILEGED TO DO WHAT WE DO, TO DO IT HOW WE DO IT AND TO DO IT WHERE WE DO IT. WITHOUT YOU, NONE OF IT WOULD BE POSSIBLE. THANK YOU.

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