5-14-09: Averett Night Render
I've been working on a composite 3d rendered/digitally painted night time scene with the Averett's home (see below) placed in a Texas hill country-like environment. I did the modeling and rendering of the house a few months ago in my spare time, and just took a few evenings to pull together the scenery in Photoshop. The landscape consists of about 30 layers, most masked, all pulled from my digital photos and adjusted for the scene.
3-31-09: New sustainable furniture and architectural designs
I put together this graphic last night with the intent of conveying the spirit of sustainability that has inspired much of my recent design development, not only in furniture, but also architecturally. Kristin and I have long been drawn to methods that save energy and materials, that allow the re-purposing of quality materials in elegant and innovative ways, that complement the energy and posture of the human body or the surrounding environment.
I intend to put together a similar layout soon that highlights architecture specifically. This will cover Jim and Madeline's home near Fredericksburg, Texas (hill country) which is a super-efficient combo of ICF foundation, Icynene insulated 2 x 6 wall framing, and curved Structural Insulated Panel (EPS) roof. They are both looking forward to the beginning of Spring, when they can begin opening up both ends of the living room, cranking open the upper awning windows and flipping the circuit breaker to the HVAC off...ahh passive cooling. The home is designed and positioned to channel the prevailing SW breezes through the living areas. Operable upper awning windows vent warm air and catch cross-breezes. All windows and overhangs are designed to minimize interior solar gain in summer and maximize in winter.
Please excuse the quickly comp'ed in shrubbery. The planters were beautifully constructed, along with the rest of the home, but they are still awaiting bamboo (hopefully black). I originally designed the larger planter as a medium sized water garden/koi tank, but unfortunately that idea was cut for budgetary reasons ($3-4000 needed elsewhere).
Details like cascading steps all around the outdoor living area make this home truly special.
They have to let me design a new dining table for this space...a long koa wood 'buffet' on the TV wall instead of the short cabinet would be nice, too.
A really cool footnote:
With some hard work Madeline may have Breaux-arts, Sierra Homes, and her family in Dwell magazine before too long...we are all pretty excited! She has me thinking about Texas Architect...here are a few more shots (thanks to Jim and Madeline for the construction photos - including the thumbnail on my homepage!).
1-20-09: Early funiture work (pre-2002)
I've been getting work together for the Gallery pages and I wanted to get a little of my early furniture work up on the blog while at it. Up first is a coffee table built of claro walnut and birdseye maple veneer from 1997. This was dubbed the 'Kristin' table, in a continuing effort to woo and impress my (future) wife. Or maybe because it was such a stubborn PITA. HA!, just kidding, I love my wife dearly.
This was my second piece to take from the sketchbook to the showroom and was a huge learning experience. In '98 I consigned it at the Red Brick Gallery, but it never sold, probably because of a serious flaw in the veneer I will discuss in detail, and my reluctance to sell it for less than $1250 (minus the 25% gallery fee). My head was still reeling at the time from spending around $250 on materials - poor college student. It occurs to me now that two of the four times I have placed work in a competition or gallery, I have missed the notice that the work deserved simply because learning to veneer perfectly (especially when one has a tendency to choose difficult or rare uses) is extremely difficult, though I am now confident with any of the processes I have used already (through trial-and-error). It helps if you are learning as an apprentice to a French master marqueteur and not alone in your shop. This also happens to be one of those subjects that isn't covered in literature in a way that is particularly useful to the modern designer/furniturebuilder. Many veneering processes and problems are virtually impossible to find a book in english even mentioning. So as a prelude to this fantasy I have right now of writing a book on specialty techniques and design insights, I'm going to elaborate just a bit on the three
major problems I have encountered thus far.
1. DO NOT EVER IRON ON YOUR VENEER - ever. Look up the technique on Google if you aren't familiar - you will find a bunch of websites that will tell you it is the holy grail of veneering - don't belive it. You might get away with it if you are using extremely straight grained (probably boring) veneer, your technique is absolutely perfect, and the peice is quite small - but it is so prone to mishap, error, and long term failure, why bother? Issue #1: the veneer goes through a fairly radical process of expansion and contraction when heat is applied to activate the glue that is on the veneer and substrate. This process is terminal to to any figured veneer, such as the beautiful birdseye maple I was using @ $25/sq. foot. I cried a bit when it happened the second time...pure frustration. I also learned that no amount of preparation would make it work using the yellow glue iron-on method. I was so heartbroken to have wasted at least 15 hrs of intense work and not gotten the table just right, that I left the hairline crack that opened up in the top of the drawer box as the veneer contracted (while it cooled and dried) and finished the project. A beauty mark! I hate beauty marks. Issue #2: in the following 3-4 years about 10-15 oval nickel-sized bubbles raised up from the vertical faces that were veneered (sides and back of the drawer box). The final hypothesis here is that the amorphous yellow glue, coupled with mediocre adhesion from the heat process, allowed areas of the veneer that had especially high natural tension to slowly pull up. The blebs were positioned clearly with the figure and mimicked the veneer's original 'bubbly', unflattened appearance. Issue #3: as if the first two problems weren't big enough, a third exists. Because the glue, even though heated consderably, isn't completely liquid, it is almost impossible to get proper edge adhesion everywhere. If there is the tiniest flaw in the super crisp edge of your substrate, the glue doesn't have the ability to flow in and create a proper bond. this means chips and catches galore. Naturally, it is better to use some kind of stringing, or a thin strip of counter-grain wood at the edges, but it is quite possible using other methods to veneer an outside corner with at least some durability. OK enough about the iron-on method of veneering.
2. USE A VACUUM PRESS: They are not that expensive, and if you are veneering any large surfaces, or laminating curved pieces, they are to hand veneering what Word 2007 is to a typewriter. Learn how to use it properly before you break anything, and always take the time to think about and double-check your setup before pulling vacuum. I'll add more tips about vacuum veneering here, as I think of them...
3. HOW NOT TO SCREW UP A RADIAL VENEER: because it is oooh so easy to do. First, good luck finding any book in your library or on Amazon, or any internet site that has real info on how the heck you do it. I'll probably stand corrected here, but I'll never know unless my corrector sends a free copy of the book to show me the error in my ways...(to be continued)
1-13-09: Design Process
 I want to talk a bit about design process today (and these images hopefully will help to illustrate some of what I want to say). What is this magical, mystical concept of design process that seems so unattainable as a freshman architecture student? Seriously, the angst I felt over the obvious fact that I was more or less fumbling my way through most of my first two years studying architecture was ridiculous. I asked a few trusted professors about process repeatedly, and got some relatively unsatisfactory answers. I have to admit that as a fairly hormonal, overworked, and newly liberated male freshman some of the subtleties of what they said may have been lost on me.
It may be that each of us must go through some version of this casting about, looking for a method and slowly assimilating a set of skills, ideas, occupational and cultural habits that eventually we realize has always been the ongoing design process. It is really a beautiful synergy to be a part of as a designer. In the long-run an abiding satisfaction in working each idea or theme through the process is the fuel to inspiration's spark. Perhaps an equally rewarding facet of 'finding oneself' in the process is that the experience and understanding of other's work is greatly enhanced. I don't believe I could really 'tune-in' to art, sculpture, design on a fundamental level without having participated.
 
So I want to make several points about design and process here, the first of which is that it is gratifying enough to keep generations of designers coming back for more, truly. But there is this whole elusive side to it. It seems to defy our need to define and pin it down (or up) as we begin to learn it. I mean WHAT THE HECK IS DESIGN PROCESS ANYWAY?
This leads me to the second goal I have in writing this: to demystify some of the more concrete things about learning the process, and to point in the general direction of the real mysteries (which may be all that can be done without citing some poetry). To clarify, there are some very real and important things a new designer can do to improve their skills and ability to work with the problems of design, there are some nearly ineffable things that one must experience, lose, make part of one's life, gain, plan for, fail at, etc. etc., and all these take time.
To break down this second point (call this pt. 2a) I am going to give my reflections on skills development and 'idea farming' for what they are worth. I say this not in the negative, but to emphasize the point that each of us must not flee from making our own judgements on what matters if we are to be called designers. Here we go, on skills development: the MOST IMPORTANT THING IS YOUR ATTITUDE! No joke, I wish someone would have gotten this through my thick skull early on. What this means is that first a designer wants to learn and second a designer respects the opportunity and challenge that each experience provides to grow. Get out and do it, experience the world, its people, arts, culture, don't ever regret it. Don't worry if you 'get it' yet, you will if you keep to the path.
While you are at it, never leave your sketchbook behind. Cultivate a habit of observation and record what you see in thoughts and drawings that you can revisit later. Sketch incessantly! It will teach you how to see.I mean this with all the vehemence I can express: a designer's sketchbook is like a second subconscious mind working all the time to bring vague ideas into focus, to make connections between themes, to catch the fleeting inspirations we all have before they evaporate. It is an almost magical Ariadne's thread that you can follow back through the maze of your ideas and reflections at any time. Each time you tread this back trail you will see things in a new way, and there will be fresh fruit on the trees.
If you are a part of the 30-40% of incoming design students who claim to have no 'drawing' skills, then hear me well: YOU HAVE TO LEARN. Do not run from it, it isn't that scary, and it is totally possible to learn (haven't you seen the TV commercials?). The first step is to loosen up and lighten up. Some sketches are going to be nearly unintelligible crud, that doesn't mean they aren't useful (take a look at some of Frank Gehry's design sketches). Some sketches will be beautiful, given time, but you have to disconnect from the thought that your drawing is a pretty thing to show to other people. What is vastly more important is to connect to each thought, each line and stroke 'in the moment'. Tune out or get rid of any distractions, and draw what you really see, either in front of you or in your mind's eye. This is the 'attitude', next you need the skills. For this YOU MUST NOT AVOID DRAWING CLASSES! In fact, take additional art skills classes if you aren't confident in your abilities. I promise there will be times when it is effortless and almost breathtaking with enough practice. If classes aren't easy to come by, there are some excellent DVDS out there (like those by Gnomon Workshop).
12-15-08: As the year comes to an end, I think it is a good idea to take a look back at the progress Kristin and I have made in restoring (and adapting) the home that Charles and Mamie Bosshardt built in 1906. We've gone from fun house floors and an interior rain water collection system - better described as 'attic tea collection'- to a home we can truly be proud of. We have learned a great deal about working on vintage houses along the way. My intention is to turn this into a tutorial that covers some of the trickier or more design-related questions and solutions we came across. NOTE: bear with me on this one - I'm delaying the tutorial for a while to get the site finished.
Lets begin with a comparison of two rear facade images taken about 10 months apart. The more recent is from mid-summer and doesn't reflect many recent changes. I'll update with a third image soon when the koi pond is finished. See any difference? This is the kind of thing that keeps us going (through the cold winter...). The following shot of the front is a bit distorted from stitching two photos together, but it contrasts nicely with the earlier version, even if there is far to go yet at the time of the image. Thank goodness the plumbago covers that atrocious gas meter 'tree' up front. The public utiliy indicated to me that it was going to cost quite a bit just to move it over to the side (maybe 4'), so we decided to hide it with that miracle (and always flowering) plant 'plumbago'. What I like most is that it can take the full blast of the sun all day, all summer and still look great.
An experienced roofer could see the problem with this roof immediately (there is about a 4:12 pitch on the section that looks flat from this angle - hip shape) and likely could begin to see hints of the path of destruction 50 yrs of leaks left. This 700 or so square feet of the house had become the junk depot of the past 20 years' tenants, primarily due to an easily remedied (if proper design were involved) flaw in the addition of two rooms to this side in 1913. Some genius butted the slope from the new hip roof against the slope of the gable above the room in the far right of the frame. Presto! you have a dead valley...all it takes is a cricket, guys. For those who don't speak roof-ese a 'dead valley' is basically any area on the roof that collects water (and trillions of pecan leaves) and doesn't keep that water on its path to the dirt. A 'cricket' is a triangular or trapezoidal bit of roof that must be framed in (or more properly 'on') the valley prior to installing the roofing to avoid the zero-slope situation. Add to this the sad fact that the once beautiful roof has a built-in gutter over the soffit all the way around. That alone wouldn't be a problem. In fact it is an elegant solution to water collection and adds a little more projection to the cornice (fascia and crown molding), always nice on a Queen-Anne. The problem is that this neighborhood declined rapidly in the 1950's post-war rush to the suburbs, the house was split up for rental, and the gutters probably weren't cleaned more than once every ten years thereafter. The amazing fact is that two local bail bondsmen picked the house up on a jumped bond about 30 yrs ago and claimed never to have set foot inside. I believe they were charging $50 each for about 5 tenants up until around 2000, when one family began to take over parts of the house as other tenants moved out (or went to jail...) All I have to say is HALLELUJAH for GENTRIFICATION. At least for the next twenty years there will be a skinny guero up there twice a year...and my wife can walk to a friend's house at night.
So I should probably add here that I do care about the issues that 'gentrification' or neighborhood revitalization can cause for those who want to stay in their neigborhood as property values and taxes increase. I empathize with the emotions involved, but it is hard not to see it as a benefit to all involved in the long run. What I think is lacking is assistance for older low income homeowners who choose to or must sell. They need help in getting the best value possible, finding new quarters, investing the profits in a way that can provide long-term support, moving, etc. What they don't need are brokers fees, bank finance charges, appraiser's fees, and the long list of expenses that can be part of selling/buying real estate. OK Barack, there's another entitlement for you to budget...
Next addition will be a tutorial on casting deep-relief architectural ornament using a flexible polyurethane mold. The example we will be using is a nearly destroyed Corinthian column capital from our front porch that I rebuilt and cast. Stay tuned...
12-7-08: Archer reading lamp with table
  
I had the chance to photograph an organic reading lamp and drink stand (built about 11 years ago) while visiting family for Thanksgiving. The lampshade (not pictured) was to be hammered repousse-style from copper in a leaf shape that would use the upward arc of the body as it's stem.
I didn't have the facilities to manufacture the shade and diffuser at the time, and sometime in the ensuing 4 years (without a shop) my dad commandeered the lamp and rather expertly fitted a shade from a flexy desk lamp on it (circa 1965). I am pleased that he is happy and had the opportunity to take part in personalizing his lamp, but you won't see that shade in any photos!
Walnut
12-6-08: Marble-topped floating vanity
  Our main page is redesigned in a (semi) tableless layout using divs, and is behaving now...time to get down to making that picture gallery to the right work. In the meanwhile, here is a picture of a 'floating' bathroom vanity I recently finished for our master bath. The exposed parts of the hinges need to be enameled to match the woodwork, and the rest of the bath is still in progress, but of course we are using it already...
Materials are poplar, plywood, and brown marble tile. I sprayed a brown dye (hvlp) and then 5 coats of lacquer for the finish, and I'm really pleased at how this finish turns a low-grade hardwood like poplar into something beautiful (not to mention saving us a ton of money. The basin was $20 at a garage sale (thank you Kristin) and we bought the PF faucet about four years ago for another project that didn't go. Total cost: approx. $280 plus 15-20 hrs. labor. SWEET!
12-1-08: The Design and Technology Academy Magnet School
I want to thank all of my students at DATA from last year. You guys and gals were a constant source of inspiration that continues to this day. I look forward to seeing you take over the world while simultaneously developing cranial MP3 player implants (probably all before graduating from university). In the meanwhile, study hard, keep a journal, be nice to the ETA people, and don't forget your community service hours. I hope you all have a wonderful holiday break!
11-15-08:
9th_Annual_Texas/ Kerrville Furniture Makers Show
Breaux-Arts work on display at the show: a Greene brothers inspired dining table in black cherry with ebony details. It may seem deceptively simple, but this is a huge project with over 42 individual parts or elements. We are enjoying having it out of the workshop and on display!
The Bosshardt House vacation cottage is now open for booking. Check our other website: www.sacottage.com or www.vrbo.com/200003 for details on this beautiful and private vacation rental. The cottage is a fully revitalized 1906 Queen Anne we have lovingly rebuilt over the past three years. It is richly appointed with hand-crafted Breaux-Arts furniture and premium appliances. We are ideally located in the historic King William district less than a mile from the riverwalk here in San Antonio. Come see us!
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