When I first ventured into the dome area of the townhouse that would belong to Sir John Soane, the last great Georgian architect of England, I was overcome by what I saw: it is . . .
Candles, whether votive or tapers, make an evening more romantic and ceremonial. Candles do not have to be at eye level. Votive candles look wonderful . . .
There are certain places to which I return again and again for inspiration. The Criptoporticus, the ancient underground galleries in Rome, and the Caldarium, the hot-water bath at Pompeii, are two such places.
I aim to capture visual attention by challenging the predictable in many different ways. Taking objects out of context and presenting them in unexpected surroundings can cause people to stop mentally in their tracks.
I was a young man in Rome when I fell in love with the idea of theatrical statements. I was on my way to the to top the Capitoline Hill to view Michelangelo’s stately Piazza del Campidoglio–visitors ascend ramped stairs
On the same trip to Italy during which we saw the Villa Rotunda, my brother and I went to see the splendid Teatro Olympico in Vicenza, designed by Palladio.
The concept of being part of a continuum of time is important to me and a recurring theme in my work. Any fragments from the past, especially those that you can touch, connect you to the makers of those pieces, making you aware that we are threads in a great tapestry of time.
We all need space that offers comfort and security, and shelter from the cold, noise or darkness outside. But, paradoxically, we also need space that liberates us from terra firma, allowing our spirits to soar and our imaginations to take flight.
By presenting the keys to the door of my way of "seeing" -- the principles and guidelines that frame my design thinking -- I hope that you may be helped to develop your own powers of perception, and create an environment that will lift your spirits and nurture your soul.
