Inspired by Vernacular Architecture and Natural Vistas in Jackson Hole

 
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In Jackson Hole, Wyoming, the vernacular architecture and the natural landscape are all of a piece: rustic barns from the late 19th century have gently sloped roofs that echo the forms of the majestic mountains surrounding them. The town sits in a valley tucked between the Teton and Gros Ventre mountain ranges. For architects Brian Messana and Toby O'Rorke, designing a house on Junegrass Road meant taking each spectacular vantage point into consideration so they could capture the views their clients loved best.

 
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Like the landscape, which offers beauty in every direction, Jackson Hole itself is “365,” Messana says, noting that there are outdoor pursuits for all seasons here: skiing, hiking, fishing, and mountain climbing, to name just a few. So the house isn’t a ski lodge per se, but a year-round retreat that fits into a dynamic landscape that changes throughout the year. To contextualize the house, they chose cedar siding for the exterior to evoke the look of the 19th and early 20th century ranch homes that dot the area. But there are distinctly modern touches: the house comprises four volumes which are connected by glass walkways. Different parts of the home are clad in stone or stained cedar, mixing a palette of traditional and unexpected materials.

 
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To bring a natural palette inside, the team chose materials that evince a sense of warmth. The Hudson Company provided Ditch Plains French Oak for the floors, which, according to Messana, captures the look and feel of wood in its natural setting thanks to its dimensions: 13.5” wide and up to 16 feet long. (“It looks like a tree,” he explains.) As one of the largest surfaces inside any home, he says, floors have a great impact on the whole interior, even if they’re subtle in color and texture. “We juxtaposed the floor with the Allagash wood from The Hudson Company which is gray, but not cold,” says Massana, adding that because each plank is about eight inches wide, and delineated by a micro bevel that creates a soft line, each piece is has its own character, and taken together the wood forms a beautiful textured plane.

Messana and O’Rorke drew inspiration from the local vernacular architecture in Jackson hole, particularly a group of late 19th century homes called Mormon Row which are the preserved structures built by members of the Church of Latter Day Saints when they first settled in Wyoming. But in reimagining these forms for a 21st century retreat, they pulled them apart, connecting each volume in the house with transparent glass walkways, and thus treading lightly on a landscape that has much to offer.

 
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Photography by: Tuck Fauntleroy

 

A Thousand Skills: George Nakashima

 
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You’ve probably seen George Nakashima’s furniture in the pages of shelter magazines, at auction, and in museum and gallery exhibitions across the country. His aesthetic influence is everywhere: your favorite cafe might have an eye-catching espresso bar with a live edge, or you might see a midcentury-style bench you like at a mass-market furniture retailer that ‘echoes’ one of Nakashima’s designs, to put it diplomatically. Or you might have heard his name and seen photographs of him with his family in an episode of the series Artbound on KCET, “Masters of Modern Design: The Art of the Japanese American Experience,” which tells the story of some of the renowned artists and designers who spent time in internment camps during World War II. Writing in Curbed in 2017, the architecture critic Alexandra Lange examined the connection between American design history and Executive Order 9066, which President Franklin D. Roosevelt signed in 1942. The order granted authority to the military to transport citizens to “relocation centers” in Arkansas, Arizona, California, Colorado, Idaho, Utah, and Wyoming. We call them internment camps today, and about 119,000 people—most of them Japanese immigrants or Japanese-Americans—were sent to live there for several years during World War II. George Nakashima was among them, as were the artists Ruth Asawa and Isamu Noguchi.

 
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Nakashima was already a citizen of the world prior to the war, having spent a year traveling abroad on a round-the-world steamship ticket after graduate school. Born in 1905 in Spokane, Washington to Japanese emigré parents, he grew up hiking and camping in the forests of the Pacific Northwest with the Boy Scouts. He studied forestry at the University of Washington-Seattle, but was drawn to design as well, and graduated with a BA in architecture in 1929. He earned an MA in architecture from M.I.T. in 1931, and embarked on his world tour, spending a bohemian year in France, then traveling to North Africa, and finally to Japan. Nakashima met and eventually worked for the American architect Antonin Raymond, an associate of Frank Lloyd Wright, and he toured Japan studying building techniques and design. In the late 1930s, he was the project architect on the Golconde Dormitory at the Sri Aurobindo Ashram in Pondicherry, India, where he discovered two practices that would shape his life: yoga and furniture-making.

 
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He returned to Japan in 1940, where he met the woman who would become his wife, Marion Okajima, and the two settled in Seattle after marrying in Los Angeles. But in 1942, now with a new daughter named Mira, the Nakashimas were sent to Camp Minidoka, an internment camp in Hunt, Idaho. Incredibly, he used the time there to apprentice himself to a woodworker named Gentauro Hikogawa who had been trained in Japan. Hikogawa taught Nakashima to work expertly with Japanese hand tools and helped him master Japanese joinery techniques. He used whatever wood scraps he could find to practice his craft and develop his first designs for furniture. In 1943, his old mentor Antonin Raymond sponsored the Nakashimas for early release, and offered them his chicken farm in rural New Hope, PA as a place to stay. Mira Nakashima recalls that her father believed the name of the small town—which was becoming a mecca for woodworkers at the time—augured well for a fresh start. Nakashima quickly made connections with Knoll, for whom he designed several furniture lines such as the Straight Back Chair, and he designed a sofa for Widdicomb-Mueller which has gone back into production.

 
 

But most of Nakashima’s works were unique. He was famous for using butterfly joints, which allowed him to select unusual, asymmetrical pieces of wood and transform them into inviting dining tables and coffee tables. Nakashima had numerous lifelong clients, and he often signed their names in ink on boards that he selected especially for them. The largest private collection of Nakashima furniture was, for a time, that of Nelson and Happy Rockefeller, who owned over 200 works that Nakashima had designed for their Pocantico Hills estate. His passion for architecture, like his passion for forestry and trees, never wavered, and he was able to weave all three activities together at his home and studio. He designed buildings on his property, and was especially enamored of parabolic shapes, which led to the creation of a line of chairs called “Conoid,” with gently curved backs, which were named for the dramatic roofline of a building he called the Conoid Studio. In a sense, Nakashima didn’t believe in flaws. In his 1981 book The Soul of a Tree, which offered a glimpse at his philosophy and his technique and life story, he wrote: “Each flitch, each board, each plank can have only one ideal use. The woodworker, applying a thousand skills, must find that ideal use and then shape the wood to realize its true potential.”

 
Nakashima’s Conoid Studio in New Hope, PA. Courtesy of George Nakashima Woodworkers.

Nakashima’s Conoid Studio in New Hope, PA. Courtesy of George Nakashima Woodworkers.

 

The George Nakashima House, Studio and Workshop is now a United States National Historic Landmark and a World Monument, and although it’s temporarily closed as of July, 2020 due to the pandemic, the site is generally open to visitors. Today, Nakashima’s daughter Mira, who is an accomplished designer herself, works alongside a team of highly skilled woodworkers to produce both classic and new designs. A grant from the Getty Foundation has helped in the preservation and conservation of the site and its many unusual structures. There’s a museum and gallery in the city of Takamatsu, Japan where Nakashima once had a studio. In 1983, the man who once jokingly referred to himself as a “Japanese Quaker” was presented with the Order of the Sacred Treasure by the Emperor of Japan and the Japanese government. A key figure in American Modernism who spent most of his life in Bucks County, PA, Nakashima deftly combined the woodworking and design traditions of the United States and Japan. Despite his harrowing wartime experience as a Japanese American during the conflict that pitted the two countries against one another, he seemed to remain deeply rooted, aesthetically and philosophically, in both worlds.

 
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INSTALLATION IN FOCUS: DOWNTOWN IN COLOR BY HALLIDAY GREER, 8th STREET, MANHATTAN

Interior design by Halliday Greer, Capella, Flat Sawn flooring by The Hudson Company, Photo by Annie Schlechter

Interior design by Halliday Greer, Capella, Flat Sawn flooring by The Hudson Company, Photo by Annie Schlechter

Interior and architectural designers Andrew Halliday and David Greer focused on chroma and pattern while thinking about their design for this bright and color bathed residential renovation in lower Manhattan.

Early in the process, the designers and owners were aligned in wanting to use a light colored floor to amplify the brightness of the space without competing with the rest of the colorful elements of the interior. They selected Capella, Flat Sawn White Oak Select Grade flooring for the project. “We wanted something light, neutral and airy so that it didn’t ever feel dark or too heavy…a clean and contemporary envelope that didn’t compete with the deep colors and patterns on the walls,” said Halliday.  “We think it looks terrific.”

Photo by Annie Schlechter, Typographic art by Russell Maret

Photo by Annie Schlechter, Typographic art by Russell Maret

Photo by Annie Schlechter

Photo by Annie Schlechter

The entryway paneling is painted a deep teal blue and creates a wonderful arrival that opens up into the rest of the bright apartment.  Bold patterned wallpapers were integrated with other graphic elements to create an environment that truly represented the owners themselves.  Russell Maret, a type designer and family member, provided some of his typographic artwork, which adorn the walls with color and symmetry. 

“Working with The Hudson Company was a terrific and seamless process,” commented Halliday, “we will use their floors many many times in the future.”

Photo by Annie Schlechter

Photo by Annie Schlechter

5 Questions With Architect Sarah Zames of General Assembly

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The Hamptons is an interesting place because it has both a very formal and a more relaxed artistic history. This project was a balance of those two ideas.
— Architect Sarah Zames
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Flooring is one of the biggest decisions you make on a project and locking that decision in in the beginning is important in order to keep the other decisions on finishes in line. What I enjoyed about The Hudson Company was the education they brought to the clients.
— Sarah Zames

Meet Sarah Zames of General Assembly

Brooklyn-based architect Sarah Zames grew up in Northwest Connecticut and has been living and designing in New York City and Los Angeles for the past two decades. After working at several international firms, including Skidmore Owings and Merrill, Tod Williams and Billie Tsien Architects, and Rafael Viñoly Architects, her attraction to the intimacy and scale of residential design led her, in 2010, to start General Assembly - a team of designers and project managers who believe that the details of a home should come from the unique, personal details of the people who live there. In addition to ground up and full renovation projects, GA designs custom lighting and furniture.

Creating A Family Refuge In The Hamptons

In 2018, The Hudson Company worked together with Sarah and GA to provide the custom milled flooring for the ‘Watermill’ project - a complete residential renovation in The Hamptons. Describing the project in their own words, GA says:

“This 3400 square foot home in the Hamptons was gutted down to the studs and rebuilt to create a family refuge from the busy city. We were inspired by the idea of juxtuposing the informality of a traditional country house with the formality that such a grand space required, in order to create something entirely unique, filling the house with our modern interpretation of some very classic details. GA handled all aspects of the process from architectural design to interior design, including all lighting, finishes and several custom designed furniture pieces.”

5 Questions with Architect Sarah Zames

After the successful completion of the Watermill project, which features Hudson Company Bare, White Oak, Flat Sawn floors, we wanted to sit down with Sarah to discuss a bit about her team’s creative process and how they brought the Watermill project to life.

First off, how did you distill the clients' needs / ideas into a clear vision for the design of this project?

The house was designed for four different people (from two different generations) to enjoy. So, we naturally had some differing opinions on style.  We wanted to make sure we were able to work the personality of everyone into the design, and took input from everyone involved. One unifying factor between everyone was their love of travel. They often traveled as a family together, and brought back some great art pieces. We made sure to find places to include those in the space. 

Clearly there is a focus on natural materials in this project—woods, marble, stone, and plants—can you talk a bit about these choices of materials and why they are a good fit for a, 'family refuge from the city?'

We tend to use natural materials in all of our projects because they are ageless and will not go out of style. For this project, using natural materials was a big part of bringing balance to the design. We combined natural materials with more modern details and, in doing so, we were able to achieve a comfortable elegance.

How did the design of this home fit into or contrast the historic design vernacular of the Hamptons?

The Hamptons is an interesting place because it has both a very formal and a more relaxed artistic history. This project was a balance of those two contrasting ideas. We wanted to maintain some of the formality, but also create a comfortable place to enjoy the weekend. We achieved this balance by creating more modern versions of some traditional details (for example, the paneling on the stairs and family room ceiling), and by bringing in natural materials that would age over time.  

It's clear that your team loves the custom details of design (from finishes, lighting, furniture, etc.). Can you talk about this high-level of creative detailing and how this style of work allows you to serve your clients and create unique design?

We feel that the best part of doing a full renovation is being able to have everything designed exactly to your taste. Designing custom details, like the brass tops to the railing balustrade, is one of the best parts of what we do. It means that the homeowners get to enjoy something that is unique to them, and we get to experiment with design and work with really great craftspeople.

Lastly, can you talk about your experience collaborating with The Hudson Company during the Watermill project?

We started working with The Hudson Company very early on in the project. Flooring is one of the biggest decisions you make on a project and locking that decision in in the beginning is important in order to keep the other decisions on finishes in line. What I enjoyed about Hudson was the education they brought to the clients. They respect the fact that [wood flooring] is a big investment and they took the time to educate the clients on the importance of quality flooring. 

Learn more about Bare, White Oak, Flat Sawn

Go inside the Watermill residential project here and here.

Project Credits:

Ridgefield Showroom Profile In Architectural Digest

Profile Excerpt from Architectural Digest, Dec 13, 2018

“When Jamie Hammel bought what was then known as Antique and Vintage Woods of America eight years ago, he recalls, "I thought the product was beautiful, but it wasn't being presented beautifully." Fast forward nearly a decade and Hammel is operating what is now The Hudson Company, providing new and salvaged wood surfaces to architects and designers for projects (including, most notably, Renzo Piano's Whitney Museum) in the New York area and beyond. And his latest showroom is proof that beautiful presentation is core to the brand.

The Hudson Company's third location is in a woodsy area of Ridgefield, Connecticut. "So many of our clients co-locate between the city and a house upstate or in Connecticut or the Hamptons," Hammel explains of the choice. "We have the mill, in Pine Plains, so that helps us cover that territory, but we didn't really have a presence in Connecticut. Ridgefield is a beautiful town and is not in the heart of Greenwich." He clarifies: "Being on Greenwich Avenue would feel just like our Manhattan showroom. This is a little bit off the beaten path, but it's central to both Westchester and Connecticut."“

Read The Full Article and Go Behind The Scenes

Click here to read the full article in Architectural Digest, featuring interviews with The Hudson Company’s Jamie Hammel and designer Brad ford. Story by Hadley Keller, photos by Michael Biondo.

The Hudson Company In The Wall Street Journal

From the Wall Street Journal homepage, Dec 17. Project photos by François Coquerel for the Wall Street Journal. Click the image to read the full profile.

From the Wall Street Journal homepage, Dec 17. Project photos by François Coquerel for the Wall Street Journal. Click the image to read the full profile.

A Modern NY Farmhouse Designed by Architect Tom Kundig

We are thrilled to see our recent work for the Millerton, NY home of Daniel and Estrellita Brodsky, designed by Tom Kundig of Olson Kundig Architects, featured in the Wall Street Journal this week.

Read the profile article by Sarah Medford online here.

Project and Press Details

- Project Location:  Millerton, NY

- Architect: Olson Kundig

- Contractor: United Construction

- WSJ Magazine story by Sarah Medford

- Photographer:  François Coquerel

- Featured Hudson Company Materials:  Reclaimed Barn Siding and Reclaimed Oak flooring.

— More photos and project details to come.

Hudson Company Product Installations

To see more commercial, residential, and cultural design installations featuring Hudson Company wood products, visit our online installation gallery.

Join Us In Ridgefield, CT on November 14

Join Us In Ridgefield, CT on November 14

Join The Hudson Company and Brad Ford for the opening of our new Ridgefield, CT showroom, designed by Brad Ford and furnished by FAIR. Open house November 14, 5-8 p.m, 139 Ethan Allen Highway in Ridgefield, CT.

Join Waterworks And The Hudson Company For A CEU

Installation In Focus: The Carriage House By Workstead, Charleston, SC

The Carriage House, interior design by Workstead, Reclaimed Heart Pine, Vertical Grain flooring by The Hudson Company.

The Carriage House, interior design by Workstead, Reclaimed Heart Pine, Vertical Grain flooring by The Hudson Company.

Reclaimed Heart Pine Heads South

Originally from The Hudson Valley, the talented team of designers at Workstead also have a strong presence in the American South—particularly in South Carolina (their work inside Charleston’s Dewberry Hotel is a must see).

For a recent residential project in Charleston known as The Carriage House, The Hudson Company had the pleasure of working alongside Workstead co-founders Stefanie and Robert to select and custom mill some Reclaimed Heart Pine, Vertical Grain flooring. Since the initiation of The Carriage House project, Robert and Stefanie have moved the bulk of Workstead operations back home to New York and we certainly look forward to working together with their team on more projects in the future (including the interiors of their new luxury, multi-unit renovation project in Brooklyn, opening in 2019).

But, until then, enjoy this peek inside the stunning Carriage House project, designed by our friends at Workstead.

Notes on The Carriage House

Detailed project notes from the design team:

“The Carriage House contains 2,000 square feet of livable space distributed over two floors, with three bedrooms and three bathrooms.  The first floor living room features two gas fireplaces, originally used for cooking and laundering.  A brand new kitchen serves as literal and figurative hearth of the home, with cabinetry tucked under the stairs and a grand island providing the counter around which life revolves.  A cozy window seat situated within cypress and caned cabinets compliments the dining room along the south-facing facade.

The second floor features an anteroom for use as an office or library with an adjoining bathroom.  A south-facing bedroom with windows on three sides includes a cypress-clad closet, while the large master suite is complete with two closets, laundry, and master bathroom.  A balcony overlooks the brick courtyard below with green hedges for added privacy.

At the heart of the Carriage House is connection—with time and place as with collaborators.”

Learn More

Explore More Hudson Company Flooring Installations

Learn More About Reclaimed Heart Pine, Vertical Grain Flooring

See The New York Times Feature Story on Workstead in South Carolina.

Check Out Workstead Full Portfolio and Bespoke Webshop

All Photos below taken from www.workstead.com unless otherwise noted.

Designers and Workstead co-founders Robert Highsmith and Stefanie Brechbuehler. Photo by Kathleen Robbins for The New York Times

Designers and Workstead co-founders Robert Highsmith and Stefanie Brechbuehler. Photo by Kathleen Robbins for The New York Times

At the heart of the Carriage House is connection—with time
and place as with collaborators.
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Installation In Focus: 1 Hotel Central Park, NYC

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1 Hotel Central Park: A Different Kind of Hotel

Starwood Hotel Group has long been a leader in high design and luxury hospitality around the world. With their new line of 1 Hotels (Manhattan, South Beach, and Brooklyn), Starwood is again bringing design to the forefront of the hotel experience — now with an elevated emphasis on sustainability, authenticity, and the beauty of nature. The development of 1 Hotel Central Park started with a broad concept. According to Starwood CEO Barry Sternlicht: “The world around us is beautiful and we want to do our best to keep it that way. We want to make an impact by reinventing the industry standard for socially responsible hospitality. We want 1 to be a different type of hotel.”

Located at the corner of 58th Street and Sixth Avenue, 1 Hotel Central Park is just one block south — only 100 steps, in fact — from Central Park. And like Central Park itself, the idea behind 1 Hotel was to create a retreat within the city where guests could escape and refresh. New York-based firm AvroKO developed the design for this innovative, 229-room, 110,000-square-foot urban oasis and, from the beginning, meticulously pursued the use of sustainable materials and locally sourced building solutions. The design team worked to complement the building’s existing structure (including exposed concrete ceilings and floors, steel columns and beams, and terracotta block walls) by utilizing materials to enhance the authentic feel of the hotel, including locally made furniture, handmade textiles, and a wealth of indoor greenery (24,000 indoor plants!).

A Diverse Spectrum of Custom-Milled Wood Surfaces

Among the wide range of natural and local materials incorporated into AvroKO’s designs for 1 Hotel Central Park is a diverse spectrum of Hudson Company wood products — from reclaimed flooring and paneling, to historic hand-hewn beams and one-of-a-kind custom statement pieces. Through close collaboration with The Hudson Company, AvroKO was able to incorporate a range of unique wood surfaces that reinforce the hotel’s strong design concept and its goal of “bringing the outside in.” From the hotel’s street-level entrance and lobby spaces, to the guest rooms, fitness center, and presidential suites, a variety of carefully selected Hudson Company wood surfaces can be found throughout 1 Hotel Central Park. The surfaces include 50,000 square feet of Hudson Company Silt flooring, 30,000 square feet of Reclaimed Barn Siding, 50 Reclaimed Hand-Hewn Beams, Reclaimed Gym Flooring (salvaged from the old University of Wisconsin basketball court), Reclaimed Redwood (sourced from retired NYC water tanks), Reclaimed Threshing Floor, Reclaimed Travaux Maple flooring, and a custom-finished, debarked Spalted Elm Stump in the hotel’s lobby.

A Hotel Unlike Any Other in New York

"The natural and local materials emerged as the heart of the design, allowing us to celebrate and enhance their inherent richness with minimal touches, including a warm color palette and atmospheric lighting,” says AvroKO principal Greg Bradshaw. “Our goal was to leave the space feeling somewhat unadorned so the materials and core of the space could speak for itself." All of this careful material sourcing and eco-minded design makes 1 Hotel Central Park a boutique hotel unlike any other in New York City — one that brings the outside in, provides a unique parkside respite for travellers, and, as Ann Abel at Forbes put so well, “feels alive in a way that few others do.”

>> This installation profile originally appeared in The Hudson Company Journal, Volume 2 - click to learn more about our new print journal and catalogue.

>> See more photos and product details from this design installation.