John Stein is into demolitions, but not in the way one might think.  The founder and president of California-based Kirei USA has a knack for finding the possibilities inherent in the unwanted.

This vision shows clearly in every Kirei product, including the newest line, Windfall.  These engineered panels are produced in partnership with Windfall Lumber, which takes Douglas & Hemlock Fir from deconstructed buildings in the Pacific Northwest and brings the reclaimed wood to fresh, new life.

“It’s great to reuse demolition material that would otherwise take up space in the landfill,” says Mr. Stein.  “Having it become beautiful wood panels is even better.  This is old-growth wood that just can’t be found any more, and we get to bring it to designers.”

Windfall is manufactured in the United States using low-VOC adhesives.  The reclaimed wood is milled into strips of differing width, which are then randomly stacked to form the panels and cut to size.  Panels are available either solid or 3-ply with a NUAF/FSC-certified core.  They may come unfinished, with a clear coat that shows off the natural grain, or stained and prefinished in Anthracite, Mocha, Ivory, and Leather colors.  The result adds to any interior.

And as Windfall gives stylish new life to reclaimed wood, so the other Kirei lines bring new purpose to certain types of agricultural waste.  Kirei Board, Kirei Coco Tiles, and Kirei Wheatboard use reclaimed agricultural fiber from plants commonly grown for food around the world.

After harvest, waste from sorghum (an edible grass), coconut, and wheat plants is usually thrown into landfills or burned.  Now much of this unused material is removed from the waste stream, reducing landfill use and air pollution while giving rural farmers a new source of revenue.  Rapidly renewable or FSC-certified wood are used as bonding strips, greatly reducing the need for newly harvested wood for building.

Manufacture can be more involved than with particle board.  For example, with Kirei Board the sorghum stalks are compressed, washed, and woven into sheets.  The latter are then stacked and heat-pressed with a formaldehyde-free adhesive to create blocks, which are cut to desired size.

Kirei offers a similar product made of Moso bamboo.  The plantations from which this fiber is taken are generally reclaimed farmland, which helps to preserve uncut habitat.  Panels are available in a wide variety of colorways, including the luscious looking new Chocolate, probably the favorite out of all the bamboo treatments that I’ve yet seen.

These four products are suitable for architectural millwork, cabinetry, flooring (though not in high traffic areas), wall displays or covering, furniture, and decorative objects – in short, any application where one would normally think of using wood.

To round out this versatility Kirei came out with their Canamo Hemp Panels.  These are made with a no-added-formaldehyde resin and reclaimed hemp hurd fiber left over from fabric & seed oil manufacture: over 70% post-industrial recycled content.  The panels are produced in 48”x96” size and are offered in a variety of thicknesses, all left unfinished so that designers may best tailor the product to individual need.  According to Kirei, the hemp panels may be used for the purposes above.  Ceiling panels are also available.

Collectively, the Kirei philosophy may yield several LEED credits for one’s project, which in itself is wonderful, but there’s much more to it that that.

The word kirei is a Japanese adjective signifying many meanings, including Clean, Pure, Beautiful, and Truthful.  Under John Stein’s direction the company strives to embody its namesake as an ideal.  His business aims to stimulate the economic activity of its source regions by providing new jobs at fair market wages.  By using recycled products and efficient, sustainable practices, Kirei works to lessen humanity’s impact on natural resources while contributing to clean, healthy, and aesthetically pleasing indoor environments… with a eye to the latter quality.

“Green has to be beautiful,” says Mr. Stein.

“If you’re going to do green for green’s sake you’re going to have a very limited market – people who have health issues or people with a conscience.  If you have beautiful materials that happen to be green, then really they’re open to everybody.  I regard it almost as a gateway drug to other green activities.”

With the visual appeal of the Kirei product, perhaps we’ll see many new converts to the sustainable ethic.  Let’s hope so.

~ Emerald

Images courtesy of Kirei USA.

Jacob Ruch has a knack for bringing out both characteristics in his work.  Curbside cast-offs, salvage yard finds, construction refuse – all find a place at Reason Furniture Design, where the proverbial sow’s ear is transformed into… you know.

The company is named for Jacob’s great-uncle, Reason Ruch, who was, according to the artist, “extremely independent and self-sufficient, an excellent craftsman who could make wonderful things with very limited resources.”  Jacob strives to make his business emulate those qualities.

“Having limited resources eliminates the option to be wasteful,” he said.  “The inspiration I see in salvaged materials stems from an inherent aversion to waste.  For years in the construction industry, this instinct led me to drag old materials home from job sites.  Urban backyards and basements saw my own limited resources transformed into furnishings for the shabby apartments that I called home.”

What he calls his “first successful design” came in 2005, when he took some scrap wood on hand and combined it with salvaged glass to create a table for his apartment.  Its assembly took place literally in his own backyard.

Materials and inspiration come from the oddest – and most humble – of sources.  One piece, the Windfall Table, was gleaned from a fallen claro walnut tree.

“The termites got to it before the sawyer though,” he recalled.  “It was pretty far gone, but I’m not easily discouraged.  I filled the tunneling with resin and created a curved base to complement the slab’s gentle bend.”

Such adaptability is typical of Jacob’s work.  He has learned to not simply make do with what others throw away, but to do very well.

Most of his material comes from New York City construction salvage.  In his projects he has used reclaimed wood from water towers, floor joists, planking, doors, plywood, and even furniture cast onto the street.  This willingness to experiment has also led to dipping his hand in the “Pandora’s box” of upholstery work.

The artist’s creativity is showcased by three tables pictured on his blog: one fashioned from a found redwood garden gate, a second topped with old formica countertop samples, and a third project where weathered redwood decking was reborn as a set of matching table and benches.

That thoughtful excellence carries through into all his custom work.

“I design simple, honest and useful forms that celebrate often modest materials, and favor natural finishes that need not be protected and preserved in order to endure.  To me, objects that show the wear of good use are often more beautiful than their virgin counterparts.”

And although environmental concern is not spoken aloud on Jacob’s blog, the latter features links to organizations such as the salvage surplus building supplier Build It Green! NYC and San Francisco community resource The Bike Kitchen, both of which are actively working towards bettering life in their home cities.  His philosophy and the sourcing of the materials created by his company proclaim where his heart lies.

Jabob’s work is constantly evolving.  And what does he have in mind for the future?

“While pursuing new forms, whether independently or through collaborative commissions, I continue to arrive at designs worth duplicating,” he asserts.  “Through the production of these ideas, I hope I can keep REASON accessible to the modest folks and lifestyles that inspire my work.”

~ Emerald

The little wooden robot sits there, head cocked, arms outstretched, vacant drilled eyes staring into space.  Its expression is puzzled and innocent.  It looks like it wants a hug.  It’s cute.

Sometimes, in the earnest seriousness of striving to live green, we forget our sense of humor.  Marjolaine Poulin of M Design hasn’t forgotten… and she loves nothing better than to make other people smile, hence the little army of wooden robots marching out of her workshop in El Salvador.

Marjolaine (“Mao”) has taken scrap wood & discarded furniture and raised them both into art.

A native of Quebec, Canada, Mao splits her time between Montreal and El Salvador, always looking for inspiration.  Her introduction to woodworking came in 2004 in Guatemala, where she learned classical bamboo carpentry from a Taiwanese master.  Shortly afterward she began crafting her own designs hoping to promote bamboo’s many advantages as a building material in Central America.

Bamboo, a fast-growing, imminently sustainable crop, grows in diverse climates and after treatment is strong, durable, yet lightweight.  Discoveries of its usefulness and applications continue to expand.

“In the United States and France,” Mao said, “It is possible to get houses made entirely of bamboo, which are earthquake and cyclone-resistant and internationally certified.”

Her own work with the material is on a more modest scale, consisting of beautiful furniture crafted from bamboo and tropical wood.

Mao has recently turned her attention to a problem local to Montreal: unwanted furniture abandoned on the city streets.  As though collecting lost puppies, she rescues the unloved, discarded furniture and gathers it in her workshop, where it waits to be transformed.

“I walk around my workshop and try to mix and match,” she explained.  “To repair or repurpose old things with more old things.  To be able to sell my pieces at a reasonable price, I try to buy as little new material as possible, which means I need to be really creative and reuse as much as possible.”

This pastime blossomed in 2010 with the Scrap Project, an exhibition of Mao-transformed furniture, the second edition of which took place this past August.  The positive feedback from the show’s first run freed her this year to explore new techniques and let herself slip into the creative process.  And what are her plans for 2012?

“My Montréal’s workshop is full of amazing abandoned pieces of furniture and I can’t wait to start working on them next summer,” the artist said.  “I still have a lot of concepts in my head that I haven’t had time to bring to life, so that’s what the Scrap project 2012 will be about: making it real.”

For Mao, new is overrated.

“It makes me so angry to see how much stuff people in the first world are throwing away,” she said.  “It’s unbelievable how much a human can buy and send to the dump every year.  I wanted to do my part and feel better about the issue.”

Despite that anger – or perhaps as a salve upon it – there is a deliberate lightness to her work, which is full of opposites and contradictions, whimsical robots, clean lines next to old textures.  The unexpected often brings a smile, and it is that smile that opens doors in the mind to new ideas, like sustainability.

More information about Scrap Project 2011 is available on Mao’s blog.

~ Emerald

~Henry David Thoreau

"Seconds Count" by Jason Wilbur

In the face of natural disaster, where others see devastation, Joy Feuer – and the many artists & volunteers who work with her – see opportunity for transformation and renewal.  Life is often about new beginnings.  Since 2008 Joy’s non-profit organization, ART From the Ashes, has been helping communities and individuals rebuild from the ashes of their former lives.

The concept for ART From the Ashes came to life autumn of 2007, during one of the most destructive fire seasons in the history of California.  AFTA was created to use the cathartic properties of art as a means of supporting the renewal of lives devastated by wildfire.  Members travel to a disaster site and from it reclaim materials – burnt wood, ruined household goods, architectural elements, anything that inspires – to be transformed into works of art and later sold at an exhibition-auction benefitting the effected community.

Joy Feuer, photo by James Carbone

The process is deeply meaningful for Joy.

“We have seen up close and personal the powerful connection and healing properties that our art programming has on communities in Southern and Central California,” she said.  “In the wake of disaster…watching what occurs to people and places, in that moment, you are there as well.  Its human nature to want to help in any way possible. In the actions of ART from the ashes, we can provide resource and support to communities in need.  Art provides a connection, provokes inspiration and invites hope.  There are no boundaries geographically or creatively.  Our desire is to honor this and expand our mission to help as many people as possible.”

Since its founding, AFTA has held exhibitions on behalf of META (Making Education the Answer), the Santa Barbara Botanic Garden, Deukmejian Wilderness Park, and the Japan Society Earthquake Relief Fund.

Currently it is involved with local Texas artists, residents, businesses and community organizations in planning art-based fundraising initiatives designed to benefit those affected by the Bastrop County Complex Fire.  (This series of wildfires has destroyed over 34,000 acres of land, 1,649 homes, and claimed two lives.)  The effort involves more than a hundred artists and will include a benefit exhibition to be held March 2012 in Austin, Texas.  Proceeds will be used to aid the community of Bastrop and support the volunteer firefighters which battled the blazes.

The use and re-use of what lies at hand epitomizes the philosophy of sustainability.  In its work AFTA embraces that ideal, not only using reclaimed items for the foundation of art but also using repurposed materials in the creation of each chosen exhibition space.

"Dreamland" by Jennifer Davis

“We seek out reclaimed wood, glass, fabric, corrugated metal, windows and furnishings for design elements so the gallery environment supports the body of works…and also rings true with AFTA’s philosophy of practice (waste not, have more),” said Joy.  “The complimentary energy between art and the environment of the space,  seems to resonate as people usually remain at our exhibitions for hours on end, it seems to beckon interaction.”

As a non-profit the organization has championed opportunities for artists, including media exposure and private & public commission work.  Joy hopes to continue to break new ground in this respect.  She would also like to broaden AFTA’s geographical impact, ideally by enabling additional “chapters” to form as they are needed for community disaster relief.

To learn more, including how to help, please visit the ART From the Ashes website.

~ Emerald

The ancient Greek poets were said to be inspired by the Muses, nine goddesses who were the source of all art.

Visitors to the whyrHymer Store in Los Angeles may well believe that a tenth Muse is informing Brandon & Sundeep Morrison on their own creations.  The couple & their work have been featured in California Home & Design and California Homes.  The style of their lighting & furniture is solid yet elegant, evoking the philosophy of the early 20^th century Arts & Crafts movement yet speaking in its own distinct, thoroughly modern voice.

At present the couple hand-craft about forty pieces a year, which work ranges from beds, tables, cabinets, and seating – including a rocking chair that somehow embodies the spirit of a hot rod – to lighting of truly innovative design.

Creativity is essential to the heart of whyrHymer.  The Morrisons are fully involved in all aspects of their business, from conceptual design to marketing, from the ancient act of sanding wood to the employment of software and website design.  They also produce & edit films to promote their work.  Says Brandon, “I love hitting the end of a chisel as much as I love the click of my mouse.”

All furniture is made from eco-friendly hardwoods & finishes, including exotic woods certified by the Forest Stewardship Council.  They also use FSC-certified sheet-goods, Kirei Board, Bamboo, and Wheat Board.  Finishes include low-voc plant based oils & varnishes.  Lampshades are variously made from recycled aluminum or glass, linen, rice paper, shoji material, hemp, silk, or from a translucent wood veneer gleaned from sustainable sources.  The furniture is built to last generations, lovingly hand-crafted with mortise & tenon, dovetail, and dowel reinforced joinery.

As they feel themselves blessed, the Morrisons strive to “give back” not only by observing a green building philosophy but also by donating a portion of each sale price to a charitable organization.  Clients are asked to match this gift.

“Being creative for us is about how much we can leave behind,” said Brandon.  “My wife and I have no formal training in furniture design or construction.  We have learned what you see by making mistakes and moving on.”

The Morrisons’ business, like their lives, is a testament to innovation and what can accomplished when life is lived with passion & gratitude.  When he first moved to Los Angeles, Brandon had little idea of what waited for him.  Yet, by being open to change and mindful of opportunity, his present life took form: a family, a business that allows the fullest expression of his creativity, and work (one could say “art”) that brings pleasure to others.  The latter has a spirit that matches its maker.

“The ‘things’ I sell are not necessities for sure,” he said.  “But what I try to bring to my work is an awareness of self that transcends my actual work and what that provides to my clients.  I hope that my awareness that has come from pursuing the non standard life will inspire someone else, or at best, have them feel that they are supporting someone who has their best interest at heart.”

ATOMIK MADNESS from Brandon Morrison on Vimeo.

The whyrHymer Store is located on 138 N. La Brea Avenue, Los Angeles, CA  90036.  (Hours Mon-Sat 10-5.)    It can be seen on their website.    Brandon & Sundeep may be reached by phone at 323-402-0250 (home/shop)  323-964-9900 (store).

The fifth in a series of artisan profiles by contributing writer Emerald Atkins.

Don’t throw away that house paint!  It can be used for art.

Cassandra Tondro, an artist living in Santa Monica, CA, knows that secret, and has been using it since 2007 to create vibrant abstract paintings.  Her unique medium comes from many sources.  Sometimes the acrylic latex paint is literally repurposed house paint, gleaned either from the mistint shelves of hardware stores or from the local household hazardous waste center.  She also works directly with her clients by incorporating leftover paint from their architectural site to create truly custom art.

The U.S. Environmental Protection Agency estimates that between 35 to 103 million gallons of post-consumer architectural paint are disposed of in the United States each year. By rescuing paint before it reaches landfills, Cassandra helps to reduce waste.  Yet it wasn’t until she’d been working with the medium for many years, she said, that  she realized how the material was in alignment with her personal values.  Since the 1960s her evolving interests have included organic and natural foods, voluntary lifestyle simplicity, alternative healing, and a deep concern about the changing environment — and sustainable artwork is a natural extension of those interests.  As an expression of that, her paintings are created on custom-made canvases made from American poplar hardwood and cotton canvas woven in U.S. mills.  Both materials are readily renewable.

When her clients wish, the art is created with low- or no-VOC paint.

Cassandra works with interior designers, architects, art consultants, and individual collectors to produce paintings tailored for their homes, offices, and commercial properties.  Her work is part of public collections in California, Massachusetts, New Jersey, and New Hampshire.  Custom pieces grace the walls of hospitals and organizations such as the Oakwood Family Resource Center in Los Angeles.  Galleries widespread as the Bergamot Café Gallery in Santa Monica, CA, and the LoPressionism Gallery in Melbourne, FL, have featured her art.

Currently her work is being displayed at the LACMA Art Rental and Sales Gallery in Los Angeles, CA; at the OBJCT Gallery in Claremont, CA; and the Pierre Paul Art Gallery in Ann Arbor, MI.

It hasn’t always been this way.  Cassandra labored as a computer programmer for eighteen years before following her heart and opening WildFiber, a store and studio in Santa Monica, CA, which offered classes in fiber arts.  She owned the store for seven years, then sold the business to one of her teachers and finally made the leap into making her living from sales of her art.  2011 marks her eleventh year as a full-time painter.

Along the way she was influenced by many artists – Georgia O’Keefe, Judy Chicago, Australian textilist India Flint, and California abstract painter Ed Moses, among others, including her mother, an abstract sculptor who created in wood and marble.  Cassandra considers herself a process painter, meaning that she’s more interested in the process of painting than in obtaining a particular end result.  Initially she painted with acrylics, which gave her work an ethereal look, but now enjoys how the acrylic latex medium allows for stronger contrast and more distinct design.

“I love this work and the discipline that it requires,” she said.  “It stretches me in unexpected ways and demands that I learn many new skills… I enjoy the feeling that I’m continuing to grow, evolve, and perfect my art.”

Ms. Tondro’s work can be seen at her website.  She may also be contacted by phone at 310-452-2964.

“Life is in the details”  proclaims a sign at the offices of Alabama Chanin

Day by day the work goes – in baby steps – business and lifestyle stitched together by patience, love, and labor into a sustaining, sustainable whole.

Natalie Chanin’s business model is organic in the sense that it grew into its present form, instead of being the product of intentional design.  From her hometown of Florence, AL, to a degree in Environmental Design at North Carolina State University, to Vienna, to New York, and home again, Natalie has traveled far – and traveled full circle – blending the sewing lore of her grandmother into a business practice which well may be the legacy of her own grandchildren.

Alabama Chanin was established ten years ago, when Natalie disassembled & redesigned a tee-shirt to wear to a party.  At the time there was no intention of starting a business, nor awareness of sustainable design.  It was just something that she felt “driven to do,” and the business developed later.

“I simply stumbled into it like the fool falling off the cliff…” she said.  “However, when I look back at it today, it all feels like a seamless and directed adventure into the realms of becoming a sustainable designer and manufacturer.”

Against the way of my previous profiles, today it seems best to let Ms. Chanin speak for herself.  She does so well.  So, from the original interview:

Who or what influenced your style?  How has your work evolved over time?

My every day: the rich history of the South, my time in Austria, and the amazing artists that I have been fortunate enough to work with  are just a few things that have influenced my style. The evolution of my work is something that constantly amazes me, as a designer and artist there are moments when you’re sort of blindly stumbling into the unknown, yet in retrospect, each step, and creative endeavor seems very fluid and necessary.

Why do you consider your work to be green or sustainable?

Our fabrics which are grown, woven, and dyed (all naturally) in the United States are all organic and/or recycled. Our slow design process uses very few resources, each garment is sewn by hand, and garments are not cut or sewn until there is an order placed, so there are no wasted or unwanted pieces. We are innovators, constantly in search of ways to upcycle and reuse materials. There is a giant couch in our studio that is comprised of thousands of pieces of scraps that have been tied and bailed together, it’s sort of a testament to our commitment to conservation.

What do you consider to be the most important aspect of sustainability?

Consistency and commitment. It really is the little things that add up so quickly. It would make very little sense for me to implement these wonderful practices when creating our collections and then not adhere to the same standards at home or in my office. There are always areas that can be improved upon, but just being mindful of consumption and taking strides to eliminate waste is a huge step.

What drew you to focus on working in a sustainable fashion?

In all honesty, it drew me. I never set out to create sustainable fashion in the beginning. The reworking and upcycling of those first garments were necessary to the design itself, but little by little things began to fall into place and it quickly became apparent that this was the direction, the only direction that made sense. It’s rewarding to create something beautiful, but when not only the finished product but the entire process is something I can be proud of- that is an incredible feeling.

Stranger Furniture is proof that deeply sustainable can mean deeply beautiful.

When the roughness of bark and the “imperfections” of natural wood are respected and used, when the natural, intricate grain of a board is allowed to shine forth in all its beauty, when the source tree “speaks” for itself, the results are tangible.

William Stranger’s work encompasses not just cabinetry and tables but also humbler creations such as lamps, utensils, and cutting boards.  Each aspect of his work supports a goal of creating zero waste.  Recycling is practiced whenever possible; scrap wood is donated to schools and other artists; even sawdust is used as animal bedding and then composted in order to minimize the shop’s impact.  As the artist explained, these business choices spring from a commitment “to an evolution that will take us beyond sustainability.”

That journey began shortly after the studio’s opening in 1987 with a commitment not to use wood from tropical rain forests.  Later, under the influence of furniture maker George Nakashima and inspired by the Cradle-to-Cradle principals of McDonough and Braungart, William’s work and life both came to reflect a philosophy blending art, deep ecology, and an utter respect for man’s place in the natural world.

He feels strongly that wood is “a precious resource that must be used responsibly.”  Accordingly, his primary source of lumber is urban salvage: trees that are blown over or cut down due to disease or construction, and then milled on site or at the arborist’s yard.  This is important, as otherwise these trees would just be burned or go to clog local landfills.

At the shop based in Pasadena, outside of Los Angeles, CA, William has access to tree species normally found all over the world, including black acacia, claro, walnut, camphor, carob, and elm.  He is also careful to use salvaged and “found” objects, and to use renewable resources such as bamboo.

The wood is carefully chosen and worked with the individual nature of the material in mind.  In the design process William is influenced by the structure of trees, buildings, and animals.  He tries to balance the rough beauty of the raw material with the necessity of shaping it into an intentionally crafted form.  Furniture is made in small batches using as much handwork as possible and held together with strong traditional joinery that allows the pieces to last for generations.  The natural beauty of the wood is preserved and enhanced with a finish of non-toxic linseed or tung oil.

According to William, there is an inherent interdependence between object, designer, maker, and environment, and this belief is clearly evident in his work.  Looking at the latter, one can almost feel the energy of the artist there breathing in tandem with the original spirit of the wood itself.  It is a juxtaposition of nature and artifice. The boundary between art and design is eliminated, and the viewer feels an urge to be still, to attend, to be drawn in by each unique piece.

100 years ago, before “sustainability” became a concept, before the word “recycling” even existed, a traditional American craft embodied both: rag rugs, the art of creating rugs from worn clothing & cast-off textiles.   Across the country housewives melded thrift and creativity, beauty and usefulness into functional works of art.

At Lark Textile Design owner/designer Janet Thomas builds on this legacy.  In her hands, the unintended sustainably of yesteryear has become a directed goal in the production of custom hand-woven and constructed rugs.

“Although I use new materials now for my rugs,” she says, “they are industry 2nds and cast offs.  Perfectly good for walking on but not good enough for your window coverings or upholstery.  I am a scavenger at heart and that mindset makes it really easy to fit into the context of today’s sustainability concerns.”

Textiles were an integral part of Janet’s life growing up, to the point of obtaining a degree in textile design from the University of Washington – afterward, she began making rugs for galleries and shops, then began working with designers and the wholesale market of custom home furnishings.  Of central importance to her are projects that highlight the hand-woven quality of the rugs and develop a mood and atmosphere in a room specific to each individual client.

There is little waste in the studio, for use is found even for the “leftovers” from larger projects, which are turned into smaller area rugs and sold.  The carbon impact of the business is reduced by the simple elimination of excess shipping: the rugs are made here in the United States and sent directly to the customers.  For Janet, sustainability is a natural offspring of long-term thinking that goes far beyond business practice:

“Working in a sustainable fashion just makes sense to me,” she says.  “It is not an effort, more a design challenge. Anyone who has ventured into the world of trying to make a living weaving will tell you that innovation is a must.  It is my hope that by looking at all aspects of my business in a sustainable way is not only good brain exercise for me today but helps generations to come by reducing my baggage that is getting dumped on them.  Everyone has to figure out their own way to make a difference.  What I consider to be the most important aspect of sustainability is education. There are millions of great people out there that just need to be informed.”

Lark rugs are available in high-relief or flatwoven style, of which many choices are available for viewing and order at the “Portfolio” section of the business’ website.  Along with the traditional wool, cotton, and synthetic yarns, her work may also include fabric ribbons and even suede and leather, which is particularly interesting worked into a high-relief rug.  (The latter are works of art in their own right and would make striking wall hangings.)  With custom projects Janet works closely with each client, working up a Colors For Approval card from the fabric & paint samples provided by the customer and then – if the client wishes to do a more in-depth evaluation – for a charge creating an optional 16” x 16” square sample which be used to determine how well the finished rug suits its intended environment.

The practical beauty of Janet’s work can provide the opportunity to engage a larger audience in the ideals of sustainable interior design, and perhaps further along into the ideals of mindful living.  How better to begin such a conversation than the furnishings of one’s daily life?

Lark Texile Design may be visited here.

Queries may be directed to:

Janet Thomas

Lark Textile Design
720 Sunset Pond Lane #2
Bellingham WA 98226

PH 360-527-0305
FX 360-527-0306

Quality, tradition, sustainability, an artful approach to life and business…  In Terra Home’s rural studio in the heart of Denman Island, in British Columbia, founder Bronwyn Simons pursues all these ideals.  For her sustainability is not just a business practice but a reflection of the philosophy that guides her life.

Beauty in the everyday.  Serenity in a single tile.

After earning a degree in Art History Bronwyn was a mural painter for many years, but sought a way to bring her business home.  So when a client asked her to create hand painted tiles for a home remodeling project Bronwyn started doing custom tile murals, and soon expanded into crafting custom tiles.  Robert Simons, her life as well as business-partner, came on board, and shortly thereafter the business bloomed into a full-fledged ceramics studio.  From work that was mainly focused on painting Terra Home grew into crafting carved and relief pressed tiles, creating custom glazes, exploring alternate firing methods, and most recently, designing hand-built tableware.

She loves collaborating with her clients to “come up with something really unique.”  Her favorite projects are large-scale challenges: an arts and crafts fireplace reflecting local flora, a shower painted as a Costa Rican rainforest, a Moorish fountain.

While developing the design for a new tile, Bronwyn often refers to her own travel photos and sketchbooks… or draws inspiration directly from the natural world around her.  Once a design is finalized she creates a master tile and mold: new tiles are pressed by hand into the mold, dried, given an initial bisque firing in the kiln, glazed with hand-mixed colors, and then fired again to create the finished product.  The result is inevitably not a only a visual treat but soothing to the soul.

“I love the idea that art can be an intimate part of our daily lives, in the construction of our homes, and our mundane functional objects.” Bronwyn said.  “We envision homes that nurture a sense of peace, well being, and beauty for all who enter them, and we envision our tiles becoming part of those homes.”

Having her studio on her own land eliminates a commute, keeps her in touch with her immediate environment, releases time for gardening and home cooking, and allows her to contribute to her community in a meaningful way.  She takes care to craft an eco-friendly product that can be enjoyed for generations.  The studio was built using many salvaged or recycled materials, along with timber sustainably harvest from her own land.  Additionally, the business’ environmental impact is reduced further by the practice of re-using packing & shipping materials.  For Bronwyn, working in a sustainable fashion simply grew out of her lifestyle – which is “modest, rural, artful and ecologically aware” – so that life and work blend seamlessly.

“For me, it all starts with mindfulness,” she said.  “If we are able to stay conscious of our small, daily choices, and make choices that are healthy for ourselves and the earth whenever possible, the cumulative impact will be great…  We need to return economic power to small communities, encourage small-scale local economies,  empower women, and preserve the incredible richness of cultures through traditional craft.”

At their website Terra Home offers hundreds of original ceramic tile and tableware designs.  Ms. Simons may be contacted at info[at]linguaterratile[dot]com or (250) 335-3149, 9AM to 9PM PST.