JOIN's Design Shoppe Participants Announced!

Here is a sneak peak!

Above and below is work by plainMADE, fortyfive09, Iacoli & McAllister, Meet Me Here, Piano Nobile and Grain.

Other participants include Chikabird, Dinah Coops Design, Fruit Super Design, Greg Bethel, &c., Ladies & Gentlemen Studio and urbancase.

Bring cash. Everything will be priced under $100.00. Should be an amazing event!! Remeber it is one night only: November 28th 7:00pm - 11:00pm at Vermillion. For more info see the JOIN: Design Seattle website here.

SCRAP opening at Fancy!

Thanks to everyone who came out last night to check out SCRAP at Fancy!

Here are a few of our photos from the evening. Below is a lamp by Greg Bethel and a new chair by urbancase, Links necklace by Grain, custom signage for the event by Loc Trinh, Loc's walnut bow ties, Sleepers by Grain, rings by fortyfive09 and &c., shelving by Ladies & Gentlemen Studio, and bowls by Laura Yeats on an an amazing display table by Erich Ginder.

For more on the show, here is a post on the Seattle Metropolitan blog by Laura Cassidy. SCRAP will be up until December 11th.

Design Profile No.2: Urbancase

Is it October already?! I guess that means it's time for another JOIN Design Profile interview!
On a quiet dead end off the main strip of Seattle's working-class South Park neighborhood sits the dynamic hub from which Darin Montgomery of Urbancase spins his creative web of multi-faceted design efforts. The Urbancase studio is well organized and compact, smaller than we expected for a predominantly furniture-centric studio. As we learn more about what goes on there we were convinced more and more that we've quite possibly stumbled upon a Utopian design studio. Here creativity is kept fresh by experimentation with materials, ideas, hands-on prototyping, and occasional contract work, but kept a sustainable business by smart, selective outsourcing to skilled local craftspeople and manufacturers. In a format reminiscent of Italy's post-war designers, Urbancase has managed to use it's local resources to create great products with minimal in-house manufacturing capabilities opting instead to use the services the Northwest has to offer. What was so striking was the ease at which Darin delegates his production work to others while keeping the critical creative functions firmly centered within his company. When asked if trusting others with the critical task of executing his vision was in any way problematic, Darin shrugs it off "I pick people who care about what they do. I try to work with others in a similar position to my own."
He went on to explain his belief that keeping production local and small scale has allowed him to replace a rigorous QC process with a level of trust and confidence in his suppliers. "I was inspecting every box they gave me and realized at a certain point it wasn't necessary. They cared about their work as much as I did." This absolutely shows in the work: curved cabinet edges executed seamlessly, beeswax candles (in the shapes of classic cameras) casted with precise details, finishes carefully applied and rubbed by hand. Can't wait to hear more:

Studio Name: Urbancase
Member(s): Darin Montgomery
Location: Seattle, WA
Website: urbancase.com
Started in: 2002

What's the story behind your company/studio? What made you finally realize that you wanted to start your own design company? Take us back to that exact moment when you thought "I'm gonna start my own freakin' design studio!"
I was in Vancouver, BC for a weekend getaway with my girlfriend Rachel. I left a job several months earlier with the intention of starting my own business but was still trying to figure out what direction to go. Rachel finally suggested I should just do what makes me happy. It seemed so obvious. Design makes me happy...so that's what I did. What's your design philosophy and approach?

My philosophy is pretty basic and I try to apply it to every aspect of my life. Whatever I do...whether it's design, cooking, or interacting with people...it should be simple, functional, thoughtful, and beautiful.
What are some highlights (life changing events) you've experienced that influenced your current work or design?

Growing up, my Father owned an auto body shop and for many years it was the gathering place for my Dad and his buddies. He had a group of extremely talented friends and I spent countless hours working on projects with them. They would engineer everything from suspension systems for hot rods to enclosed motorcycle trailers with fold down seating and eating areas. Material and budget limitations were common and more often than not they would solve problems by committee. It was a great environment to grow up in. The experience of working with them influences every project I approach. The level of craftsmanship and functionality they achieved is something that is with me every day.What's your favorite place to visit and get inspiration?
We took a trip to Berlin two years ago and it had a huge impact on the way I look at design. Unfortunately, I can't pop over every time I need inspiration. But...I have the photos to which I refer frequently. Any industrial or area in disrepair is a great source of ideas for me as well.

What do you like to do when you need a break from design?

I try to keep a project in the shop that I don't have to think too much about. Something that requires sanding or polishing. If I'm having difficulty resolving an idea or I've been on the computer all day, repetitive motion can be very relaxing.

Every Sunday Rachel and I have a ritual. We make breakfast, have coffee and listen to records then walk through Freeway Park on our way to the library. Even though I'm surrounded by incredible architecture, it's routine and comfortable so I don't even think about design. It's a great way to recharge my batteries.

We recently started learning French. I'm not very good so it takes all my brain power. I don't have the energy to think about anything else.

I also play guitar and even though I don't practice often enough, 10-20 minutes a day is a real treat.

In the winter I play hockey. When I'm on the ice, design is the FURTHEST thing from my mind.
What do you consider your most successful and or rewarding project?
The projects I rush through or don't resolve completely are the most successful. I learn so much from them and usually have one lying around to remind me of what not to do. Perhaps the most rewarding project was a wine glass rack I made for my parents when I was eight. I built it from scraps found in the garage. It was hideous. My Dad cried when it got knocked off the shelf and shattered. What are the strengths of design in the Northwest? How do you see it becoming stronger?

I love that design in the Northwest has a feeling of honesty and sincerity. It's not arrogant or pretentious.

I believe if the design community in the Northwest continues to communicate, share information, ideas, and resources, it will only get better. JOIN is an awesome organization and the people involved are unbelievable. It's a great feeling when you pick up the phone or e-mail someone in the same discipline that you work and know they will share whatever information they have.

What's your favorite, well-designed food? why?I would say a seed of any kind. They're perfectly designed for their environment and have a little secret tucked away inside. Salsa is a pretty close second.

What's your favorite object? Why?
A micrometer that belonged to my Grandfather. It's beautiful, functional, and very satisfying to use. It doesn't give you a sense of how much effort it took to design. I love objects that conceal their complexity.

Tell us about your very first experience when you did ICFF. What was it like? How did you prepare yourself? Do you any tips or words of wisdom to all the baby designers out there who are thinking about ICFF?

It's funny to look back now, but I remember being very anxious at the time. My friend and I shared a booth and it was the first show for both of us. I arrived at the Jacob Javits Center bright and early with a box of postcards, order forms, and comfortable shoes. I was set. Unfortunately, when I arrived at the booth I found a big hole in the side of our crate. I have no idea what happened, but needless to say...I freaked out. I couldn't open it because my buddy had the cordless drill and was nowhere to be found. I ran around frantically trying to find a drill. Workers at the Javits Center won't loan tools and it seemed as though EVERY other exhibitor was wandering aimlessly looking for a cordless drill. It felt like complete mayhem. I called my friend continuously for the next two hours. Eventually...he answered the phone and the first thing he said was..."do you know the bars stay open until 4 AM?" When he finally arrived at the Javits center he'd forgotten to put the drill on the charger. All we could do was laugh. Once we got the crate open all was good. That was my first three hours of ICFF.

I was naive enough to think my product would sell itself and underestimated the importance of booth design. I'm still learning because there's a science to the dynamics of a trade show. The booth layout has a huge impact on how people approach you. It's sort of like being alone on a dance floor waiting for the music to start. All it takes is one person to join you and others will follow.

I would strongly encourage anyone who feels their product(s) are suited for ICFF to figure out a way to make it happen. There are opportunities you won't find anywhere else. And...if you go one year, plan on going the next. It's an incredible experience, lots of energy, inspiration, and seriously cool people.

For anyone thinking of going I would suggest:

1. Hook up with someone who has done the show. They can help with simple things like finding a hardware store, shipping facilities, and ways to cut through the red tape at the Javits Center.

2. Set aside plenty of time to design your booth and presentation materials. Some people want postcards, some want electronic communication. You should have several options.

3. Most of the rumors you've heard about the staff at the Javits Center are true. They're not on your schedule, you're on theirs. It's all good if you roll with it. Fight it and you'll be miserable (it took more than a year for me to figure that out).

4. Try to have two people in the booth. It's exhausting to do it by yourself. And...somehow it makes your booth more approachable.

5. Eat right, brush your teeth, and don't run with scissors.

What other design shows have you done or would like to do in the future?

ICFF is the only show we've done. Milan is on the radar. We're shooting for 2011.

Design Profile No.1: Grain

Welcome to our very first JOIN Design Profile. On behalf of JOIN, Dylan and I will interview talented and emerging designers and visit their studio and homes starting in the Northwest region. Our goal is to share a little something about each designer's work, personality, work/living space, and design philosophy.
Today we’ll be featuring Bainbridge Island-based design all-stars, Grain. We had the extreme pleasure of enjoying a perfect summer BBQ evening at their picturesque 1901 island home situated a short ferry ride west of downtown Seattle. Grain partners, James and Chelsea, live and work out of the home and adjoined workshop, which they have renovated and decorated to perfectly reflect their appreciation of the home’s character, but also their clean modern style. They prepared an amazing meal, which we enjoyed on their wooded porch. What an inspiring setting to design in.
When Grain isn’t enjoying laid-back island living, they’re busy working away as a design studio and consultancy with an ecological focus (easy to understand their appreciation of the earth given their surroundings). Grain’s goal is to help clients develop sustainable solutions that have a positive effect on humanity on a social and global scale.
Each of the four members of the collaborative can trace their roots back to Rhode Island School of Design where they first developed their approach to sustainable endeavors. Their diverse body of past work ranges from furniture to socio-cultural documentation and more.
They also have a budding collection of their own products that includes the simply clever Ty shower curtain (made from durable, recyclable and water-repellent Tyvek). Grain is also in the unique situation of operating on both coasts with half its workforce on Bainbridge (Chelsea Green and James Minola) and half on the East Coast (Brit Klienman and Sami Nerenberg). While working at a distance can have its challenges, Grain sees the arrangement as an advantage, allowing them to meet their client’s needs from multiple perspectives and locations. We spoke to partner Chelsea Green to learn more about what makes Grain tick.
Studio Name: Grain
Members: James Minola, Partner, Chelsea Green, Partner , Sami Nerenberg, Sustainable Systems Strategist, Brittany Kleinman, Designer
Location: Grain is based on Bainbridge Island, which is a 35 minute ferry ride from downtown Seattle. We also have designers available in Boston and New York.
Website: www.graindesign.com
Started In: 2007
What's the story behind your (company/studio), how did it start?
James first conceived of the consultancy while we were all still students in the Industrial Design Department at Rhode Island School of Design (RISD). He invited us all to participate. At first he was the only full-time Grain employee. In 2008 I began working full-time for Grain as well. Along with being our Sustainable Systems Strategist, Sami is the youngest adjunct faculty member in the Industrial Design Department at RISD, where she teaches the popular Design for Social Entrepreneurship studio. Brit works full-time for Jack Spade, is the creative force behind AVO Market and designs for Grain.
What's your design philosophy and approach?
We focus on uniting sustainability and business through design. We believe that there is an inherent responsibility in the practice of design. We approach every design problem through a rigorous and systematic process - always considering the social and environmental benefits and affects of the work that we do.
What are some highlights (life changing events) you've experienced that influenced your current work or philosophy?
We all come from different backgrounds which have led us individually towards design and focus in sustainability. My background was luxury interior design. I had enormous conflicts with using my design thinking merely to facilitate conspicuous consumption. I loved the opportunities for creative expression that the seemingly limitless project budges allowed me, but at the end of the day I felt unfulfilled as the work required me to turn a blind eye to some of the larger social and environmental realities of the world. I believe design has the capacity to promote positive changes-to inspire and be catalyst for good. I want to spend my short time on this planet working on projects that are in line with this belief.
What do you consider your most successful and or rewarding project?
For me, one of the most rewarding projects that we’ve worked on together happened before we even became an official collective. It was Bridging Cultures Through Design, the wintersession course at RISD in which James, Brit and I met. It was led by designer and educator Mimi Robinson, who has worked for years helping artisan groups bring sustainable products to market.
After a month of studying Guatemalan artisan techniques and traditions, we traveled in a group of nine RISD students to the communities of San Antonio Palopo and Santiago Atitlan in Guatemala to create a collection of textile-based products for contemporary markets. The goal of the project was to build sustainable income opportunities for the artisan communities that we worked with – providing them with design ideas to help build future collections. As a group, we developed over 60 products (many that are still in production) that were launched at the New York International Gift Fair.

Getting to experience the whole process of authentic research, culturally and environmentally sensitive product development and the economic forces that influence everything, really opened our eyes to how impactful design can be.

On top of it all, it was the project that led us to meet each other!
What's your favorite place to visit and get inspiration? (i.e. countries, cities, your home, beach, middle of nowhere, etc.)
I personally get a lot of inspiration by going back to New York (my home of 7 years) to be with friends who are in similar places in their careers and creative work. I also have family in London that I like to visit often. It is such a gritty, diverse and creative environment for me. We get a lot of inspiration from living here in the Northwest as well. There is just so much awe-inspiring natural beauty. Its influence is ever present.
What do you like to do when you need a break from design?
James and I have to remind ourselves to get out there. Because we live and work in one place (on an island no less) and are a couple, we spend the majority of our time together and in work mode. We get that guilty feeling that a lot of young entrepreneurs experience when they steal time away from their work. That said, we are learning to create more balance. We spend a lot of time outdoors since moving back to the Northwest. Walking, hiking and beach lounging are a major part of our repertoire and definitely get us out of the office. I am also pretty dedicated to practicing yoga several times a week and spending several hours with The New York Times on Sunday.
We also love food: foraging, cooking, reading about and experimenting with. We have a so-so vegetable garden, though it seems to get better each year. We also belong to a CSA so we have access to a lot of spectacular local produce to play with. We have lemoncello working its magic as I write and beer and wine making on our to-do list this year.
What's your favorite object? Why? (i.e. something of sentimental value, or something with character, charm, or simply will designed)
The most important objects that I own are all sentimental. Photos, love letters, old journals, sketchbooks and jewelry that I have been given by family and friends. They would be the things I grab in a fire. That and my hard drive.What's your favorite, well-designed food? why?
Um, this could be a long list... Generally, I prefer simply prepared foods that celebrate ingredients at their finest. A caprese salad of heirloom tomatoes and fresh mozzarella with basil from the garden and great olive oil and balsamic comes to mind. When prepared properly, it just lets each ingredient shine and fills you with the taste of summer. In winter, we also make this slow cooked bolognese that is so rich you almost have to lie down after a bowl of it over pasta. It has these deep flavors (from the red wine, pancetta, etc.) that just continue to reveal themselves with each new bite.

What are the strengths of design in the Northwest? How do you see it becoming stronger?
There is a lot of great design happening in the Northwest. The tricky part is getting to know what’s going on beyond the surface. Becoming involved with JOIN has made a major impact on how connected we now feel to the Northwest design community - which is really important to us as we think about growing our business here.
In an effort to educate myself on contemporary art and design in the Northwest, I began a blog in late 2008 called Village Mews as a way to archive everything I was stumbling across in my own personal research. In doing this, I thought I would begin to get a more cohesive picture of the Northwest design scene. Almost a year later, I am not sure if I can summarize it into a neat package. That said, there are some themes that begin to bubble up. One is materiality; there is definitely a consciousness to the way designers here think about their use of material – whether it be reclaimed, sustainably sourced, or locally produced. Secondly, in the process of making, there seems to be a strong D.I.Y./craft/handmade affinity. Also, here in Seattle at least, it feels like a lot of designers try to leverage the tremendously rich manufacturing/production processes available locally in their work. These themes are not necessarily unique to the Pacific Northwest, but they are the themes that I would identify with Northwest design if I had to make some unifying connections. If I were selecting a couple adjectives to describe designers here, I would probably pick authentic, straightforward and resourceful.
As far as strengthening design in the Northwest, I think the efforts of JOIN are going to be a catalyst - bringing together the disparate work of our regional designers. This should help us more clearly define our collective efforts and get the word out about what we do so well here. Through the grey and gloom that we are infamous for, I think the future looks bright for Northwest design.