Mirror Hooks
The Mirror Hooks project is almost complete. Currently the White Oak version is done and ready to receive jackets, scarves, and bags. Once I get back to school in a couple of weeks, I will have the Walnut version completed. It is great to finally have this project nearing completion. Here is an image that demonstrat
Orbit Light
All of the work on the Dome Light prototypes has resulted in the Orbit Light. The name is in reference to the way the light switch dial rotates around the glass dome like planets around a star. At this point, I feel that most of the design issues that surfaced during the prototyping of the Dome Lights has largely bee
Clip Tree
I ended the 3rd semester with a completed version of the coat tree/valet artifact that I am now calling 'Clip Tree' (sometimes sticking with a name is hard...). Here are some additional images of (thanks PD Rearick):
Half-Full Light
My last project for the school year is a light that uses a left over piece from the Dome Light project, a dimmer switch, dimmable LED puck light, RP components, an acrylic lens, and a cloth-covered cord. The light is designed as accent lighting. The top of the light rotates in either direction to turn the light on and
0
While going through the files from my undergraduate work at MCAD, I came across my “Position Paper”, which is part of the requirements to graduate. A “Position Paper” is to be short and sweet and to allow the graduating artist or designer to explain their work within the proper context of the world at large (i.e. where does my work fit in in the big picture). In my case, I took a stab at trying to figure out where an “American” furniture designer exists in today’s design community. It was essentially addressed to a professor who was not versed in furniture and is somewhat over-simplified but still contains ideas that I am trying to resolve as I enter graduate school this fall.
Without further ado, here is the paper:
What Is It To Be An American Furniture Designer?
Matthew Plumstead
Fall 2008
‘‘Designers are like flowers,’’ observes Paola Antonelli, the senior curator of architecture and design at MoMA. ‘‘They thrive in the right terrain: usually a mix of intellectual and artistic fervor, supported by a lively industrial sector of small to medium-size companies. That’s why American design was unstoppable after World War II.’’
When I think of American furniture design, naturally I think of Ray and Charles Eames, Harry Bertoia, George Nelson and a few others. They were the pre-eminent designers of their day. Their work was celebrated both here and abroad. They worked with companies that were willing to take risks (Herman Miller, Knoll) and helped them to achieve a modern vision for the American home and office, which remains timeless. In subsequent years, it seems that no one has contributed to American furniture design in the same way. Why are there no Eames or Bertoias today? What is considered an ‘American’ designer at this point in time? Why is furniture design flourishing in Europe and where does the young furniture designer fit into this current framework? I intend on answering these questions and in the process hopefully clarifying for myself, the context in which to place my work after graduating from college.
Continue reading…
Specs: Lithograph on sand-blasted acrylic
1.5”(H) x 8”(W) x 5.5”(D
Process:
I was curious to see if I could apply a lithograph to a material that could be formed in a way that would speak to elevation in a topographic map.
Continue reading…
Specs: Acrylic, Steel, Canvas
16”(H) x 13”(W) x 13”(D)
Process: This piece is the result of a two-stage class assignment. In the first stage, we were tasked with creating a 12”x12” cushion, with no further instruction. The second stage required us to design something around the cushion. My goal was to create something that looked as though it was designed in one stage rather than two.
Continue reading…
Specs: Acrylic
8”(H) x 12”(W) x 6”(D)
Process: From early renderings, I became interested in translucent nested forms and began to play around with the idea of changing the focus from the outer structure to the inner, depending on time of day and whether the light was on or off.
Continue reading…
Specs: Steel, Birch Plywood, Laminate
8”(H) x 40”(W) x 8”(D)
Process: Catchall resulted from an interest in designing something both attractive and utilitarian that could be mounted to a wall.
Continue reading…
Specs: Acrylic
Variable sizes
Process: These lights were designed to be packaged as a kit and can be interchangeably configured in different ways.
Continue reading…
Specs: Cordura, Aluminum, Steel, Maple
40”(H), 23.5”(W) x 21”(D), seat height is 15.25”
Process: I was interested in the idea of a sitting position dictating a chair’s deign. In this case, I created a leg rest for propping a leg up as the sitter shifts weight to the side in a lounging posture.
Continue reading…
Specs: Steel, Felt, Birch Plywood
24”(W) x 30”(H) x 14”(D)
Process: I was interested in designing and building a pair of counter stools with an open and light profile that incorporated a creatively integrated use of upholstery.
Continue reading…
Specs: Powder coated & CNC cut Aluminum, Steel
32” (H)” x 20” (W) x 18”(D)
Process: Inspired by some of the perforated metal furniture that was cropping up from various companies (Blu Dot’s ‘Real Good Chair’, Form Us With Love’s B.I.O. line), I decided to experiment with the bending, perforation, and flex of sheet metal.
Continue reading…
Specs: Gypsum, Wax
10”(H) x 8”(W)
Process: This piece was originally envisioned as a porcelain pendant light consisting of two pieces held together with the lighting hardware.
Continue reading…
Back to top