понедельник, 19 февраля 2018 г.

Douglas and Bec’s Beautifully Understated New Zealand Home

Douglas and Bec’s Beautifully Understated New Zealand Home
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There are elements of Bec Dowie’s northern New Zealand home that are impossible to capture in photographs alone. One may not realize, for instance, the scope of its rural surroundings. It may be hard to detect the relative quiet in comparison to the city where the designer, her husband, and daughter previously made their home. And it most certainly may be difficult to grasp that, despite a noticeable lack of embellishment, it’s a multifaceted — and completely modifiable — space that belies its minimal appearance. To put it plainly: Its walls move.


“The bedrooms in our home are on movable pods,” says Dowie, who is half of the furniture and lighting design studio Douglas and Bec. “That way, our space can go from home to studio easily.” With a workshop a kilometer away, Dowie needed a house that could meet multiple personal and professional requirements. Once a barn, the building she and her family now call home was converted accordingly.


It’s appropriate that Dowie’s home epitomizes a seamless blend of work and living space — Douglas and Bec, after all, is a family business. Launched in 2006, the studio is a collaboration between Dowie, a designer with a fine arts background, and her father, furniture designer Douglas Snelling. “We decided we would start designing and making things, but we didn’t know what direction we would take. With my art background and his practical skills, however, we went into woodwork first. It all grew from there.”


Today, Douglas and Bec is a business with global reach, well-known for goods that marry outstanding materials with clean design and meticulous craftsmanship. And while the company has showrooms in Auckland and Melbourne, there’s likely no more attractive display of its wares than the Dowie home we’re featuring here today, furnished almost entirely with pieces of the family’s making.


Expanding beyond a twosome, the Douglas and Bec team has grown to include three full-time workers at Snelling’s workshop, and Dowie’s husband, Paul. “My husband and I run the production, marketing, and financial side of things,” Dowie explains. “As far as design goes, I’m the ideas person and my father is the maker. He loves building things that are strong and structural and functional, whereas I bring a softening aesthetic to our pieces.”


While business has expanded, the work dynamic at Douglas and Bec remains much the same as it’s ever been. “We’re still very small,” Dowie says. “We’re hands-on, we’re always making something. People ask, ‘What’s your next collection?’ And there is no next collection—we’re always rolling, all the time.”


“About two years ago, my husband and I left Auckland and moved 45 minutes south of the city,” says Dowie. “We moved into a one-bedroom cottage before converting the barn we used as our workshop into the house you see now.”

Dowie’s kitchen houses the essentials and little else. “This room is comprised of two cupboards and an island,” she says. “We don’t need any bells or whistles.”

In addition to their own products, the Douglas and Bec stores stock a selection of accessories and home goods from fellow creatives including Fort Standard, Fredericks & Mae, Dusen Dusen Home, and Good Thing. “We don’t sell many other brands, but the ones we do carry are on a long-term basis. These pieces are by Kat and Roger, American ceramicists from California. I love the materiality of them, and the speckled clay.”

Assorted Douglas and Bec pieces, big and small, are strewn space-wide. “I try and keep myself quite isolated as far as looking at too much other work globally,” Dowie says. “Otherwise, I find that my work becomes too informed by what’s on trend. That isolation helps keep our aesthetic very consistent.”

Furnished with hand-built bunk beds, Dowie’s daughter’s blush-colored bedroom is soothing and sophisticated. (Although, Dowie says, “She complains it’s not pink enough.”)

A diverse assemblage of seating neighbors a slender table Bec made herself. “That’s not a piece that’s in any of our collections. I just happened to have a marble top, and decided to make a base for it. There are lots of things in this house that are the product of experiments.”

Between the sofas stand two tables from Douglas and Bec’s Line Collection, inspired by sculptor Alexander Calder. “I love the optical illusion that the reflective surface creates. Sometimes you don’t know which way the legs are positioned. It’s quite playful.”

Sheer linen drapes add to the home’s movable, transformative appeal. “In the evenings, we close them all up and the space around the dining table becomes very intimate. It’s lovely in winter,” says Dowie. “Then, when we need to, we can open everything up again. Paul and I always dreamed of living in a warehouse or loft apartment, and this is our version of that. It’s our ground floor loft—in New Zealand, in a barn.”

Camel-colored sofas—future Douglas and Bec pieces currently in development—make graceful additions to the sitting area. “Sometimes you design things out of necessity,” Dowie says. “We’d never made a sofa before, and when we moved into this space, I was determined to try. These were made with an oak frame and a beautiful linen. It’s been good to live with them—I know exactly what to do now to make them more comfortable and refined. They’re evolving.”

“My father and I have done lighting since the beginning,” Dowie remarks. “I’ve always had a fascination with making things light up. I can’t quite pinpoint the exact reason. It’s just one of those things: a magpie likes shiny things; I like lighting.”

Wooden shelves hold an elegant miscellany of office materials, as well as a gleaming line-up of hand-blown glass—remnants of an experiment past.

Original article and pictures take www.sightunseen.com site

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