Brooklyn, thought by many to be the epitome of an urban environment, is home to more greenery than one might expect. From small window boxes to entire vacant lots, Brooklyn’s population is devoted to creating greener, more colorful neighborhoods. The Remains Lighting factory is no exception.
As the weather began to warm, the employees at Remains Lighting started to plan this year’s garden. Of the three raised beds in the parking-lot-turned-garden, two contain maturing fruit trees and dense, sprawling ivy. The third – reserved for growing vegetables, herbs, and flowers – is where much of the efforts are focused.
Enterprising employees decided to eschew buying seedlings from a nursery, opting to start their plants directly from seeds early in the spring. Thanks to the large, sun-lit windows and a little attention, most of the seeds successfully sprouted and began to thrive.
This week the seedlings were planted outside, after the earth was tilled and a “soaker” hose was put down to ensure a constant, even supply of water. A large variety of vegetables and herbs were planted, including basil, peas, and cucumbers. As the weather continues to get warmer and the plants continue to grow, the team at Remains is looking forward to reaping the benefits of the garden.
Remains Lighting is proud to announce our new collaboration with LA-based design firm, Commune. In February, several of the fixtures were prominently displayed in the Architectural Digest Greenroom at the 2015 Oscars, designed by Commune. You can read about and see pictures of the installation here.
Now Remains Lighting is happy to reveal the collection, Commune for Remains Lighting, in its entirety. Inspired by Viennese Secession, French 1950′s and Milanese modernist designs, the fixtures are meant to be versatile, touched, used, and passed onto future generations. The signature “Slash” pattern available on the Dome fixtures and sconces is a theme revisited by Commune, having appeared on previous tiles and textiles.
The line will be debuted at the Legends of La Cienega in Los Angeles, with a window display at the Remains Lighting Showroom, designed by Commune.
All of the fixtures are available in several finishes with Commune’s signature Slash pattern or with a solid brass shade. Click on any of the images below for more details.
The launch of the Robert A. M. Stern Collection for Remains Lighting was celebrated with cocktails and a book signing by Robert Stern of his new book, Buildings and Projects, 2010-2014. Held at the Remains Lighting showroom in Chelsea, guests admired the new collection, the signature pieces of which are two Janus chandeliers. Several of the four and six arm chandeliers floated above heads, accompanied by the other members of the line as well as many other pieces from the Remains Lighting permanent collection.
We are delighted to announce the official launch of our new collaboration: the Robert A. M. Stern Collection for Remains Lighting.
The launch was celebrated with a book signing by Robert A. M. Stern at the Remains Lighting New York showroom. All of the stunning fixtures below are part of the line. Inspired by Roman gods, each fixture features planes of glass suspended by delicate wire.
It has been busy at the Remains Lighting factory. We will be releasing our collaboration with Robert A. M. Stern Architects this spring. The new collection will feature several chandeliers and hanging lights, sconces, and flush mounts, all boasting contemporary, elegant profiles and details. Known for projects such as 15 Central Park West, 30 Park Place, and the George W. Bush Presidential Center at Southern Methodist University as well as two upcoming residential colleges at Yale University, Robert A. M. Stern Architects has collaborated previously with Remains Lighting on custom projects, which inspired the collection.
RAMSA Partner Alexander P. Lamis notes that the firm’s “work with Remains on custom fixtures impressed us immensely, and we’re excited to bring the synergy we’ve developed to a wider audience with this collection.”
The official launch will be celebrated with a book signing by Robert A. M. Stern, of Buildings and Projects: 2010-2014.
In the meantime, take a sneak peak behind the scenes!
I do not usually post about the lighting I work with, even though I am regularly bowled over by its beauty and craft. Today, however, I want to share a special tie I have to the latest addition to Remains Lighting family.
The Contessa Chandelier is based on one of Tony Duquette’s originals that drapes the winding staircase of the Casa Contessa. The home of Hutton Wilkinson, the Casa Contessa is snug up against Dawnridge, Duquette’s own old seat in the hills above Los Angeles. With Duquette’s start in Hollywood a recognized pedigree, he could very well be considered part of LA’s royal lineage.
When Remains was developing the Contessa I had the delightful task of documenting the original chandelier. With pencil and sketch pad and ruler I was left to myself in the twisting spiral staircase. The walls are decorated in watery canal scenes, and the top landing houses an impressive library. Two adorable dogs held guard of the landing. I was regularly pulled away from my task into another decorative moment in the Casa: from the blackamoor-face door pulls to the clashed angles of a monumental deco sconce in the bath, to rows of design volumes on the landing.
Anyone who’s paid court at the Duquette estate knows what a fantasia it is. To see the newly minted Contessa Chandelier by Remains is like seeing royalty descending the stairs to be received. I hope you enjoy the glimpse of her.
The Simon Pearce workshop in Windsor, VT allows visitors to view the ongoing work of the glassblowing shop. Because of the glass furnaces, this shop doesn’t need heat in the winter. We visited in July…
Even though it was a Saturday, there were two gentlemen nevertheless at their craft. They were making Christmas tree objects d’art. I don’t believe they were tree ornaments for actually hanging on a tree. The two worked in tandem as the material needs to be worked and heated through multiple trips to the furnace, rolling, pinching, pulling, heating and reheating.
We strolled along the catwalk to get a good view of the works. You can see the carts of scrap glass “cullet” and the huge hopper for remelting material. There is a board of traditional glassmaker’s tools mounted on the wall. These are, with no discernible changes, the same tools used in production in this shop.
This is an unusual shop in my experience as most glass production, other than art “studio” glass, has moved from the USA to Asia. There are very few true factories producing high quality, well-designed glassware domestically. Simon Pearce is one of those.
I am very happy to announce the formation of a new, New York chapter of the Institute of Classical Architecture and Art, of which I have been named president.
The ICAA has grown dramatically in scope as well as in geography and recognized the need for a chapter presence right here where it started, to serve our growing community of designers, artists, architects, patrons, and other fellow travelers.
The ICAA is a leading non-profit organization dedicated to advancing the classical tradition in architecture, urbanism and allied arts through education, publication, and advocacy. The Institute, and it’s 16 national chapters, offers a wide variety of lectures, events, and educational programs.
Although this chapter is still in formation and will be working closely with the national office as we plan our growth, we have already begun to assemble a robust calendar of events and classes.
Please join us at the Century Club on April 8th for our inaugural New York Chapter event, a lecture by renowned garden designer, Arne Maynard. He will share his passion for seeking out quality and individuality in the unique gardens he creates for his clients.