Design MMoCA

Aga Artka Interior Design, LLC: Aga Artka
Working Space
Robert Motherwell, Untitled, 1976, Lithograph

I was looking for a piece that had a hidden message, that was non-traditional, abstract, and multi-dimensional, yet minimal. This piece was a perfect find. Simple but energetic, and timeless black and white.

Architectural Design Consultants, Inc.: Susan Wilsie-Govier and Jackie Harper
Living Space
Luis Jimenez, Honky Tonk, 1981, Lithograph

We selected Honky Tonk for its energy, its color and the opportunity it provided to build a space that could get a little dirty. This piece has given us an opportunity to do what we do best—a themed environment. Our vision is built on energy, escape, and the commonality of man. Our design aims to flood the senses visually, texturally and philosophically. We believe that good art should be the starting place, not the afterthought, in interior design.

Bungalow Pros: Jill Kessenich and Scenic Interiors: Craig Brown
Sleeping Space
Mary Heilmann, 20th Century Fox, 1998, Color spitbite aquatint with soft-ground etching

In picking our piece for Design MMoCA, 20th Century Fox strongly stood out to both members of our design team. The modern, striking visual contrast of a graphic lattice with bold exclamations of primary colors is a departure from the styles and historical influences that we typically work in; that it was outside our normal comfort zone is a testament to the strong appeal of the work. The sense of fun and weightlessness in the piece instantly suggested lighthearted youth. This made us think of a child’s room, but more the kind of room that you would have designed for yourself as a kid, had you an adult design sense.

Carley & Carley: Jamie Carley and Robin Carley
Dining Space
James Rosenquist, The Prickly Dark, 1987, Aquatint

We are inspired to create a space that fully embodies the nature of this work and the process that Rosenquist employed to compose his pieces. His technique to take an anonymous image and cause an audience to rethink the familiar, to appreciate the imagery for a different value, is influencing our design vision and process. A dining space may probe an archetypal image, but is ultimately confined by only one parameter, that it be a place to eat. Rosenquist has allowed us to imagine the possibilities of the abstract, which we hope to pass on to viewers of our space.

Deb Corning Interiors, Inc.: Deb Corning, Rebecca Turner, Ashton Mergen and Roxanne Hembd
Living Space
Thomas Jewell-Vitale, Untitled, 1984, Pastel and acrylic on canvas

This work of art will influence our design vision and process by giving us a large range of color options for materials, finishes and room layout. In the center of the artwork, it is more abstract and hard lined, while the outer edges of the artwork flow around it. This combination gives us the ability to create a youthful, universal living space.

Driftmier Design, LLC: Cathy Driftmier
Dining Space
TL Solein, Man on Island, 2005, Mixed media monoprint with collage

Man on Island will be the focal point of an eating space and is meant to evoke meaningful conversation among the diners. The theme of the work serves as a reminder to consider our “appetites” in life, and that rampant, unthinking consumption has its consequences. The aesthetic of the space will focus on natural, sustainable elements, obtained locally wherever possible, as a counterpoint to the wanton consumption portrayed in the work.

Dybdahl's Classic Kitchens: Jill Dybdahl, Carolyn Reno, Mandy Soman and Megan Petraszak
Living Space
Suzanne Caporael, Al, O: Cobalt Blue, 1999, Etching with hand painting

Our design vision and process has been influenced by Al, O: Cobalt Blue in that we will create a space that supports the contrasting feelings of energy and relaxation that are found in this piece. Our space will be a study of contrasts, as in the artwork. We will be using similar cool colors in our palette while creating a warm and inviting atmosphere. Our space will include some hard, high-gloss surfaces, but we will co-mingle these with soft wood finishes, natural materials, and organic shapes. We hope to accentuate our artwork by making it belong in the space. The artwork will speak softly as an important accent to a whole environment.

Flad Architects: Randy Schmitgen, Jodi Thill and Sara Olm
Working Space
Joseph Piccillo, Edge Event I, 1982, Lithograph

Edge Event I will be placed in relation to the viewer as one who would interact with the user of the space. We have been building our workspace drawing from the following questions: Who would select this piece? What type of work do they practice? What is the feeling that the owner of this piece would want to come across to any visitors? These questions explore the idea of what underlying meanings do we and can we project by the selection and placement of furnishings, art and accessories within a space.

Fontaine: Barry Avery
Living Space
Janica Yoder, Alexandria, 1990, Cibachromes

We chose a piece that spoke to us. We loved the colors, the feeling, and the peaceful nature of Alexandria. The piece is serene and quiet, while still very exciting. Our interior will capture all of these qualities.

Inner View: Jodie Amerell and Tammie Rogeberg
Sleeping Space
Mel Butor, Cubic Measure, 1982, Box with reflecting paper and plexiglass

We choose Cubic Measure because we were looking for something edgy and robust. Our design will be a bedroom with elements of industrial funk. We will integrate beauty with a mechanical feel, and incorporate bolts, power tools and other exciting elements to invoke the mechanical, driven and macho type.

InteriorLOGIC Facility Planning: Robin A. Stroebel and Kevin M. Sorg
Working Space
Robert Rauschenberg, Soviet/American Array III, circa 1989, Photogravure print

Robert Rauschenberg once said, “Being correct is never the point.” He lived the notion that experimentation is more interesting. It’s in that spirit we are designing a collaborative workplace, a place to share new concepts, diverse ideas, observe, create and innovate, to “see beyond limits,” weaving all together to reinvent new opportunities for these economic times. We want to provide a rich visual environment, a collage of sorts, an assemblage that at first appears to have no meaning, but upon closer inspection is representative of the individual thoughts of each of the contributors.

JG Development, Inc.: Mary Grundahl, Jeff Grundahl, Amanda Funk and Charlie Martinson
Working Space
Peter Presnail, Flood Plain, 1990, Oil stick

The Inspiration for our concept was derived from the unique hazy style of this painting by Peter Presnail. Flood Plain inspires imagination, reflection and beckons interpretation. When thinking about the type of space to design, there was no question that it was to be a place which also called for these responses. The painting will create the outside setting of our room. It will become the landscape and inspiration of the implied inhabitant. The room design will capture an author’s niche–a place created by Presnail where light, texture and color inspire, and the ebb and flow of the flood waters bring comfort.

Karen Claffey-Koller Interior Design: Karen Claffey-Koller
Eating Space
Rufino Tamayo, Pasteque #2, 1969, Lithograph

To pay homage to Pasteque #2, it will be my attempt to similarly treat the space as Tamayo has treated this piece, in a proud, offhanded, fashionable way. As Tamayo has opened my eyes to a new interpretation of the lovely and lively watermelon, I too will attempt to present my room, a bar, with a renewed look at an old favorite.

Linville Architects: Edward Linville, Tracy Hartmann, Ethan Kent and Stephanie Roessler
Living Space
Simon Sparrow, Untitled, 1980, Oil pastel on cardboard

We are honored to present the work of Madison Artist Simon Sparrow. His work and that of his contemporary outsider or intuitive artists creates a strong influence on our practice of architecture. This intuitive, artistic process comes from deep within and is not found in books but in passion. Within each design challenge there exists an answer waiting to be given a voice. As artists and designers it is our gift to put away the books, listen, and find that answer, that voice. Our room is not a “designers solution,” but simply an environment that embraces the work.

Strang, Inc.: Lois Braun-Oddo and Ashley Phelps Wagner
Working Space
Lane Hall and Lisa Moline, Four Corners, 1999, Digital Print

We will design a space for creative collaboration and will draw from the artists’ theme of using ordinary materials in unexpected ways. This re-use or reincarnation of materials is the impetus for incorporating a sustainable aspect to the design. We are interested in stretching our own artistic muscle by designing room elements out of corrugated cardboard. We love the idea of creating furniture out of this recycled and recyclable material. Finally, we also want to create a delightful, usable and inspiraitonal space.

Zander's Interiors, Inc.: Doug Zander, Erica Meier, Nancy Greenbeck, Nicole Fulton, Michelle Hackworthy and Diana Erfurth
Living Space
Romare Bearden, Serenade, 1969, collage and paint on panel

Serenade is collectively interesting with color and textur. It’s theme of music could be interepreted in various ways. The concept of music and entertaining will set the tone for our space.