The Showroom: Scofield Historic Lighting

Traditional Building

2011-07-15T13:12:00.007-04:00

Even though it's a beautiful day to be outside in the sunshine for some folks, for us the place to be since early yesterday is the Traditional Building conference series in Boston, sponsored by Restore Media in conjunction with Institute of Classical Architecture.

Good afternoon, it's Rebecca Joslow reporting from Boston! This conference seems is a great place to meet new people who appreciate quality workmanship and products--we share lots of the same clients. I attended a meeting last night, where we discussed marketing strategies and what works for the niche work we are in. Some other sponsors in the meeting were custom cabinetry, windows, Victorian tiles, classical moldings, etc.

With this many professional together, naturally, the topic of marketing is a big one. What do clients want? How do they like to explore ideas and products? There was much discussion about google analytics, keywords, rankings and what becomes of all the gathered data. An architect (on the board of the Institute of Classical Architecture) mentioned that she hasn't touched a brochure in about five years. Does it always make more sense to go virtual? Another company owner explained the importance of 3D mock-ups for clients to visualize a space (lighting, time of day, color, proportion).

I'd like to share some of the wonderful lectures

and workshops we're attending, for example:

Humane Urbanism And Traditional Architecture:

Episodes in the work of Urban Design Associates

Ray Gindroz, FAIA

As he walked towards the podium, educator, architect and empathetic urban designer, Ray Gindroz had quite a compelling presence. Through his visually captivating and dynamic lecture he examined an uncomfortable topic, which I suspect most in attendance at the Traditional Building Conference would prefer not to speak of. Low income housing is a touchy subject, especially in a room filled with contemporary architects and high-end designers, whose passion and practice are both quality and luxury. Are these mutually exclusive??

Throughout the lecture, he thoughtfully walked the audience through his process of urbanization. The system he uses is to "meaningfully engage citizens in the design of their community." What is responsible design? What does it mean to be socially conscious and aware of the environment around one's own self? Gindroz's three step process in regard to public engagement is a solution worthy of our attention.

The first step is Understanding, the second is Exploring and the third is Comparing. When approaching a design challenge, especially in low income or mixed-income areas, collaborative design is crucial. Feedback from the members of the community is the only way to move forward successfully. What is the situation? How can these problems be solved? What are a few possible solutions? He stressed the importance of staying silent during this practice, in order to refrain from editing a speaker's thoughts. Listen, listen, listen. During this process, an integral step is to "compare this input to the analysis of physical form", or in colloquial terms, build a model and provide more than one way to respond to the community's needs. Actually, not a bad model for problem solving generally.

With all of that in mind, sustainability is the future of design and plays a reigning role in both material choices and architectural design throughout the whole process. The next step is to explore and try out the some ideas. After the preliminary research is done and thought out, the only thing left to do is deciding what to do. Gindroz emphasized the importance of maintaining a designed space's "local identity in an age of mass production", something that, of course, means a great deal to us and our fellow attendees.

He refers back to books and old floor plans to understand the simplicity and complexity of the area. From there, he implements the influence of design guidelines from plans to details and images and from both classical and contemporary sources. After working out the details, he goes back to the community and surrounding areas for their input. How do the surrounding area feel about these changes? Using the tools for humane urbanism, he makes the impact of physical form on people's lives. How do they flow throughout the space? Does it enhance their experience of life and reflect who they are "inside"? Gindroz posed an interesting question, which is highly personal and difficult to achieve in projects such as mass housing. He approaches dwelling as a mirror of the self by questioning "who we are in society" and having a sense of self image within a space. The personality and architecture must work hand in hand. Then and only then is the most personal and meaningful urban design accomplished. Ray Gindroz's talent in keying into the soul of a project keeps him in the forefront of the architectural world.

Create Curb Appeal for Your Home This Spring

2011-04-12T11:00:00.005-04:00

Renewal is a hallmark of Spring; cold gray months give way to golden warm light and gentle rains that together coax the earth to release it's colorful treasures. It's a time where all that was closed begins to open. And a time for us home dwellers to begin to open the windows and doors and sweep away the winter aftermath. Working outdoors is the most fun and this is the time to reassess what kind of sprucing needs to be done. If your home is lacking in style some quick and easy fixes can be done to remedy that. MaryAnn Polson, editor of Early Homes Magazine recently wrote an excellent article suggesting simple ideas to achieve curb appeal. Click here to view her article. One of her suggestions is close to our heart...lighting. Adding inspired lighting to your entryways or walkways creates instant ambiance and character as you will notice in the many photographs included in the story as well as examples of Scofield work. So take a look and then get outdoors!

Owner Doreen Joslow Talks All Things Lighting in an Interview by Colonial Sense

2011-03-28T12:39:00.005-04:00

Read owner Doreen Joslow's responses in an interview with Colonial Sense. Get the inside track to Scofield Historic Lighting's genesis and evolution and some historical background on some of our lighting designs.

Architectural Digest Home Show: Illuminating!

2011-03-22T14:42:00.012-04:00

At the recent Architectural Digest Design Show in New York, we met a lot of interesting people and designers many of whom shared with us their exciting projects. One woman from out West was looking to outfit her 25,000 square foot home with furnishings and lighting, all of which had to be large she explained; another woman from LA, who was from a company representing a restaurant group, told us about a new trend happening where design teams create a series of homes for exclusive celebrity dining events. Each of the homes will feature luxury designer furnishings and elements that will include product information. Another interesting meeting included two designer gentlemen stylishly decked out that recently launched an innovative luxury gift site for the Gay community called TweedGifts...so clever. One of the standouts of the show was DIFFA's Dining by Design where several companies, designers and students of design created over-the-top table settings using lavish fabrics and materials and incorporating clever themes. We met the very dynamic public relations representative for the Coca-Cola sponsored "echo-table" that had a distinctively modern approach to their use of recycled materials. Lots of glass and metal. Here's a link to a recent blog post from MNN about that table and another link to designer John Simoudis's blog with stunning photos of many of the other creative tables. All in all the show was spectacular with lots of inspirational exhibits. We'll be back next year.

Collaboration Adds Interest and Opportunity

2011-03-17T15:41:00.001-04:00

The new word in this uncertain economy is collaboration. It introduces opportunity, new markets and contacts. In our case, collaborating with European lighting designer Objet Insolite on the booth has worked out beautifully. Their clean, monochromatic layout complements

our multi-layered yet simple display. Our mix, while different in aesthetic, offers the visitor a rich view of handmade. Also in our booth we have mirror designer and craftsman Vern Smith and artist Melissa Barbieri showcasing more examples of handmade. The interactions and crossovers have yielded excellent connections. And best of all collaboration offers variety--a win for those visiting.

- Posted direct from the Architectural Digest Show in New York.

Location:New York

At the AD Home Show!

2011-03-17T13:16:00.001-04:00

We're here at the show and meeting lots of wonderful designers. Guests to our booth are telling us about some of their design and project needs. One visitor lives in a home where all the lighting was hand made by Richard himself back in the early eighties. Check back often, I'll be posting more.

- Posted using BlogPress from my iPhone

Location:New York

We'll be at the Architectural Digest Home Design Show–Come See Us!

2011-03-14T12:49:00.004-04:00

On Thursday, March 17-20, we'll be exhibiting at the Architectural Digest Show in New York where all the latest in home design and art will be featured. We'll have a sampling of our lighting on display ready for you to dream up your next projects. Plus, we'll be there to answer any of your questions and offer ideas and tips on how to select the best lighting. And you won't want to miss our treats of biscotti and espresso we'll be serving on opening day. So come by our booth #140 and see what's new.

The Perfection of Imperfection

2010-12-07T14:35:00.007-05:00

What is it about handmade that draws our eye, that begs us to take a second look? You sense it instantly. Like the feeling you get when meeting a kindred spirit. On closer inspection a human fingerprint might present itself amidst the ink of a hand screened image or at the gripping point of a piece of pottery; its subtle clue that the item was hand dipped. Or how no two are exactly alike no matter if they were made together that same day; the plane of one will always be slightly off in contrast to the other. The same cannot be said about machine made. Those objects or widgets churned out in rhythmic identical succession...nothing slightly askew here only consistent repetition of the same exact item over and over again. Often inferior materials are used to aid in its economy in order to create large volumes at one time. And so, while the shape or appearance of such machine made items may initially attract you it's the imperfections of a handmade item that will garner a second look. That wayward fingerprint, uneven line, those imperfections are tell tale signs that another human had a hand in its making, perhaps even a little of their soul went into it too. The human touch is imperfect and yet at the same time it's perfect in its own way.

Bubbles, Waves & Bending Light with Glass

2010-11-08T14:41:00.006-05:00

Restoration glass as described by one of our artisans:

"When I get a piece of glass, it's handmade, mouthblown like they did centuries ago. It's completely different from industrial plate glass. Mouthblown's got character–you get these unusual angles that bend the light. This gives you a warm, uneven spectrum, and this is going to catch your eye every time. I pick it up and look at where the bubbles are, how the light passes through. It's really unique in every piece. The bubbles and waves with different thicknesses–all those subtle imperfections, they're like gems. You look for them, which tells you where your cut is going to be. Cutting glass is an art. You have to feel it as you're breaking it. If the score isn't right, it'll end up taking its own path."

Choosing the Right Light Begins with a Simple Question

2010-10-26T13:03:00.000-04:00

I've noticed that most of our projects begin with a simple question. "What do you think would be the best lighting choice for this room, project, space etc..?" Or, "Can you take this shape and make it taller, smaller, thinner, wider?" Our answer? "Yes, we can." But better than that we ask more questions back. We take time to visit the space or look at architectural plans to really understand the use of the space and what type of lighting will best be needed. Will the lighting need to have structural integrity? Is the lighting ornamental or only functional? Mood lighting or task? With each answer to our question we come closer to a solution for our client and in the end an ideal lighting fixture that not only fits the space proportionally but adds style as well. We met with architect Jack Franzen recently for a project at Southport Congregational Church, host and recipient of the popular fundraiser, "A Room with A View" where the weekend-long design event features, a gala party, luncheons, noted interior designers author signings and over 30 home decor vendors showcasing their creations. Our task was to create lighting fixtures for the Church's Fellowship Hall, a stunning rectangular room with grand windows fitted with antique glass. In our first meeting with Jack and the Church committee the meeting began with, "We're looking for a pendant light about this big, what do you think?" We agreed that a pendant would be ideal but not just one. To complement the windows and traditional styling of the room, we knew that our pendant lantern designs would work beautifully here. From our permanent design collection we adapted the lantern shape to a proportion of 48" high and 24 x 24. To give the room a well-lit glow we suggested eight of these lanterns to make two sets of four that would hang proportionally over the rectangular space. Finally we chose an antique patina that gave the fixtures an elegant look. We were able to craft the lighting pieces in time for their upcoming fundraiser, next week and the Church committee and Jack couldn't be happier. The room is complete and clearly our answer was the right one for their question.

Thomas Cole National Historic Site

2010-09-17T16:02:00.003-04:00

The Thomas Cole National Historic Site in the Hudson River Valley, NY is working with us on replacing exterior lanterns for his home, Cedar Grove. Thomas Cole was a prominent 19th C landscape painter, and the pioneer of the Hudson River School. It has been fascinating working with the preservation architect, board chair, and the national park service to chose the best, authentic period piece and work within government budgets and procurement.

I learned the property has only been a National Historic Site for 10 years but has accomplished a great deal in that time and is looking forward to renovating the artists studio next. Take a moment to check out the website and see the great programs, walks etc.

Architectural Salvage Network

2010-09-14T14:59:00.001-04:00

Jona Harvey just called from Architectural Salvage Network, a national source for salvage buildings, barns, architectural elements, etc. The conversation began with value of e-blasts, new ways to reach new people and keep our businesses on the radar of previous contacts so when a project arises you are in their head. The discussion ended with suggestions of architects who seemed like a good fit and in fact, we were talking about the same architect who just purchased a building for one of his clients.
The universe for unique and authentic is a small world and we try to be good resources to each other.

Peter Zimmerman Architects

2010-09-14T14:34:00.003-04:00

Last week I received a call from the owner of the house described in New Old House magaine Spring/Summer 2010. She purchased several of our fixtures for her home and was donating two that she couldn't use to an fundraising auction for The Mill at Anselma. After a delightful conversation of her house and Peter Zimmerman Architects we felt we were connected by more than a business transaction. I was very familiar with the beautiful area and we shared acquaintances closeby.
Each opportunity we have to connect with people who truly feel the importance of place, scale and beauty we feel blessed.

Posts for lanterns

2010-08-24T09:14:00.003-04:00

Posts for lanterns are one of the details most people don’t want to have to think about, yet they make a huge difference to the final look of a property. The height of the post on a residential property can generally vary from 6’8” – 7’8” depending on the topography and distance from the house or driveway. The style of the post should work with the style of the home and can be a simple square post with chamfered sides or a square base with fluted column and capital. We recommend posts with a separate tenon of pressure, treated wood, bored out with electrical hole, and buried 3” below grade. The posts are made of clear cedar and fit on the pressure treated tenon at grade level. We have seen a lot of substandard quality posts that may be cedar, but riddled with knots that prove irritating to clients when they need to be replaced in short time.

A recent question was raised for setting the post. Two methods are commonly used; cement or dirt. Curiously enough, the cement set method had valid concerns of potentially trapping water causing the wood to rot sooner than the dirt packed method. Any thoughts or experience from the field?

Classic frames with a twist

2010-08-23T07:13:00.005-04:00

Benjamin Dhong, a talented interior designer from Berkley, CA, premiered a timeless wreath at the NY Gift Show at the suggestion of a former editor of House Beautiful. I had received his announcement and beautiful image of his wreath/ frame and felt compelled to go to the show and meet him. His love of classic design was beautifully implemented with egg and dart design on the edges, and leaves and acorns on the facade. It was beautifully printed on artist canvas; I had initially thought it was crafted in metal. I was delightfully surprised at the object in reality. Beautiful!

Why Pay More For Our Lighting? Copper and Tin vs. Base Metal

2009-12-17T17:42:00.004-05:00

I am frequently asked why our lighting is more expensive than company X. My response tends to be “Lots and lots of details and some major differences.” I’m noticing recently that many consumers base their judgments on what they can see at major lighting centers and base their idea of price on that. However, you will not see our quality of lighting there. We sell primarily to the trade. Ours is handmade in Connecticut and Massachusetts by skilled workers making American wages with benefits. (Think GREEN – we also recycle all scrap). We pride ourselves in using high quality materials, like copper and tin for our lanterns and sconces. What we use is heavy gauge and made to last. Others use something called a ‘base metal’. I’m told by salespeople in the box stores that most lighting will last 10 years, while ours will last generations.

Our structural materials are of critically higher quality, but our patinas are where we shine. Ours are organic, living finishes. No two are exactly the same – we don’t spray on a finish to look oxidized/verdigris. Instead, we use a procedure that is time-consuming, temperature and humidity controlled, we fine-tune until it looks right. It we were to rush the process, we would loose the uniqueness of our products and become another lantern on the shelf of a major lighting center.

Scofield Historic Lighting has just added a $10K to our facility to improve our efficiency while improving the quality- a rare feat. After the patina is fixed, the bronzed and leaded copper get hand buffed. We don’t apply plastics to the finishes – we prefer to allow the metals to age gracefully.

Restoration Glass is not standard – there is no comparison. We can also provide seeded or etched upon request. This detail adds a lot to our cost but it’s just more beautiful.

Some of the heft of our lighting is in the folds, hems and seams. These details add a level of solidness to the lighting that is subtle but distinct. Our proportions are classically influenced. We feel the lighting should reflect the grace and quality of the architecture it is chosen for.

Feel free to call us to discuss more specifics – we love to share what we know.

Featured in INK MAGAZINE

2009-12-07T13:56:00.004-05:00

Recently, we were lucky enough to be featured (eight, full-color pages) in INK Magazine's December issue, a statewide publication showcasing "finer living in Connecticut & abroad."

The photographs of our showroom and workshop are luscious thanks to photographer Caryn B. Davis. Interestingly, many readers have asked about the necklace worn by owner Doreen Joslow in one of the photos. The necklace is a one-of-a-kind piece crafted of extra material left over from our popular beech leaf sconces. One of the artisans strung together the extra leaves for fun and Doreen occasionally wears the necklace. The golden leaves are striking and sadly, we don't have any plans in becoming jewelers. For now, we will remain makers of fine lighting for the home which, I guess, could be considered a jewelry of sorts.

Rarities Ready to Ship

2009-12-04T16:24:00.004-05:00

One of a kind rarities will be available through our website beginning this weekend. It is indeed rare when our clients can get immediate gratification when they see a showroom or online item they want, as our lead time is generally 10 – 12 weeks.

We have interesting, unique lighting that was once crafted for our permanent collection, but we no longer create outside of custom orders. After all if we kept multiples of every item we crafted for clients, we’d be a museum of lighting instead of a manufacturer of lighting.

Each of the items you’ll find has a story, including reproductions of items found in prestigious historic museums and preservation societies, with others a craftsperson may have liked the model and created additional fixtures. For the first time, we are offering items that can be seen, purchased and shipped within a week. We’ve got other trunks of chandeliers, sconces and lanterns to view and assess.

Once these items are purchased, they’re gone. It makes me want to pull items out and keep them for myself, but maybe you will get to them first!

Look for Scofield Lights, October 11th on Extreme Make Over: Home Edition

2009-10-01T14:34:00.017-04:00

On Sunday, September 27, the first episode of ABC's Extreme Make Over Home Edition kicked off their fall season with a two hour special set in Wisconsin. This season opens with the "GET ON THE BUS" challenge prompted by President Obama's call for more volunteerism. If you watched last Sunday, or any of the EMHE shows, you've most likely experienced the sensation of choking back tears as you watch the many volunteers selflessly helping one family in need. As mentioned in earlier posts, we at Scofield had the opportunity to be one of those volunteers. We donated all the exterior lighting for the Hill family's new home in Suffield. Their story will air October 11. It was thrilling and surreal to be in the midst of hundreds of volunteers this past summer all working to ready the new home, the original destroyed in a fire. It will be thrilling and surreal to watch the actual episode on television Sunday, October 11. We hope you'll watch and keep an eye out for our copper French Station lanterns gracing the exterior of the home. Since that summer day, just a few months back now, we've learned that the Hill family is happily ensconced in their stunning new home and we feel proud that when they enter the front door our Scofield lights will always greet them. Welcome home Hill Family!

Watch the Hill Family's episode Sunday, October 11.

Summer Lecture Series: An Attendee’s Perspective

2009-09-11T09:03:00.000-04:00

As Fall begins to cast its influence over NYC, adding briskness to the air and making leaves fall, I am reminded of the regional beauty of the New York landscape that is preserved in Hudson River School style. Over the summer I attended the ICA & CA lecture series featuring the Hudson River School, finding the influence of the natural pervasive in everything from Classical to Contemporary. At Scofield Historic Lighting, we use some of the same values the painters and architects used to compliment the natural charm of the area. Our lighting derives from classical and natural designs, by way of Europe and rooted in Northeastern soil. The lecture series made the progression of historically influenced styles we use in our lighting more transparent and a rational movement to timeless style.

In case you missed these excellent talks, I wanted to share the pearls of wisdom I took away and reflected upon over the course of the summer.

Dr. David Schuyler led the first conversation, cementing the idea of landscape as a Colonial America as a culturally viable icon of America’s continued identity. Through viewing images of the Hudson River, one can only be stunned by the superhuman autonomy of the land and authority of the natural expanses. The lecture featured a slideshow of contemporary photographs alongside original maps, where the medium of land in itself is not in itself Classical but shares the same excellence in proportions and vision.

Dr. Linda Ferber then continued the series by exhibiting the masters of the traditionally understood “Hudson River Style” and showed how Schuyler’s “Sanctified Landscape” was pictured in a manner she termed as “Geography of the Ideal.” In a whirlwind summary, the lecture moved from representation images of nature to the more interpretive. Asher Durand and Albert Bierstadt depicted shifting images of the ideal as society dictated changed ideas of the ideal (during the period they created, Victorian values are evident in the execution).

Dr. Gregory Long spoke next about the role of historic homes as a continuation of the Hudson River School style. Although the Hudson River trajectory of styles is similar to the styles of Northeastern homes but truly complimented the beautiful panoramic we visited in the first lecture. The Gothic Revival and Picturesque gained dominance from British influence exuded during Colonial times, but really fit the drama of the surroundings. The talk also emphasized the importance of the Federal style, although; I almost see this style as a juxtaposition of the setting.

The final talk really impacted me, as my background focuses on contemporary adaptation of classically influenced styles. Architect, Michael Dwyer, spoke of the renovations and projects he was involved with at Edgewater (the majestic Federal-style house with a Doric portico on the Hudson River. The point made clear throughout the talk was in how the building used Classical and European design but was distinctly American. Additionally, Dwyer made a point to say that his restorative work required the same innovation of modern design. The Classical is truly a living, ever breathing phenomena wherein nature at its most elementary level is of influence.

At Scofield Historic Lighting, we have always coveted the ideas of historic design as anything but a static study, rather a breathing, dynamic study and use the setting of the Northeast to inspire our minds and designs. Thank you, ICA & CA for providing a wonderful outlet for the trade to continue learning.

Edgewater - The Culmination of Hudson River Vision

2009-07-15T17:34:00.007-04:00

Last Wednesday, I went to the finale lecture in the summer series at the Institute of Classical Architecture & Classical America - what a fantastic event!

The architect who worked on Edgewater, Michael Dwyer, spoke of how he approached tasteful construction while preserving the intent of the original. Edgewater is Federal-style house with a Doric portico on Hudson River. The product contains striking Classical arrangments that are distinctly American.

My takeaway from the evening came during the Q&A. Dwyer was asked something about his preference to the Classical style instead of Modern or Contemporary influences when the Classical reverts to ideas that have already ripened. He answered that both Classical and Modern use their own unique grammar to innovate. In the years wherein my taste towards to Classical, I had frequently been challenged on similar terms and I found Dwyer's defense illuminating and helpful.

Many people have trouble seeing the challenge of historic restoration or movements that hark back to these clearly articulated styles as an art of copy, but it is not that simple. Much of what Dwyer accomplished was possible because he used the Classical models as a template, but put together elements that were not used together before in the same way.

Dwyer's addition of a guest house and pool complex commanded an expert understanding of how Classical could bring new ideas and creativity to the building process while preserving the history and intent of the original construction.

Extreme Makeover: Home Edition

2009-06-30T10:04:00.007-04:00

It was like a swarm of bees surrounding a hive on Saturday afternoon at the Hill's home in Suffield, CT. Our innocent offer of a front door lantern turned into an incredible two days of doing the nearly impossible for our company of handcrafted lighting. Once arriving on the scene to deliver the entire package of exterior lighting for the new house, we realized we were one of thousands pulling out all stops for the pleasure of seeing something wonderful unfold before our eyes. The community's generosity was impressive and inspiring.

Jon and I were so shocked that in this swarm of bees it was nearly impossible to detect the queen bee. Of the hundreds on the scene Saturday afternoon, there was a sense of total excitement, yet calm, while fire alarms were being tested, sod was laid, sprinklers were going, a patio was arranged, clapboards were still being cut and placed, trim painting and wallpaper being hung, cabinets being made from intricate plans under nearby tents. Everybody knew how they were meant to participate and we were part of the coordinated chaos. Ultimately, we were able to work with our own team and two electricians to hang the exterior lighting without being dragged down by the enormity of the project.

The feeling of community was indescribable - everyone was part of a puzzle with each part integral to the overall completion.

Historic Homes on the Hudson River Valley 1663-1915

2009-06-26T13:37:00.008-04:00

When thinking of historic homes, I see a general trajectory of Northeastern homes and their stylistic evolution over time. On June 24th, Dr. Gregory Long spoke of the developments along the Hudson River Valley, fleshing out a characteristic regional style that I had not been exposed to previously. Dominant styles were articulated and gained popularity due to the influence of specific the European nations ruling the Hudson territory. For example, while the Dutch occupied Manhattan, the Dutch Vernacular style dominated, while the Georgian ruled during the British occupation before the Revolutionary War. Revivals and movements that gained prominence at a national level did not necessary resonate with the Hudson geography if they did not correspond with the regional leadership. In my opinion, styles that worked particularly well for the riverside include the Gothic Revival and Picturesque (i.e. Lyndhurst) although the Federal style clearly stands out as well (i.e. James Vanderpoel House).

Lyndhyrst in Tarrytown, Westchester County, NY (1838-1865)

James Vanderpoel House in Kinderhook, Columbia County, NY (c. 1819)

Scofield Historic Lighting on ABC's Extreme Make Over: Home Edition for a Suffield, CT Home

2009-06-26T09:44:00.017-04:00

It is a much welcome but rare opportunity for Scofield Historic Lighting to contribute to the larger community in such a manner. The Hill Family endured a fire that destroyed their home in Suffield, CT. This generous team works with charities and nonprofits in their spare time and besides raising their children, nieces and nephews also live with them- a thirteen person unit! ABC's Extreme Home Makeover is giving back to a family that frequently gives to others.

(Making Use of Overhead Space for Our Chandeliers in Ivoryton, CT)

In the past, we have not been able to fulfill other opportunities to donate our products, as they require rapid turnaround and quick implementation. This is not something that a company can do if we promise our clients superior craftsmanship. Our products require individual handcrafting to chemically augment the aging process or carefully hand punch holes into the metal. Techniques that have been used for centuries cannot be converted to automation and provide the same result.

Fortunately, when we heard of the Hill Family's makeover and thought of the prospect of working with a national organization to create a local difference, we headed straight to the production floor at Scofield. One thing that every house needs is a lights at the front door. As a beacon for travelers, the front door fixture has long acted as a welcome committee for visitors. After such a devastating experience, this family has hope for their future and our contribution has the possibility to make a noticeable difference. The art director shared the plans with us and we found that there were many creative possibilities for this beautiful new Federal style house. Instead of supplying one fixture, we decided to outfit the exterior. After forging through the manufacturing room, we quickly found a few options that would make sense functionally and stylistically. We pulled nearly completed models and ahead of schedule production to we checked our shelves to see what we could pull together some fixtures. The lanterns chosen are Scofield's French Station Lantern for the front door, two smaller French Station Lanterns for the garage, two more of the same for the French doors off the back of the house and one iconic New England Onion Lantern hung by the back door mounted on a straight arm bracket. Below are the fixtures pictured in our Ivoryton workshop.

After receiving approval yesterday afternoon, our master craftsmen started to work on items that were in the middle of production, to be completed for a Saturday morning installation, tomorrow morning (and yes, this is how the lanterns looked on Friday morning). Besides simply helping a family in need, we are motivated to donate these lights, because we know how the fixtures from the front to back doors make all of the difference in how people are welcomed into a home, making favorable and formidable impressions.

Rethinking the Hudson River School on the Connecticut River

2009-06-25T09:31:00.007-04:00

I was sculling this morning along the CT River and when in Selden’s Creek, specifically, I contemplated this summer’s environment. For the past twenty-three days there have been eighteen days of precipitation make it difficult to get on the water and for the remaining five days, I have been able to admire the overcast skies from the river. This morning, the relative darkness (although that can only be expected at 6 am) seemed to bring out the subtleties of contained within a dark palette that is shared by the trees, rocks and various colors of vegetation, hitting me as scenes similar to Hudson River School but in New England instead. During the past three lectures provided by the ICA & CA, the particular location of the Hudson River Valley spurred creativity, influencing top output in the fine arts and architecture. This geography borders the New England landscape, inherently holding similar environmental similarities. I have found myself questioning the relationship between the man-made and natural in this climate as well and the influence on Classically derived style.

The near still water caused an almost disturbing inability to distinguish the real fungible difference of water and land from the reflection. In entering this space, one can acutely sense the slight movements of the Great Blue Heron and the noise of a beaver swimming, which jolts me out of the unreal and back to the present. In seeing living or manmade forms, it is easier to distinguish the real (actual water and land) from the overlapping reflection and solid masses. Although the below image by artist Leif Nilsson (a fellow Chester, CT resident) is of the Connecticut River shows the River during autumn, the mix of land, water and air is apparent. The rippling water permeates the heavy, moist atmosphere, highlighted in the painterly brushstrokes, making it difficulty in distinguishing between the real and idealized images (a la Hudson River School).

See: http://www.nilssonstudio.com/ for details

Movements and imperfections in the quiet wake, resonates with me in the manner that light refracts over distance. Scofield lights also fracture light rays with hazy features in out beautiful hand blown restoration glass we use in our fixtures. The glass, made in Germany, is a piece of art in itself. The natural weight of gravity that moves the striations over time, letting only a component, and generally ignored piece of historic lighting, command a different, intensified experience. With the installation of restoration glass, the lighting becomes a moving medium that carries mystery in the way that it cannot be controlled by man-made regulation.

These movements in the glass make you pause and appreciate the beauty between the opaque and clear, solid and liquid. On the River, within the melancholy of the Creek, beauty comes from what is natural. The view is slightly different each day given the light, flowering, animals and birds. The landmarks change slightly through natural causes, no two items of the same species being the exactly the same, nor any day looking exactly the same, however, the image or essence of the River is frequently idealized. The artistry lies in the wonder and curiosity of slight variation preserved by each image. A similar ideal is visible in the Hudson River style, but besides creating something of beauty, the idealized exchanges and compromises with the natural to complete the image, making it extraordinary.

Summer Nights in the Influence of Carnation, Lily, Lily, Rose

2009-06-24T11:33:00.009-04:00

Carnation, Lily, Lily, Rose (1885) by John Singer Sargent

The beauty of the natural is never more apparent than during the summer in the Northeast. The past posts have conjured images of the natural as either stylized or more biased towards autumn for the grand Hudson River foliage, but that is not when the pulchritude of the region is at its peak. It is now that we can dine outside, absorbing the remaining warmth of the sun long after the rays set. This is partly due to my suburban upbringing in Connecticut, but my memories are full of long summer nights nestled among the mossy, soft ground, under the canopy of green but surrounded by my mother’s plentiful gardens whose color was optimized by the setting sun’s shadows. My family would eat outside, around a table, dimly lit with candles and overhead bulbs that shone through our sinewy wisteria poolside arbor.

I must stress that I was young when I did the following before I completely divulge. Caveat complete. Moving along, during dinner, my younger sister and I would rummage through the basement until we found the neatly organized container of random glass containers and would choose the large clear cookie jar types, quickly returning to the outdoors. Above our dining table, we ran among the ivy-covered path trying to scoop up as many fireflies as possible to catch natural light to better illuminate the dessert course (obviously, any child’s favorite). Once a summer, we were allowed to bring our catches inside and let the fireflies out in our rooms (the doors were hermetically sealed to the rest of the house and the four windows of my bedroom were set wide open). We were rhythmically swayed to sleep by the melody of light performance in our rooms. By the next morning, all of the creatures were gone, but the magic was still intact. The simple enchantment of summer nights maintained my captivation with illuminated objects.

When looking at Singer Sargent’s painting, Carnation, Lily, Lily, Rose, it is nearly impossible not to inflect my own experience on the captured moment. Even artificial light can hold the same engagement as the natural. Something about summer evenings filled with family and friends guard very dear childhood memories. Although I no longer excuse myself to catch fireflies, the same warmth is holds as we sit around the table, letting the sun sink as we empty our plates. Now we keep the table surrounded with beautiful twelve-inch copper lanterns, each side containing punch work that contributes to the rustic pleasantries of summer evening weekends.

(See: Scofield's Farm Lantern with Candle)

This carefree charm makes the simple elegant and elegant dining rooted in the natural splendor. As we move from dinner to the pool or relax with an aperitif, the portable lighting goes with us, into our backyard, on tabletops or to the beach. The accessory of lighting returns me to time I spent in Italy enjoying food and slowing the built up momentum of the week. In these moments, our family gathers enjoying shared company under the flicker of candlelight and remembering the parts of life that count, together.

Sustainability and Reuse: Not a New Concept

2009-06-22T12:09:00.011-04:00

The constant emphasis placed on reuse and sustainability seem commonsense to me. After spending a weekend cleaning out and exploring a recently deceased relative’s house, full of beautifully aged products that were well used and loved, reuse is not a question to me but a celebrated practice. Passing down objects that last, not as a point of trend or following a fashionable idea, makes sense economically, but also sentimentally. I know that my daughters will be using their great-grandmother’s silver and furniture with her in mind for years to come.

Sustainability or the ability to last for a long time is not a guaranteed term for a majority of today’s products. Constantly we buy and repurchase items, and all of a sudden, it is a novel idea to invest in objects that promise a longer lifetime? Today’s ethos is compromised by the way that invasive marketing programs viewers to constantly get the newest version, especially when their product begins to show the appearance of wear and tear.

See: www.apple.com

As consumers, we are meant to make it appear as though we don’t use what we have invested in and the second that the item shows its age; it is discarded. I am thinking of leather bags, the upholstery on couches or when your broken-in pair of jeans becomes “too broken-in,” thus “mom jeans.” However, some things get better with age, even with an age-adverse society.

At Scofield, our products gain beauty over the years as the casein ages on the wood turnings and the finishes absorb to sink deeper into the surface, embracing the raw materiality of the tin or copper. It seems that people who spend their time with historical products and antiques must to teach their customers to rewire their thinking and understanding of the world around them. For some reason, ever since Fordism and assembly line mentality kicked in, sterility and predictability also became difficult to counter, causing people to see the diversity of finished or charm of the slightly mismatched to be an aberration or pejorative factor. Instead, I argue, these human touches imprinted on the objects have both sustainable and sentimental attributes that outlast daily use.

(Ford assembly line, 1913)

Above VERSUS Below

(Detail of a Scofield Chandelier)

The Ideal through History: Ideas of Progress

2009-06-19T18:48:00.036-04:00

Kindred Spirits by Asher B. Durand (1849 CE)

On June 17th, Dr. Linda Ferber discussed the Hudson River School painters as representing the “Geography of the Ideal” and articulating the picturesque landscape with poetic elegance. Continuing the conversation from the previous week, the slides progressed from less representational to more interpretive, while maintaining the sublime. Similar to many movements, first a fascination develops, followed by idealized depictions that highlight an almost supernaturally influenced perfection. Take the transformation from early Greek temples in places like Paestum, Italy to the unreal proportions and elegance of the Pantheon.

Ognissanti Maesta by Giotto (c. 13th Century CE)

Or, in Renaissance aesthetic, the transition from Giotto’s flat, Byzantine-influenced Maesta to the Golden Era of the Italian Renaissance with Filippo Lippi’s undertaking that blossoms in ethereal magnificence and the beauty of emotive connection. Ok, enough. The manner that concepts develop in artistic circles is not a novel one, but validates the movement from early etchings of Hudson River School artists (HRS) to the mastery of the scenery by the likes of Asher Durand and Albert Bierstadt. However, it must be recognized that the cognition of ideal changes over time with society’s evaluation of the ideal. Dr. Ferber seemed to indicate that the Hudson River School design reflected the dominant Victorian conventions and values.

Madonna and Child with Two Angels by Filippo Lippi (c. 1450 CE)

Victorian America was obsessed with the expanse of the West, the sublime beauty of open ranges and landscapes. The imagery gains such prominence that over time the river view of the Hudson entered the vernacular. Tableware was ubiquitous and conspicuous deferral to the values invested in the scenes being completely American. As these images became more and more present, they were canonized and simplified in ideal forms and vice versa. This exchange between more popular culture conventions and the fine art development over the course of the 19th Century created an environment that led to a natural progression towards the ideal.

See classicist.org to learn more about the ICA & CA programs.

American Landscapes, Patriotism and Traditional Design

2009-06-12T13:20:00.016-04:00

Study of Gneiss Rock, Glenfinlas by John Ruskin (1853)

On June 10^th, Dr. David Schuyler delivered a talk at the Institute of Classical Architecture & Classical America in New York City on the “Sanctified Landscape” in the Hudson River Valley. The landscape of that particular region has preserved the iconography of Colonial America as a culturally viable symbol of its continued identity.

The untouched expanses of American soil represent the sublime beauty of Colonial America and the virtues of the contemporaneous society. The artists’ visuals from the 18th and 19^th Century landscape conveyed the deeply moving and sentimental aspects of environment in depicting the picturesque and the stunning beauty of the terrain. Although the talk did not focus on Classical design in America per say, Paul Gunther, the President of ICA & CA, introduced the conversation by defining the landscape study as “not quite Classical,” but sharing with the tradition of excellence and innovation that is characteristic or attribute of the Classical design.

Dr. Schuyler examined a combination of Washington Irving and Andrew Jackson Downings’ observations and thoughts, concluding that common historic narrative and folklore were established as specific to the location of the Hudson River Valley experience, a religious experience. The lecture title of “Sanctified Landscape” framed the talk with a religious reverence, awareness and a magical aura for the atmosphere of the Hudson River Valley. Writers and artists constructed ideas and associations of virginity to the Earth (a Classically derived motif) that made the scenes spiritual and carry religious importance. Ultimately, by formulating majestic scenery, no different from imposing constructed objects (i.e. idols or houses of worship), the depiction of vast landscapes showed a certain sense of devotion and holy importance.

Although an American phenomenon, Dr. Schuyler referenced this period as similar to the European Grand Tour, but Americanized. The pilgrims or participants would experience nature in a similar way to how 18^th Century characters would visit Florence or Rome. A certain tradition was sought both along the Hudson River and the Arno, as all history is contextualized within the framework of environment, natural and created. Landscape preserved the history of the Revolutionary War. Individuals were conditioned to look at maps and pictures of very specific places and quickly recall the battle or campgrounds situated in that place. Rock faces were identifiable based off of wartime folklore and bodies of water that became part of mythologized culture (i.e. West Point peninsula). Consequentially, the artistic renderings of the Hudson River Valley were valuable to people of that time, as these efforts preserved recent history and today remain valuable in preserving American heritage. In many ways, the undisturbed skylines and tranquil landscape show an America that is new and not limited to preconceived notions or ideas, exactly the image that the colonies sought to achieve at inception. Independence was articulated in the expanse and liberation of open plains and wide streams. These are symbols of traditional American values and the foundation of current ethics in governance and aesthetics.

At the same time, a tradition of depicting the natural also shares a connection to the British Pre-Raphaelites and specifically individuals like John Ruskin who evaluated quality by the close relation between the actual and depicted environments. Ruskin notably condemned individuals such as J.W. Turner for their more interpretive, emotive representations of natural environments.Above is an example of Ruskin’s depiction of a rock face which shares details with Hudson Valley artists. Similar materials were used, namely pen, in recreating the landscape or natural renderings, so as to highlight the details and accurately represent light and linearity. Not only akin in stylistic similarities but also a shared purpose. Nature was meant to show the purest environments and the simplest values, human values. Much of these ideas permeated the borders separated by the Atlantic Ocean and indoctrinated the dominant philosophy.

Upon thinking how these values of honesty and integrity of image may relate to Scofield Historic Lighting, I saw an apparent parallel between Classical simplicity of design and unobscured attempt to recreate the beauty of nature. Some of what SHL does exemplifies and decorates the natural (i.e. the gold leafed Beech Leaf sconce) so as to add brilliance and decoration from the most simple, while other pieces are beautiful in their serene austerity (i.e. the Tulip Bobeche Sconce). The talk illuminated (excuse the poor pun) the importance of design influenced by Western European traditions, however, not dominated by them. The clash of cultures incubated a value that sustains- distinctly American design that carries new and fresh qualifies, laced in elegant simplicity.

See classicist.org to learn more about the ICA & CA programs.

Welcome to "The Showroom"

2009-02-18T15:38:00.012-05:00

Scofield Historic Lighting is proud to present our new blog, The Showroom, teeming with exciting and informative news concerning historic period lighting, interior design, and custom hand-crafted lighting fixtures.

Scofield Historic Lighting: "Tradition is our muse."