Double Indemnity

February 3, 2019

I admire the French who see fashion, in part, as the recognition that we are all part of one another’s aesthetic experience.  Even a nicely tied scarf can do the trick. My former husband was from Peru and had a similar point of view: “Nanita, why does everyone here dress in their pajamas and sweats?” He was incredulous that people who could afford at least one nice outfit would be seen in public looking like shlubs. When choosing color for an exterior, people often look to buildings they admire. If your house faces East you might look at other East-facing houses that you like, etc. This might be a fair way to start. I have written before about the nature of my own color work: how I view art and the artist; and that I strive to capture the essence of what is desired and apply it to your architecture, so what you truly appreciate-the overall effect- is realized. Why am I so adamant about not copying anything or anyone, including myself? I am doing it (or not doing it, in this case) for you.

Imitation is the sincerest form of flattery. This adage must have been coined by a serial duplicator. While it is true that a designer might want to emulate what a client deems beautiful and successful (usually) in order to satisfy him or her, this approach in the end, serves to mollify: for the imitator, to deflect from and soothe against a lack of originality; and for the imitated,  to feel less robbed. The latter actually refers back to the first designer who can then feel less like a thief. Consider this in the context of a street,  a neighborhood, or city. What happens when you copy your neighbors’ colors? How do they feel? How would you feel? Not that feelings are exactly my main concern here.   I am questioning notions of proprietorship and of desire too.  What are my responsibilities? Foolish consistency is the hobgoblin of little minds. No one owns colors however, the designer and client have worked together to create something one hopes, is unique and fabulous. In an important way, that design belongs to them. What I design for you is ours together.

Fences make good neighbors. A house in San Francisco cannot exist in any kind of isolation.  Almost all our buildings are attached, and if they are not, are very close together. Our perception is always relative. I cannot see my house without seeing yours and everyone else’s. My work in  St. Helena or anywhere more rural takes into primary account the natural surroundings. The majority of the landscape in our dense city is other buildings. When I design here I am considering the entirety of your building’s context: how it looks unto itself and in relation to its neighbors so you and they can appreciate its full beauty. The whole street plays into the composition and design; what color temperatures are missing there, for example? I will not deny you a blue house if you love blue but too much repetition renders your building invisible. We see a haze of uniformity. The landscape dulls.

There is nothing new under the sun.  There are finite musical notes within a certain scale but their arrangement  makes for a novel or derivative piece of work. Regardless of originality, is it good, beautiful, or at least interesting? Can a copy be any of those things? Most buildings have a body, casework and sashes of some kind. They have shared characteristics. Color theory describes relationships that are pleasing to us. Harmony and contrast, to name a couple, are qualities that make a design successful so these relationships are repeated to varying degrees. Picasso was notorious and upfront: “If you have an idea worth stealing, I will steal it.” His friends and contemporaries ended up hiding their paintings when he came for a studio visit. He took other artists’ ideas, as well as so-called Primitive Art, and spun them through his elevated gears, out of which came the work of a master. If you want to be original be prepared to be copied.


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