Who Knows If The Moon’s
who knows if the moon’s a balloon,
coming out of a keen city in the sky—
filled with pretty people?

Who Knows If The Moon’s
who knows if the moon’s a balloon,
coming out of a keen city in the sky—
filled with pretty people?
(and if you and i should  get into it,
if they should take me
and take you into their balloon,

why then we’d go up higher with all the pretty people
than houses and steeples and clouds: go sailing away
and away sailing into a keen city which
nobody’s ever visited,where  always          
and everyone’s in love and flowers pick themselves

e.e. cummings + moon jars.

A recent trip to Upstate New York  
(drawings lines between Spring and Winter)

Robert Irwin designed gardens at the Dia Beacon

Sawkille, Rhinebeck, NY

Entrance to Dia Beacon

Michael Heizer, 
North, East, South, West, 1967/2002. 
Ellsworth Kelly Photographs 
at Matthew Marks Gallery

Ellsworth Kelly is credited with inventing a new kind of painting, one inspired by nature and chance compositions encountered in the world. This artistic breakthrough took place in the late 1940s, while he was living in France: “Everywhere I looked, everything I saw became something to be made, and it had to be made exactly as it was, with nothing added. It was a new freedom; there was no longer the need to compose.” 

Matthew Marks is pleased to announce Ellsworth Kelly Photographs, the next exhibition in his gallery at 523 West 24th Street. Featuring over thirty gelatin silver prints of photos taken between 1950 and 1982, this exhibition is the first ever devoted to Kelly’s photography. Kelly finished preparing the prints and planning the exhibition shortly before his death, on December 27, at the age of ninety-two.

Ellsworth Kelly is credited with inventing a new kind of painting, one inspired by nature and chance compositions encountered in the world. This artistic breakthrough took place in the late 1940s, while he was living in France: “Everywhere I looked, everything I saw became something to be made, and it had to be made exactly as it was, with nothing added. It was a new freedom; there was no longer the need to compose.” 

Long Island 1968


Kelly’s fascination with already-made compositions is clear in his photographs. He started taking pictures in 1950, using a borrowed Leica to “make notations of things I had seen and subjects I had been drawing.” Unlike his sketches and collages, his photographs were never part of the process of making a painting or sculpture; they were simply a record of his vision. As such, they convey his enthusiasm for the visible world around him — the compositional possibilities to be found in an asparagus plant, for example, or a stack of bricks.

Kelly bought his own camera in the 1960s and used it to photograph barns on Long Island, their interlocking forms evoking the planes of his own paintings and sculptures. Architectural details were the focus of several subsequent photographs, which he shot primarily in France and upstate New York, where he lived from 1970 until the end of his life. Central to many of these images are windows, roofs, and the shadows they cast. In a 1963 interview he explained that his works up to that point had primarily been “paintings of things I’d seen, like a window, or a fragment of a piece of architecture, or someone’s legs; or sometimes the space between things, or just how the shadow of an object would look. […] I’m not interested in the texture of the rock, or that it is a rock, but in the mass of it, and its shadow.”

new work 
by DISC Interiors

DISC Interiors recently designed a room for Architectural Digest and Volvo Lounge for the West Edge Design Fair in Los Angeles.  Our concept for the Volvo lounge was to evoke a Swedish Summer House, a nod to classic Scandinavia design, while evoking a sense of modernity. We imagined the windows of the Swedish home being open, wind blowing through the kitchen, and sunlight casting shadows through the wooden arms of the furniture. The room was layered with textured and colorful rugs from Marc Phillips. We collaborated with Carl Hansen and Son for the furniture, Marc Phillips on the rugs, Mirena Kim a local ceramicist for the table works, and we designed large oak walls with blackened steel brackets to install photography. - David John

The Modern House Book


"The Modern House" book 

To mark the tenth anniversary of The Modern House, our directors Matt Gibberd and Albert Hill have curated a selection of the most iconic houses we’ve marketed over the last decade.  The book includes histories of each project, alongside an extended essay by Jonathan Bell, former architecture editor for Wallpaper*.  It is split into four sections: town houses, conversions, country houses and apartments, and includes the Isokon Building, Slip House and the Winter House amongst others."

By tomorrow we'll be lost amongst the leaves, 
In a wind that chills the skeletons of trees, 
And when the moon, it shines, I will leave two lines.
Find my love, then find me. (daughter)

a drive into the sunlight of northern, ca, big sur california.

"With the completion of Highway One in 1937, 
Deetjens Inn became a destination for travelers, artists and seekers of all kinds."

a weekend at Deetjen's Inn, in Big Sur

"In the early 1930's, Norwegian immigrant Helmuth Deetjen discovered the secluded beauty of Big Sur. In Carmel he met his future wife, Helen Haight - a woman with a nose for business and a sense of adventure. Together they bought several acres of land in Castro Canyon, their favorite camping spot in Big Sur. The pastoral canyon offered them the tranquility they sought. With the completion of Highway One in 1937, Deetjens Inn became a destination for travelers, artists and seekers of all kinds. Helmuth and Helen became famous for their hospitality, bringing a dash of European glamour to the local bohemian lifestyle.  Deetjens Inn exists today because in 1972 Helmuth “Grandpa” Deetjens bequeathed his Big Sur home to be forever enjoyed by guests wanting to enjoy the peace, friendship, and beauty of this place. In 1990, the US Department of the Interior placed Deetjens Big Sur Inn on the National Register of Historic Places. The rustic, hand-crafted quality of the Inn and its old-world ambience recalls visitors' experience in Big Sur's early days.


"To disappear into deep water or to disappear toward a far horizon, 
to become part of depth of infinity, 
such is the destiny of man that finds its image in the destiny of water." 

Gaston Bachelard, 
Water and Dreams, 1942


1. A visit to Blum and Poe, a selection curated by Murakami.

"For this exhibition, Takashi Murakami brings together a new generation of Japanese ceramicists whose unique pottery methods merge a respect for lineage with improvisation, experimentation, and refinement. The work of all three artists — Hamana, Ueda, and Otani — is informed by lifestyle, the love of nature, working in remote surroundings, and sometimes farming their own land. Although these artists are young in age, they are accomplished craftsmen and have been forming, firing, and exhibiting their earthenware in Japan for several years. Many of the works in the exhibition have never been seen before in the United States, as this display of ceramics is an illumination of age-old traditions being expanded into the 21st century. 

2. Lamp by Gio Ponti. 1931.

the (color) makings 
of Fall (forms)
collapse into winter.

Stopped by Garde this week to pull some ceramic selections 
for a new home we are finishing in Silver Lake.

Our home, the dining table with a work by LA ceramicist, Mirena Kim,
and some branches from the flower market.

"Some things are best if kept in darkness 
Only true before the dawn 
Ghost ships, silent, deathly sting 
Before the canon storm  
Am I in too deep? 
Am I in too deep too soon?" - Alela Diane 


David Noonan 
11 September—24 October 2015 
107 rue St-Georges | St-Jorisstraat
Xavier Hufkens

‘I’m trying to touch on a certain atmosphere or tone… when you’re listening to music, particular songs or artists will have a particular atmosphere to their work. That’s what I’m trying to achieve with pictures, to give the piece an ambience that you can’t exactly pin down, but that sets a certain tone. I like to think of them as these little hermetic things that have a certain energy or atmosphere that can wash over you, affecting your mood. I don’t want to spell something out; my pieces are more about evoking something in a viewer.’ - David Noonan

"Let's go said he 
not too far said she 
what's too far said he
where you are said she" - E.E. Cummings

(recent pics from a trip Paris)

 Atelier Brancusi

“Things are not difficult to make; 
what is difficult is putting ourselves in 
the state of mind to make them.” ―Constantin Brancusi


Musée de la Chasse et de la Nature 

A store window in the Marais 


Jean Royere 

The gardens of Versailles

Maison La Roche - 
Fondation Le Corbusier


Musée de la Chasse et de la Nature 

View from the flat near Oberkampf 

Staircase looking down.



1. davide balliano
2. recent dining room we completed, disc interiors

A visit to van Cronenburg Architectural Hardware, Ghent Belgium 

"Hardware is a small yet important detail in a house: it harbors comfort, safety and beauty. As small as the  pieces may be, generally fitting in the palm of ones hand, they are able to transform a house completely, to reveal the character of a room or the personality of its owners."

"The more virtual our world becomes,
the more we need the physical..." - Ilse Crawford

Hardware is the first object that one touches as they enter a home, and the last experience that is felt as one exits. A masterful piece of hardware has the warmth and the familiarity we crave, a connection to the past, or an indication and nod to the future. The details and curves can illustrate the historical context, but it is the way it is felt in the hand that can leave the true impression..It is these details in a home that create a feeling that is often felt, but can be hard to describe. A certain warmth if you will, a feeling of presence.

Last month, on a visit to Belgium, I visited the foundry and offices of Peter van Cronenburg Architectural Hardware in Ghent, Belgium. To be honest, it was one of the stops I was most looking forward to for the trip.  Over the past years I've become more interested in cabinet and door hardware for homes, seeking companies who can create custom selections for clients.  We recently used van Cronenburg's hardware on a home we are designing in Los Angeles, so the opportunity to meet Peter and Regine was a priority. 

Regine welcomed us on the cold Belgian morning, and led us around the foundry explaining the history of the foundry, Peter's past work as a cabinetmaker, as well as how each piece is cast and finished.  I watched in awe, as a metal base was shifting on the lathe, and it was carved and finished to precision. It was not unlike the feeling of watching a master glassblower, true magic before your eyes as the shapes form. Another team member was delicately carving by hand, before him an array of tools, not unlike a jewelry maker.  The amount of work into each piece they create is unbelievable.  Regine explained the casting process, and informed us of a terrific project in New York City on Bond Street that their team are restoring the original iron exterior detailing.  Their excitement and dedication towards the line of work is humbling, though not surprising. Their office recently opened an office in New York City, as their client base continues to expand.

A massive thank you to Peter and Regine and their team for welcoming us into their offices and foundry, the wonderful dinner we shared, and the rainy afternoon we spent in Ghent! I hope to return to Belgium soon. - David John

"Peter van Cronenburg started out as a cabinet maker in 1983, specializing in high-end paneling, libraries and interior doors. The bifurcation to architectural hardware came from the frustration not to find the exact hardware he wanted to finish his realizations. Most items on the market were to him too 19th century, with a mechanical finish and artificial patina. So he started collecting historic pieces in order to reproduce them. He searched for craftsmen who executed their work in a traditional way and who shared his vision of esthetics and craftmanship. Stimulated by some major Belgian architects and their customers, Peter van Cronenburg enlarged the collection, day by day.  With the same passion as with which he designed custom-made paneling and libraries using paper and pencil, he developed new models to respond to esthetical and technical challenges.  Over the years, van Cronenburg has envolved into a high-service company with its own foundry that delivers high quality hand-made hardware. The main manufacturing processes are forging and casting (sand casting as well as ‘cire perdue’), depending on the design and function of the piece.  The roots of a cabinet-making are still present, as his team counts cabinet makers, who assist in the right choice of hardware on site or do the installation of the hardware when desired. But the in- house skills were enlarged with e.g. design specialists (2D and 3D software), for dynamic prototyping, as well as interior architects. "

Van Cronenburg Architectural Hardware 
+32 9 336 37 34 

Belgium pt 2.

"When I see them 
Contemplate if I should 
Should I just reach out and tell you...
With the things that I own 
Watching time fall 
Through the drawn blinds" (braids, "fruend")

 2nd floor,  Antwerp, 2:10 pm

10:13 a.m.  nature becomes us. Antwerp.

4:45 pm, Brussels, the light became metal


6:15 p.m.  Antwerp, the upstairs and downstairs...