As designers our goal would be to create spaces that stimulate a basic, emotional response. We feel that using elemental forms and minimal means can lead to architecture which has nuance, depth and richness. Via a procedure for editing and refining we reduce distractions and reduce the visual noise every day existence. Consequently, our designs include a glow that resonates whether or not they are suitable for valued private homes, galleries or experimental retail boutiques.
To know our method of set it up helps you to understand our history. In 1942 George was a baby when his family was transported to a Japanese American internment camping in Idaho. He spent the very first 3 years of his existence in barracks encircled by barbed wire. The starkness from the camping and it is primitive housing really are a likely source for his predilection for elemental simplicity. The possible lack of personal possessions in the camping might have also led to his passion of collections. Through the years he collected many objects - antiques, pottery, even branches and rocks - attracted by a feeling of history, craftsmanship and the good thing about natural world.
After graduation in the College of Washington's architecture program, George labored within the offices of Dallas designers Gene Zema and Rob Anderson. Both were well recognized for their articulated wood structures and contributions to the introduction of Northwest Contemporary architecture. Zema seemed to be a collector of Japanese antiquities and George traveled with him to Japan. He came back by having an appreciation for that culture's reverence for character, its focus on craft and also the integration of creating and landscape.
George began their own architecture practice in 1971 and Ric became a member of him in 1978. Ric comes with an analytical thought process that balances George's intuitive approach. The firm's work introduced together earlier influences including significant wood detailing along with a strong link between inside and outdoors. There is also a focus on decoration and also the positioning of curated objects to include atmosphere to spaces. At this time around, we started our collaboration with artists, craftsmen and designers for example steel fabricator David Gulassa, furniture maker Kurt Beardslee and landscape architect Bruce Hinkley in the style of cabin rentals, condos and houses.
A watershed moment for that firm was once the office moved from Eastlake Avenue for an 1890's stable-switched-garage in Belltown. It was a couple of years after Jay Deguchi became a member of the firm in 1992 getting his talent for developing spatial sequences and encounters to the practice. Attracted through the garage's raw industrial materials and historic layers, we made the decision to depart because its patina intact as you possibly can. Additions and interventions were restricted to humble materials: drywall, plywood and steel.