Four Los Angeles designers and one artist pay tribute to architect R.M. Schindler in the exhibition “Pin-up: A Designed Tribute to Schindler’s L.A.”, on view through February 11 at the Fitzpatrick-Leland House. LA Forum spoke to Pamela Shamshiri of Studio Shamshiri about her and John Williams’ collaborative pieces in the show, their inspiration, and how the work responds to Schindler’s materials and forms.
PS: I always knew Schindler was the architect’s architect, but I had no idea exactly why he was so revered until restoring the Lechner house. The boys and I joke that John had to move in with us for two years to complete the restoration. That time period was magical and creative. So much was unearthed at the job site every day. Between the drawing set, the 1948 photos, and what was existing — nothing matched. In the daily excavation, we would find scribbled notes on geometry, idiosyncratic framing and engineering solutions. Schindler’s DNA was everywhere. It was like being on an archeological dig and an incredibly creative time which birthed a company like Commune. Lots of design lessons learned in that period for both John and I. In lots of ways, we didn’t want it to end and so here we are collaborating on pieces that embody the high design/low materials, the play on geometry, sculpting bits of space, and the design ethos that Schindler leaves us with.
PS: At the house, I have three big binders full of Schindler articles, references, and details. I also have a notebook of designers that work within a process that Schindler would approve of like Piet Hein Eeek, Eileen Grey, Corbusier, etc. We sit in the living room and pull images, then John goes away and comes back with a curve ball, and I always say, “Yes, let’s do it!”
PW & JW: We started with the combination of redwood and copper that Schindler used in the Kings road house and decided to make a second version using the combination of brass with a color-washed Douglas Fir. The color-wash is a bit more yellow than the greenish tan that Schindler employed. It was important to us that it resonated with the brass in a similar way the redwood resonated with the copper. When you look at the carts side by side you can see they are unusual takes on the idea of red and yellow.
PS & JW: Schindler had a knack for concealing staircases behind or inside of cabinetry, like in the Lechner House a staircase connecting spaces drops right through a cabinet that houses a pull-out dining table. It feels like a secret passage in plain sight. In the Fitzpatrick-Leland house, the steps leading to the second floor are hidden behind a partition and a tall cabinet in the dining area. The top of this cabinet turned out to be an excellent place for viewing the dynamics and dimensionality of our lamp. In the dining area you are afforded a view from below the lamp, where you can see what usual sight lines normally conceal, the cord running through a 3/8″ hole punched through the plant of wood that forms the base of the lamp. This was a detail that we sweated over for a while, with each new method devised for transferring the cord from the lamp, out the back to the power seeming overthought or fussy. In the end this blunt solution turned out to be the best.