Gone are the days of high-gloss hardwood floors so reflective they look wet to the touch. Thanks perhaps to the Scandinavians (and a bit of good old-fashioned practicality), matte wood finishes are taking over. For one, there’s the natural look: buffed, understated, more about showing off the grain itself than giving them a plastic-like coating. Your parents might take issue with this. Won’t it make your floors look . . . flat? Yeah, it will—a potentially wonderful, dramatic end for hardwood that’s worth showing off, but admittedly not as good of an idea if your wood floors are less lovely to behold (in that case, consider paint). The other upside is how tough and therefore low-maintenance they are: Matte wood floors will show far fewer scratches and dings than high-gloss floors, so watching pet paws and soccer cleats scuttle across the room won’t make you worry so much—or have to refinish so frequently. Ideal, right?
Arranging all the windows into a pleasing composition was a difficult puzzle. Bill worked on it assiduously, alone in the office that he had rented in Boston, racing against a deadline to complete what he considered the most important part of the exterior. He finished on time. The experience left him uncharacteristically short-tempered, but not for long. Although a great deal of drawing lay ahead of him, he had done the hardest part. And he was excited. He was about to see something wonderful happen. He was about to see his first commissioned design turn into a house. He was about to see paper get turned into wood.
The kindergarten rooms were about twice the size of normal classrooms and were designed to be like little homes, with small kitchens, bathrooms and a living room-like space with a fake fireplace.
Three years ago, he changed course once again, stepping back from his agency, Bureau Central, and starting anew. This fall, Objet Singulier — Van Gend’s line of sculptural lacquer jewelry — will debut at Le Bon Marché in Paris and at Matches Fashion in London. The collection of brass and wood lariat necklaces and cuffs, glossed in shades of shell pink, evergreen and Mediterranean blue, represent a ‘‘reflection of nature’s primeval beauty,’’ says Van Gend, who was inspired by the architecture of the natural world: the sheer edge of a cliff, the slickness of wet rocks. He manufactures his designs in a small village near Saigon in an old-fashioned workshop that employs 200 of the country’s top artisans. There, they apply 18 layers of lacquer to a single piece of jewelry, which takes an average of two months to complete. Van Gend says he is among the first in contemporary design to use this laborious technique — usually reserved for trays, bowls and other traditional handicrafts. ‘‘I like to align opposites,’’ he says. ‘‘The goal and challenge in my work has always been to make different ideas exist harmoniously.’’
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