There is an architect out there who is near and dear to my heart: Robert Whitton.
I have never met the gentleman and probably never will, but I love him in the same way I love my four-year-old UGG slippers [editor’s note: Stephanie, this is unacceptable], the same way I love the pre-dinner aromas in my Mom’s kitchen on a late Sunday afternoon. Comfort love.
Why? In the early 70s, he designed a very special home. The home in which my husband and I now live. It has had a few owners, one major renovation; but it will grow old with us.
Here’s to the person who made me appreciate the makings of a pretty cool-looking box.
It took me about 6 years to track the man down. When I finally did, through a writer in Arizona, it was an honor to speak to the man who 1. Designed something pretty cutting edge, especially for this neck of the woods 2. Made me understand the spacial importance of the Golden Section and 3. Appreciate, yet again, the steadfast dedication of a true artist. I live within someone else’s sculpture.
And the Heavens aligned…
I found out that Mr. Whitton, not only an architect but an accomplished artist & furniture maker, designed a handful of houses similar to mine, randomly scattered across the country, from the East Coast to Arizona, where he now lives.
What at first appear to be a coincidental collection of boxes, arranged together to create solid looking yet unfixed dwellings, is subsequently a haven for the mathematically inclined. Every single wall, floating bookcase and window has been calculated to the n-th degree. For the ‘design-OCD mind’ (and really, I wouldn’t know), it really is heaven.
All of Robert Whitton’s houses have similar details: enormous expanses of stucco wall, Mondrian-like splashes of color, Meier-esque cantilevers and roof lines and a Walter Gropius blend of traditional and modern materials.
Additionally, Mr.Whitton’s jewelry and one of a kind pieces of furniture are black and white versions of the collaborative mingling of Art Deco, Modern, and Memphis Design.
Thank you, Mr. Whitton, for providing shelter in the form of a grand scale sculpture and for reminding me each and every day that some things are better left untouched.
EDITOR AT LARGE:
Amy Russell Farber
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