SCOPE
Holistic interior package:
All finishes, fixtures, furnishings, and procurement/install.
yardwork
shape
From the entry point in the popup shop, you stand within a triangle of three Farrah Sit pendants, and as you open up the barn doors, you can peer directly across the "pit" through the "portal" (so nice we named it twice- also referred to as the “keyhole”) and spot the same shape echoed in the legs of the kitchen island. Above the island are three more of the same Farrah Sit pendants. The triangular shape is a nod to an early conversation between Joe, Kevin, and Charity where mention was made of The Sixth Man and The Third Man- both very different films, but referenced for the new building taking on the nickname by Yard as their "Sixth Man" since they’re a small team. The Third Man stands as a mutually loved piece of cinema between Yard and Charity, as well as Charity's internal reference of working for months between Joe, Kevin, and the building. These playful symbols add to each curated piece's storytelling and in-depth reasoning.
From the portal opening, you can look in either direction- pit or office- and notice the communal areas are sprinkled with one or many circles- from the clock suspended above the grouping of office desks to the globes dangling above the conference tables- the circular shape is echoed in gathering spots, entries, and exits. (Half circle mats in front of the doorways, partial circles in the mural where the sliding doors are, circular pendant in zoom room, and so forth.)
MATERIALITY, IRREGULARITY, JUXTAPOSITION
From both the original and final decks, we noted wabi-sabi as a point of inspiration. Yard had mentioned it on their website while we were simultaneously referencing both the concept as well as spaces showing wabi-sabi in design. It made sense to work with the imperfections of the concrete floors and the textured walls of the building and reintroduce textural elements, such as the giant built-in shelving created by Carmen Ruiz and Mike Waite. It was lovingly fashioned over weeks and sleepless nights- with the makers often taking naps in intervals in order to chop away on the behemoth of a wall. The portal opening, on the other hand, surprised us by taking less time to build, and it also shares the textural, irregular finish that blends into the existing walls.
THE COLOR PALETTE WAS CREATED ALONGSIDE FELLOW DESIGNER EMILY HARTIG AND WAS A BOLD MOVE REGARDING THE BRIGHTNESS OF GREENS AND BLUES CHOSEN. WE STARTED WITH THE OBVIOUS- YARD IS BOTH GREEN IN BRANDING BUT ALSO CONJURES VISIONS IN THE MIND'S EYE OF GREENERY, SKY, AND A CERTAIN LIGHTNESS OF BEING. WE RETAINED THE BRIGHT WHITE WALLS FOR THAT AIRY FEEL AND INTRODUCED THE 60/40/10 PERCENTAGE OF TONAL GREENS/TONAL BLUES/AND TONAL REDS. SURE, OTHER COLORS SNUCK IN THERE, BUT WE AREN'T TOTAL RULE FOLLOWERS TO BEGIN WITH!
ethos informing space & a trip through the eras
When designing the space, we wanted to create a welcoming, inspiring laboratory of thought and community- a space that ebbs and flows with the needs of the team and future uses of the space that have yet to be imagined. There were two main concepts that we eventually decided to converge into one era-bending theme.
Yard & Co has the unique opportunity to work with individuals across various backgrounds and serve as the link between those on the business or developer side and the inhabitants of the communities undergoing revitalization. They are also a really dynamic, creative team with no pretense, so we thought we'd lean into that by cultivating a space that's vibrant with the energy of a studio or atelier rather than some run-of-the-mill office.
The bright white original interior was retained, contrasted by pops of color in tonal "Yard" greens, tonal blues, and a few other bright pops that play into the eras we pulled from- the 1940s-80s and some modern brands like Hem, Hay, and new George Sowden lamps/kettle/tins.
THE ENTIRE SPACE IS OUTFITTED WITH PIECES SOURCED FROM PRIVATE COLLECTORS IN GERMANY, FRANCE, DENMARK, ITALY, SOME LOCAL FINDS VIA TIM'S PICKS OTR, OUR PERSONAL COLLECTION OVER AT LOST HOSPITALITY HQ, AND FEMALE ARTISANS IN MOROCCO AND TURKEY. FROM THE MEMPHIS CHAIRS BY KARL FRIEDRICH FÖRSTER, TO THE DIRK VAN DER KOOIJ "CHUBBY CHAIR" WHICH IS IN A FEW MUSEUMS AROUND THE WORLD, WE CHOSE PIECES THAT DON'T TAKE THEMSELVES TOO SERIOUSLY BUT DO SERVE AS EMBLEMS OF OUT-OF-THE BOX THINKING- A REFLECTION OF WHAT YARD & CO DOES IN THEIR WORK EACH DAY.
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TOUR DE YARD
Photos by Phil Armstrong
PORTAL
For the "keyhole" opening, we wanted it to serve as a symbol of both the continuation of creative force and community being interconnected and symbiotic- this circular shape is echoed throughout the rooms. One of several Design/Build elements by Dennis Dobry of Lost Hospitality x Otherwhere.
DIRK VAN DER KOOIJ
Dirk van der Kooij Chubby Chair- now housed in international museums and Yard's corner of the world. Each Chubby is printed from 10kg of chipped, recycled fridge interiors. Or, more poetically, one standard fridge.
plaster built-in
Behemoth of a plaster built-in with access to electricity in various cubbies, designed and built by Architectural Designers Carmen Ruiz and Michael Waite.
zoom room
Since Yard has clients stretching across the country, a quiet space for Zoom meetings was essential. This cove was from the mind of Joe (Yard) and is outfitted with an antique Turkish rug, collectible metal Memphis chairs, a Danish 1970s Hans Due pendant, and a three-wall full-scale mural via Drew Christman.
POCKET WATCH
Sourced in the UK from the co-founder of Otherwhere, James Fisher, this mammoth antique pocket watch (weighing around 80 lbs) was hoisted up, mounted to the column, and then connected to a chain to give the illusion of a pocket watch dangling. (Mike Waite was the brains behind this idea, and Dennis Dobry of Lost Hospitality was the brawn.)
TIERED SEATING
Designed by the Yard team, the stadium seating descends from the Popup Shop to “The Pit” where custom industrial tables on casters form a large conference area with vintage Plia and Plona chairs.