How a Strangely Shaped Summer House Revived One Artist’s Practice
Often referred to as the architect of happiness, Andrew Geller is known for designing small, unique homes dug the coastline of Long Island, NY in the late 1950s and ’60s. There was the Grasshopper, built in 1966, an abstract wood and glass structure that, with its sharp, tilt angles, looked like it was going to jump off the beach in Southampton; The Milk Carton (1958), a rectangular box turned at a 45 degree angle to the sea at Ocean Bay Park on Fire Island; And Double Diamond (1959), made of 1-foot-high cedar cubes with two sides balanced on their edges, resembling a pair of binoculars pointing to the horizon at Westhampton Beach. In the latter house – one of Geller’s few projects still standing – the void between the two pods is filled with triangular windows on both the north and south sides, and rises from a tall brick chimney revolving in sky blue and white stripes. Mask like a candy cane. These were buildings Celebrated Not only for their versatility and practicality – Geller, who died in 2011 at the age of 87, believed that there was a better chance of weathering windstorm winds in homes if their major edges were exposed to water. Have to face – but also for their accessibility, given that most of their designs cost under $ 10,000 to make.
Architect architect historian Alastair Gordon wrote, “These summer-use playhouses, ‘as Geller likes to call them, provide an opportunity to express themselves and try out their ideas.” 2003 book “Beach House,” a monograph on the architect, who will sketch seaside cottages at New York design firm Raymond Lowe & Associates to break through the drabness of his day job shopping centers. In turn, Gordon continued, “these little dream houses led to self-expression and personal freedom” enough for those who had.
Current resident of Double Diamond, artist Jason Byrd Yarmoski, Just arrived in need. A 33-year-old native New Yorker, Yarmosky made a name for himself with his hyper-realistic oil paintings and a portrait of his maternal grandmother’s grandmother, who plays believing – in a tangle, from a baseball bat, as “Ballet” (2012), for example, or as “The Wanderer” (2015) in the star-printed, Wonder Woman-style leotard, works that explore ideas of self-identity and the passing of time is. But last April, he lost his 92-year-old grandfather, Leonard Byrd, to illness. And along with his grandmother Elaine, who died of Alzheimer’s disease in 2018, Yarmoski found himself alone And without a collection.
Overcome with grief, he was not colored for a month. It was only in October, when he moved from his home in Brooklyn to his cousin’s beach house – which has been in Yarmowski’s family since it was built for his relative’s parents, Arthur Pearlroth and Mitch Renn Gaya – which inspired him to take risks with him. work again. “This has become my magazine,” he says of Double Diamond, where, for the past five months, within the space, he has produced dozens of abstract paintings in oil and wax, some of which include silver skeletons. The shape of appears. Discover something that is no longer physically. “All my notes and thoughts, whether they’re painting or writing, I put them everywhere on the walls, and then I take them down and put other people up,” he says. “I found a place to live for all my thoughts.”
Additional, 600-square-foot homes built for a full canvas – each cedar wall, cabinet and door are painted in the same shade of yellow driftwood gray, and a hanging podlick wicker chair and tan just for seating There are a pair of cushioned benches in the walls of the living area that make a diamond hull – but the eccentric angles of the building form the structure. Anything but basic; Within its leisure, secret places abound. As with a boat, a lot Is to live Being on the road is meant to be, and the laundry and sleeping quarters are small and accessible through the tubby door. In the 350-square-foot main room, there is a brick-wood-burning chimney, the only source of heat; A white, round pedestal table; And a kitchen with built-in shelves and new retro-style appliances, including a mint green refrigerator. In the enclosed pods on either side of the house, there are a total of three bedrooms, with two queen-size beds and a set of narrow bunk beds – Geller called them “bunk rooms” for their small footprint and tight head space – and a bathroom. Whose wooden shower stall opens through a hatch, from the bottom of a ladder to the dunes. A shower that leads directly to the outside is a signature shared by most of Geller’s residential projects. While her structures varied greatly in size and shape – she had a rule that she would never repeat herself – they were all designed with one thing in mind: water.
The house was barely 100 feet from the beach when it was built, but in 2015, the family incorporated an environmentally conscious design firm Cookfox Architects To set it behind the coastal erosion hazard line – a move that protected the historic structure from the elements, but allowed for additional, 3,300-square-foot residences, taking into account the construction of neighboring homes is more. On the property. (Although the second house mixes its old counterpart with its cubic shape, a two-by-four wooden pool deck and hand-cut cedar plank.) Still, from Double Diamond, which received a new copper roof and dunes. dolled up. At its original height (over the years, its base was buried under 10 feet of sand), the Atlantic is clearly visible – and has made its way into Yarmoski’s paintings.
On the north-eastern wall of the main room, where the best light can be found, Yarmowski hangs two of his abstract oil-and-wax works, featuring a man swimming in the sea, carving his arm Water and his eyes widen and continue to work. Across the room is another pair of pictures: a sun through a gray sky above the waves, and a moon swinging in the dark. Pinned next to the later piece, is a poem by Yarmosky, which reads at the end, “As long as you look from time to time, you’ll see that time sleeps in the sky as well.”
Nearby are some black and white pine trees which were found on the roadside after Christmas by Yarmozki. He said he decided to bring it to the beach and glued it to the property’s pier and crashed into it, seeing waves of saltwater – just for the pleasure of seeing it, he says. Apparently, the stay-at-home has created room for inspiration to rise in unexpected ways, while doing their work with depth and ease. He says, “I was able to deal with loss and my grief in a place that does not put pressure on me,” and he has allowed me to enjoy the process of making art in a new way. It has been a blessing. “