Nestled in the hustle and bustle of Los Angeles, Paul Chan’s Silver Lake studio, Days of Being, stands as a tranquil escape, featuring a yard adorned with pineapple guava plants and a distinctive Chinese porcelain table.
Upon entering, visitors are welcomed into a thoughtfully designed space that invites creativity and rejuvenation. The studio, which Chan opened this year, serves as a rental haven for artisans and a canvas for future explorations. This fall, Chan plans to unveil his first handmade furniture line, Domestic Ritual, a collaboration with Jeremy Kim, emphasizing the artist’s personal journey from Hong Kong to New York and eventually to Los Angeles.
As I stepped into the open area of the studio, I was enveloped by the rich scents of incense and wood. Peering upwards, there was no ceiling, only rugged beams that embody Chan’s architectural philosophy of transparency and connection. The design includes sliding shelves and curtain-covered doorways, creating a fluid space where little remains hidden, and emotions are laid bare.
In describing his approach to the house, Chan expressed, “When I took on this house, I was thinking, how can we highlight components of it, from the ceiling to the roof to the joists, as if it were an art piece?” The once-dilapidated 1920s Craftsman home, reminiscent of an overlooked puppy needing care, caught Chan’s attention.
He recognized the dwelling’s potential, with its sturdy bones and structures, and felt a duty to revive its original essence while infusing it with his own character. The Craftsman movement, according to Chan, emphasizes simplicity and accessibility, contrasting previous architectural styles that catered solely to the affluent.
Chan remarked, “The Craftsman was created to say, can we strip a house down to its basics and make something beautiful for the common person?” This ethos resonated deeply with him as he worked on his studio, exploring the intersection of art and functionality.
In a world dominated by AI and efficiency, Chan finds inspiration in the beauty of handmade items. He believes that returning to craftsmanship allows individuals to appreciate the artistry of everyday objects, creating a space where these pieces can hold significant meaning.
He articulates this concept, saying, “Handmade furniture is a way to give someone a taste of the artful, to give them a place to curate their objects and their history within each piece.” Chan envisions spaces that allow people to showcase their cherished belongings, reminiscent of ancestral shrines common in Asian culture.
The architect draws inspiration from filmmaker Wong Kar Wai, whose improvisational style resonates with him. He admires the subtlety in Kar Wai’s films, which capture fleeting moments without overt commentary.
Chan reflects on how specific routines, such as making coffee or preparing for the day, influence architectural design. He believes architecture should enhance these daily interactions, fostering deeper connections among occupants. “Life is an accumulation of these small moments. How do we interact with each other because of the space we’re in?” he asks.
With this mantra, Chan aims to create sanctuaries that evoke comfort and belonging. In his view, the architect’s role resembles that of a director, setting the stage for life to unfold within the carefully curated environment.
Furthermore, Chan perceives architecture as a dialogue with history. By understanding past architects’ decisions, he enriches his designs, ensuring they continue the narrative established a century ago.
His vision extends beyond his lifetime, as he hopes future architects will learn from his work and continue the conversation initiated through design. “Imagine, a hundred years later, someone else will build off of me. I leave this sentence here for the next person to complete,” he states, capturing his philosophy of continuity in architecture.
As Paul Chan continues to push boundaries in his practice, his work stands as a testament to the beauty of restoration, handmade artistry, and the enduring power of thoughtful design.
image source from：latimes
