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BassamFellows Revamps a Ridgefield, Connecticut Office Building
In 2003, Australian architect Craig Bassam and American creative director Scott Fellows launched BassamFellows, a multidisciplinary studio renowned for its "Craftsman Modern" aesthetic, which blends modernist principles with exquisite craftsmanship and luxurious natural materials. Their initial breakthrough came with the Tractor Stool at Milan’s Salone del Mobile, a piece that encapsulated their design philosophy. Since then, BassamFellows has applied this aesthetic across various domains, including architecture, furniture design, and even apparel. The summer of 2021 marked a significant period for the partners, featuring two notable exhibitions. "BassamFellows: Carve, Curve, Cane" at R & Company gallery in New York displayed their sculptural furniture alongside Jean Arp bronzes. Concurrently, "Modern in Your Life: Design and Art at the Schlumberger Building," curated by James Zemaitis and Erica Barrish, showcased their work alongside rare pieces by design luminaries such as Josef Albers, Laszlo Moholy-Nagy, and Jens Risom. This latter exhibition was hosted at the studio’s newly renovated Ridgefield, Connecticut, headquarters.
The headquarters itself is a delicately restored 1952 Philip Johnson office building, Johnson’s inaugural non-residential project, situated a short distance from Bassam and Fellows' own residence, the 1950 Hodgson House, also designed by Johnson. The renovation of the Schlumberger building, initially discovered through a serendipitous conversation between Bassam’s parents and a Ridgefield town council member, became a monumental undertaking. The town council was concerned about the preservation of the Johnson building, and the partners, known for their expertise in residential restoration—including their previous 1956 Willis N. Mills house in New Canaan, which earned a spot on the National Register of Historic Places post-renovation—were an ideal fit.
Upon acquiring the building, Bassam and Fellows found it severely water-damaged after years of vacancy. The renovation proved to be far more extensive than anticipated, requiring meticulous attention to detail. For instance, the original red oak woodwork, discolored by years of office workers smoking, necessitated hand-sanding and bleaching. The steel columns, originally black, were repainted dark gray. Vinyl flooring was replaced with French quarry tile of a similar hue, ensuring a continuous visual flow throughout the public areas, while new carpeting was installed in the private offices, mimicking the original design.
A significant aspect of the restoration involved the brickwork. The walls separating hallways from offices are remarkably thin, allowing for a unique visual effect when illuminated at night, revealing the building's cubic volume. The previous owners had obscured this feature with bookshelves. All replacement bricks were sourced from the same Pennsylvania company Johnson used, ensuring historical accuracy with their iron-rich glazing process that imparts a mottled, variegated color, consistent with the brickwork of the nearby Hodgson House.
Craig Bassam and Scott Fellows view the renovated structure as more than just an office; it functions as a study, embodying their philosophy of blurring the lines between life and work. The abundance of natural light and air, facilitated by an open courtyard, contributes to an optimistic and inviting atmosphere. The building's blend of industrial elements and craftsmanship, combined with its rational clarity and material palette, perfectly aligns with the BassamFellows aesthetic. They believe this adaptive reuse of architectural gems, even less prominent suburban houses, offers a valuable model for rethinking and revitalizing existing structures.
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