Devin's love for interior design comes from the overwhelming possibilities and infinite ways in which he can apply the passion and energy he has for the built environment.

 

As a child, Devin would construct fragile, makeshift structures from materials ranging from Legos to playing cards. Not fully satisfied with the shell, he would then condition figures and imagine their thoughts and feelings; today what he can refer to as the "human experience."

 

Interior design allows that inner-child to remain active, all the while adding new roles and opportunities to the mix: the scientist; the engineer; the builder; the ecologist; the artist; and most notably, the psychologist. Because of this dynamism, Devin chose interior design as a career.

 

Personally, he hopes to forge the science and art of design to create spaces that promote both physical and mental health; specifically, neurodegenerative conditions. Having been witness to family members with Alzheimer's and dementia, it has become evident that the interior landscape is intimately connected to our personhood.

 

Programming, the initial phase of interior design, plays a critical role in the occupants' experience of a space. Oftentimes overlooked by the designer, the end users may become passive or disconnected from the very place they call "home." His main aspiration is to study the psychology of the client (or patient) in order to create both a sustaining and healing environment.

 

As a designer, Devin views himself as a servant; a servant to the public. During his education, this reality has become increasingly obvious. Because of this, surrendering the ego that can easily control the creation process, and adopting a servant mentality, has become an immediate goal of his.

 

For a project to be a success, it has to have a lasting impression on the end user. If in his lifetime, one human being has a transformative experience in a space, materialized by his ideas, Devin's primary career goal will be achieved.

 

 

Describe your go-to style:

 

Living in postmodern times is a brilliant experience. All of a sudden Warhol's Monroe finds a home in a Victorian space. On the flip side, a cigar sofa from the roaring twenties lands in the living area of an industrial loft. This is where I find balance, both aesthetically and internally. Exploring the many nuances of juxtaposition and contrast are the undercurrents of my design process. Generally, I begin with a piece that expresses the lives and desires of the inhabitants of a space and then draw emphasis and focus through lighting, color, and (or) scale.

 

What drives you to design?

I would have to say that throughout the entire design process, the human factor is the driving force for me. Nothing is more exciting than the initial meeting with a client. It could be the anthropologist in me, or perhaps just mere curiosity, but there is no better feeling than learning about the lives of people. Beyond that, learning about how design affects them and their daily lives. Collaboration brings a space to life and ultimately creates a home worth living in. My heart is content when I hear phrases such as "it's perfect," "I love it," or even an "oh my gosh." At that moment, it becomes clear why I wake up and design each day. For people.

 

From where do you draw most of your inspiration?

 

As mentioned above, being gifted with postmodernism, I cannot resist from exploring its many nuances. As of recent (and throughout design school), Netherlands based Moooi Design has influenced much of my work. Playful approaches to scale, color, and lighting bring a playful and balanced interior. Spaces that are full of surprise and the unexpected. In the world of Moooi, horse sculptures become light fixtures and chesterfield sofas are given pedestals to become statuary. Moooi's team is all about breaking rules and defying standards. For a design to be truly designed I believe that the same must happen. Design is for people and we al know that no two people are the same. Therefore, no two spaces should be the same.