https://www.brandtasay.com/ https://www.brandtasay.com/assets/brand/brandt-reference.webp Brandt Asay at his desk in Baton Rouge, with drawings, a camera, and framed photographs behind him. Brandt Asay at his desk in Baton Rouge, with drawings, a camera, and framed photographs behind him. https://www.brandtasay.com/journal/afternoon-light-on-a-baton-rouge-porch/ https://www.brandtasay.com/assets/images/journal/afternoon-light-on-a-baton-rouge-porch/establishing.webp The wide frame for this note: afternoon light on a Baton Rouge porch, seen as a place rather than a detail. Brandt Asay in a Garden District porch on Drehr Place, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/afternoon-light-on-a-baton-rouge-porch/detail.webp The working detail: a tripod set low and old window glass, which is where the decision actually happens. Brandt Asay working with a tripod set low beside old window glass at a Garden District porch on Drehr Place https://www.brandtasay.com/assets/images/journal/afternoon-light-on-a-baton-rouge-porch/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at a Garden District porch on Drehr Place https://www.brandtasay.com/journal/photographing-a-shotgun-house-without-flattening-it/ https://www.brandtasay.com/assets/images/journal/photographing-a-shotgun-house-without-flattening-it/establishing.webp The wide frame for this note: photographing a shotgun house without flattening it, seen as a place rather than a detail. Brandt Asay in a shotgun on Spain Street, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/photographing-a-shotgun-house-without-flattening-it/detail.webp The working detail: a handheld meter and terracotta tile, which is where the decision actually happens. Brandt Asay working with a handheld meter beside terracotta tile at a shotgun on Spain Street https://www.brandtasay.com/assets/images/journal/photographing-a-shotgun-house-without-flattening-it/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at a shotgun on Spain Street https://www.brandtasay.com/journal/river-fog-and-the-mississippi-bridge/ https://www.brandtasay.com/assets/images/journal/river-fog-and-the-mississippi-bridge/establishing.webp The wide frame for this note: river fog and the Mississippi bridge, seen as a place rather than a detail. Brandt Asay in the levee path above the Mississippi, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/river-fog-and-the-mississippi-bridge/detail.webp The working detail: a notebook and a linen curtain, which is where the decision actually happens. Brandt Asay working with a notebook beside a linen curtain at the levee path above the Mississippi https://www.brandtasay.com/assets/images/journal/river-fog-and-the-mississippi-bridge/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at the levee path above the Mississippi https://www.brandtasay.com/journal/humidity-haze-and-the-lens/ https://www.brandtasay.com/assets/images/journal/humidity-haze-and-the-lens/establishing.webp The wide frame for this note: humidity, haze, and the lens, seen as a place rather than a detail. Brandt Asay in a Southdowns kitchen that faces the yard, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/humidity-haze-and-the-lens/detail.webp The working detail: one prime lens and oak floorboards, which is where the decision actually happens. Brandt Asay working with one prime lens beside oak floorboards at a Southdowns kitchen that faces the yard https://www.brandtasay.com/assets/images/journal/humidity-haze-and-the-lens/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at a Southdowns kitchen that faces the yard https://www.brandtasay.com/journal/window-light-in-a-south-facing-kitchen/ https://www.brandtasay.com/assets/images/journal/window-light-in-a-south-facing-kitchen/establishing.webp The wide frame for this note: window light in a south-facing kitchen, seen as a place rather than a detail. Brandt Asay in the State Capitol terrace, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/window-light-in-a-south-facing-kitchen/detail.webp The working detail: a gray card and a slate hearth, which is where the decision actually happens. Brandt Asay working with a gray card beside a slate hearth at the State Capitol terrace https://www.brandtasay.com/assets/images/journal/window-light-in-a-south-facing-kitchen/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at the State Capitol terrace https://www.brandtasay.com/journal/the-raised-house-and-the-air-under-it/ https://www.brandtasay.com/assets/images/journal/the-raised-house-and-the-air-under-it/establishing.webp The wide frame for this note: the raised house and the air under it, seen as a place rather than a detail. Brandt Asay in a raised cottage in Beauregard Town, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/the-raised-house-and-the-air-under-it/detail.webp The working detail: a tape measure and standing-seam metal, which is where the decision actually happens. Brandt Asay working with a tape measure beside standing-seam metal at a raised cottage in Beauregard Town https://www.brandtasay.com/assets/images/journal/the-raised-house-and-the-air-under-it/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at a raised cottage in Beauregard Town https://www.brandtasay.com/journal/shotgun-plans-and-the-middle-room/ https://www.brandtasay.com/assets/images/journal/shotgun-plans-and-the-middle-room/establishing.webp The wide frame for this note: shotgun plans and the middle room, seen as a place rather than a detail. Brandt Asay in a bungalow hall in Ogden Park, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/shotgun-plans-and-the-middle-room/detail.webp The working detail: a section sketch and cypress eaves, which is where the decision actually happens. Brandt Asay working with a section sketch beside cypress eaves at a bungalow hall in Ogden Park https://www.brandtasay.com/assets/images/journal/shotgun-plans-and-the-middle-room/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at a bungalow hall in Ogden Park https://www.brandtasay.com/journal/a-gallery-that-is-a-hallway-with-opinions/ https://www.brandtasay.com/assets/images/journal/a-gallery-that-is-a-hallway-with-opinions/establishing.webp The wide frame for this note: a gallery that is a hallway with opinions, seen as a place rather than a detail. Brandt Asay in the live-oak shade along Highland Road, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/a-gallery-that-is-a-hallway-with-opinions/detail.webp The working detail: a door swing drawn in plan and a screened panel, which is where the decision actually happens. Brandt Asay working with a door swing drawn in plan beside a screened panel at the live-oak shade along Highland Road https://www.brandtasay.com/assets/images/journal/a-gallery-that-is-a-hallway-with-opinions/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at the live-oak shade along Highland Road https://www.brandtasay.com/journal/porch-depth-and-the-hour-you-can-sit-outside/ https://www.brandtasay.com/assets/images/journal/porch-depth-and-the-hour-you-can-sit-outside/establishing.webp The wide frame for this note: porch depth and the hour you can sit outside, seen as a place rather than a detail. Brandt Asay in a Mid City side yard, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/porch-depth-and-the-hour-you-can-sit-outside/detail.webp The working detail: a scale figure and heart pine, which is where the decision actually happens. Brandt Asay working with a scale figure beside heart pine at a Mid City side yard https://www.brandtasay.com/assets/images/journal/porch-depth-and-the-hour-you-can-sit-outside/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at a Mid City side yard https://www.brandtasay.com/journal/ceiling-height-as-a-kind-of-manners/ https://www.brandtasay.com/assets/images/journal/ceiling-height-as-a-kind-of-manners/establishing.webp The wide frame for this note: ceiling height as a kind of manners, seen as a place rather than a detail. Brandt Asay in a Government Street studio above a shop, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/ceiling-height-as-a-kind-of-manners/detail.webp The working detail: a site photo pinned to the trace and a concrete porch slab, which is where the decision actually happens. Brandt Asay working with a site photo pinned to the trace beside a concrete porch slab at a Government Street studio above a shop https://www.brandtasay.com/assets/images/journal/ceiling-height-as-a-kind-of-manners/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at a Government Street studio above a shop https://www.brandtasay.com/journal/cream-walls-and-the-art-that-can-live-on-them/ https://www.brandtasay.com/assets/images/journal/cream-walls-and-the-art-that-can-live-on-them/establishing.webp The wide frame for this note: cream walls and the art that can live on them, seen as a place rather than a detail. Brandt Asay in the lakes at LSU just after a rain, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/cream-walls-and-the-art-that-can-live-on-them/detail.webp The working detail: a sample of the paint in the real light and linen, which is where the decision actually happens. Brandt Asay working with a sample of the paint in the real light beside linen at the lakes at LSU just after a rain https://www.brandtasay.com/assets/images/journal/cream-walls-and-the-art-that-can-live-on-them/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at the lakes at LSU just after a rain https://www.brandtasay.com/journal/the-one-rug-that-settles-a-living-room/ https://www.brandtasay.com/assets/images/journal/the-one-rug-that-settles-a-living-room/establishing.webp The wide frame for this note: the one rug that settles a living room, seen as a place rather than a detail. Brandt Asay in a Spanish Town parlor with the shutters half closed, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/the-one-rug-that-settles-a-living-room/detail.webp The working detail: a paper template for the rug and glazed tile, which is where the decision actually happens. Brandt Asay working with a paper template for the rug beside glazed tile at a Spanish Town parlor with the shutters half closed https://www.brandtasay.com/assets/images/journal/the-one-rug-that-settles-a-living-room/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at a Spanish Town parlor with the shutters half closed https://www.brandtasay.com/journal/dining-chairs-mismatched-on-purpose/ https://www.brandtasay.com/assets/images/journal/dining-chairs-mismatched-on-purpose/establishing.webp The wide frame for this note: dining chairs mismatched on purpose, seen as a place rather than a detail. Brandt Asay in a Bocage addition that still shows the old sill, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/dining-chairs-mismatched-on-purpose/detail.webp The working detail: one lamp, switched on at dusk and an iron hardware set, which is where the decision actually happens. Brandt Asay working with one lamp, switched on at dusk beside an iron hardware set at a Bocage addition that still shows the old sill https://www.brandtasay.com/assets/images/journal/dining-chairs-mismatched-on-purpose/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at a Bocage addition that still shows the old sill https://www.brandtasay.com/journal/curtains-that-reach-the-floor/ https://www.brandtasay.com/assets/images/journal/curtains-that-reach-the-floor/establishing.webp The wide frame for this note: curtains that reach the floor, seen as a place rather than a detail. Brandt Asay in a City Park picnic porch used as a client table, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/curtains-that-reach-the-floor/detail.webp The working detail: a stack of frames leaned before hanging and a paper lampshade, which is where the decision actually happens. Brandt Asay working with a stack of frames leaned before hanging beside a paper lampshade at a City Park picnic porch used as a client table https://www.brandtasay.com/assets/images/journal/curtains-that-reach-the-floor/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at a City Park picnic porch used as a client table https://www.brandtasay.com/journal/a-kitchen-backsplash-that-does-not-shout/ https://www.brandtasay.com/assets/images/journal/a-kitchen-backsplash-that-does-not-shout/establishing.webp The wide frame for this note: a kitchen backsplash that does not shout, seen as a place rather than a detail. Brandt Asay in the brick sidewalk on North Boulevard, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/a-kitchen-backsplash-that-does-not-shout/detail.webp The working detail: a tape at the floor and a marble scrap used once, which is where the decision actually happens. Brandt Asay working with a tape at the floor beside a marble scrap used once at the brick sidewalk on North Boulevard https://www.brandtasay.com/assets/images/journal/a-kitchen-backsplash-that-does-not-shout/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at the brick sidewalk on North Boulevard https://www.brandtasay.com/journal/a-drawer-that-is-a-small-plan/ https://www.brandtasay.com/assets/images/journal/a-drawer-that-is-a-small-plan/establishing.webp The wide frame for this note: a drawer that is a small plan, seen as a place rather than a detail. Brandt Asay in a Highland Road carport that wants to be a room, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/a-drawer-that-is-a-small-plan/detail.webp The working detail: a hook at hand height and a shallow tray, which is where the decision actually happens. Brandt Asay working with a hook at hand height beside a shallow tray at a Highland Road carport that wants to be a room https://www.brandtasay.com/assets/images/journal/a-drawer-that-is-a-small-plan/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at a Highland Road carport that wants to be a room https://www.brandtasay.com/journal/the-bowl-by-the-door/ https://www.brandtasay.com/assets/images/journal/the-bowl-by-the-door/establishing.webp The wide frame for this note: the bowl by the door, seen as a place rather than a detail. Brandt Asay in a Drehr Place dining room at four o'clock, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/the-bowl-by-the-door/detail.webp The working detail: a donation bag and a labeled house file, which is where the decision actually happens. Brandt Asay working with a donation bag beside a labeled house file at a Drehr Place dining room at four o'clock https://www.brandtasay.com/assets/images/journal/the-bowl-by-the-door/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at a Drehr Place dining room at four o'clock https://www.brandtasay.com/journal/paper-and-the-one-tray-it-lives-in/ https://www.brandtasay.com/assets/images/journal/paper-and-the-one-tray-it-lives-in/establishing.webp The wide frame for this note: paper, and the one tray it lives in, seen as a place rather than a detail. Brandt Asay in an Old South Baton Rouge raised house, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/paper-and-the-one-tray-it-lives-in/detail.webp The working detail: a timer set for ten minutes and a pegboard, which is where the decision actually happens. Brandt Asay working with a timer set for ten minutes beside a pegboard at an Old South Baton Rouge raised house https://www.brandtasay.com/assets/images/journal/paper-and-the-one-tray-it-lives-in/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at an Old South Baton Rouge raised house https://www.brandtasay.com/journal/a-closet-shelf-that-matches-how-you-dress/ https://www.brandtasay.com/assets/images/journal/a-closet-shelf-that-matches-how-you-dress/establishing.webp The wide frame for this note: a closet shelf that matches how you dress, seen as a place rather than a detail. Brandt Asay in the boardwalk edge at Bluebonnet Swamp, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/a-closet-shelf-that-matches-how-you-dress/detail.webp The working detail: a pencil inventory and a clear jar, which is where the decision actually happens. Brandt Asay working with a pencil inventory beside a clear jar at the boardwalk edge at Bluebonnet Swamp https://www.brandtasay.com/assets/images/journal/a-closet-shelf-that-matches-how-you-dress/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at the boardwalk edge at Bluebonnet Swamp https://www.brandtasay.com/journal/the-kitchen-drawer-of-tools-not-gadgets/ https://www.brandtasay.com/assets/images/journal/the-kitchen-drawer-of-tools-not-gadgets/establishing.webp The wide frame for this note: the kitchen drawer of tools, not gadgets, seen as a place rather than a detail. Brandt Asay in a Third Street doorway downtown, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/the-kitchen-drawer-of-tools-not-gadgets/detail.webp The working detail: an empty box broken flat and a canvas donation bag, which is where the decision actually happens. Brandt Asay working with an empty box broken flat beside a canvas donation bag at a Third Street doorway downtown https://www.brandtasay.com/assets/images/journal/the-kitchen-drawer-of-tools-not-gadgets/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at a Third Street doorway downtown https://www.brandtasay.com/journal/the-color-of-a-live-oak-canopy/ https://www.brandtasay.com/assets/images/journal/the-color-of-a-live-oak-canopy/establishing.webp The wide frame for this note: the color of a live oak canopy, seen as a place rather than a detail. Brandt Asay in a raised cottage in Beauregard Town, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/the-color-of-a-live-oak-canopy/detail.webp The working detail: a 35mm lens and painted brick, which is where the decision actually happens. Brandt Asay working with a 35mm lens beside painted brick at a raised cottage in Beauregard Town https://www.brandtasay.com/assets/images/journal/the-color-of-a-live-oak-canopy/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at a raised cottage in Beauregard Town https://www.brandtasay.com/journal/brick-that-has-been-painted-and-painted-again/ https://www.brandtasay.com/assets/images/journal/brick-that-has-been-painted-and-painted-again/establishing.webp The wide frame for this note: brick that has been painted and painted again, seen as a place rather than a detail. Brandt Asay in a bungalow hall in Ogden Park, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/brick-that-has-been-painted-and-painted-again/detail.webp The working detail: a tripod set low and cypress siding, which is where the decision actually happens. Brandt Asay working with a tripod set low beside cypress siding at a bungalow hall in Ogden Park https://www.brandtasay.com/assets/images/journal/brick-that-has-been-painted-and-painted-again/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at a bungalow hall in Ogden Park https://www.brandtasay.com/journal/dusk-on-the-levee-without-a-postcard/ https://www.brandtasay.com/assets/images/journal/dusk-on-the-levee-without-a-postcard/establishing.webp The wide frame for this note: dusk on the levee without a postcard, seen as a place rather than a detail. Brandt Asay in the live-oak shade along Highland Road, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/dusk-on-the-levee-without-a-postcard/detail.webp The working detail: a handheld meter and cream plaster, which is where the decision actually happens. Brandt Asay working with a handheld meter beside cream plaster at the live-oak shade along Highland Road https://www.brandtasay.com/assets/images/journal/dusk-on-the-levee-without-a-postcard/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at the live-oak shade along Highland Road https://www.brandtasay.com/journal/a-camera-on-the-drawing-table/ https://www.brandtasay.com/assets/images/journal/a-camera-on-the-drawing-table/establishing.webp The wide frame for this note: a camera on the drawing table, seen as a place rather than a detail. Brandt Asay in a Mid City side yard, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/a-camera-on-the-drawing-table/detail.webp The working detail: a notebook and old window glass, which is where the decision actually happens. Brandt Asay working with a notebook beside old window glass at a Mid City side yard https://www.brandtasay.com/assets/images/journal/a-camera-on-the-drawing-table/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at a Mid City side yard https://www.brandtasay.com/journal/when-the-frame-is-already-finished/ https://www.brandtasay.com/assets/images/journal/when-the-frame-is-already-finished/establishing.webp The wide frame for this note: when the frame is already finished, seen as a place rather than a detail. Brandt Asay in a Government Street studio above a shop, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/when-the-frame-is-already-finished/detail.webp The working detail: one prime lens and terracotta tile, which is where the decision actually happens. Brandt Asay working with one prime lens beside terracotta tile at a Government Street studio above a shop https://www.brandtasay.com/assets/images/journal/when-the-frame-is-already-finished/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at a Government Street studio above a shop https://www.brandtasay.com/journal/shadows-that-explain-a-room/ https://www.brandtasay.com/assets/images/journal/shadows-that-explain-a-room/establishing.webp The wide frame for this note: shadows that explain a room, seen as a place rather than a detail. Brandt Asay in the lakes at LSU just after a rain, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/shadows-that-explain-a-room/detail.webp The working detail: a gray card and a linen curtain, which is where the decision actually happens. Brandt Asay working with a gray card beside a linen curtain at the lakes at LSU just after a rain https://www.brandtasay.com/assets/images/journal/shadows-that-explain-a-room/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at the lakes at LSU just after a rain https://www.brandtasay.com/journal/ceilings-fans-and-the-height-of-a-house/ https://www.brandtasay.com/assets/images/journal/ceilings-fans-and-the-height-of-a-house/establishing.webp The wide frame for this note: ceilings, fans, and the height of a house, seen as a place rather than a detail. Brandt Asay in a Spanish Town parlor with the shutters half closed, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/ceilings-fans-and-the-height-of-a-house/detail.webp The working detail: a 35mm lens and oak floorboards, which is where the decision actually happens. Brandt Asay working with a 35mm lens beside oak floorboards at a Spanish Town parlor with the shutters half closed https://www.brandtasay.com/assets/images/journal/ceilings-fans-and-the-height-of-a-house/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at a Spanish Town parlor with the shutters half closed https://www.brandtasay.com/journal/rain-on-government-street/ https://www.brandtasay.com/assets/images/journal/rain-on-government-street/establishing.webp The wide frame for this note: rain on Government Street, seen as a place rather than a detail. Brandt Asay in a Bocage addition that still shows the old sill, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/rain-on-government-street/detail.webp The working detail: a tripod set low and a slate hearth, which is where the decision actually happens. Brandt Asay working with a tripod set low beside a slate hearth at a Bocage addition that still shows the old sill https://www.brandtasay.com/assets/images/journal/rain-on-government-street/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at a Bocage addition that still shows the old sill https://www.brandtasay.com/journal/the-ethics-of-a-tidy-frame/ https://www.brandtasay.com/assets/images/journal/the-ethics-of-a-tidy-frame/establishing.webp The wide frame for this note: the ethics of a tidy frame, seen as a place rather than a detail. Brandt Asay in a City Park picnic porch used as a client table, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/the-ethics-of-a-tidy-frame/detail.webp The working detail: a handheld meter and painted brick, which is where the decision actually happens. Brandt Asay working with a handheld meter beside painted brick at a City Park picnic porch used as a client table https://www.brandtasay.com/assets/images/journal/the-ethics-of-a-tidy-frame/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at a City Park picnic porch used as a client table https://www.brandtasay.com/journal/film-habits-inside-a-digital-file/ https://www.brandtasay.com/assets/images/journal/film-habits-inside-a-digital-file/establishing.webp The wide frame for this note: film habits inside a digital file, seen as a place rather than a detail. Brandt Asay in the brick sidewalk on North Boulevard, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/film-habits-inside-a-digital-file/detail.webp The working detail: a notebook and cypress siding, which is where the decision actually happens. Brandt Asay working with a notebook beside cypress siding at the brick sidewalk on North Boulevard https://www.brandtasay.com/assets/images/journal/film-habits-inside-a-digital-file/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at the brick sidewalk on North Boulevard https://www.brandtasay.com/journal/porches-as-stages/ https://www.brandtasay.com/assets/images/journal/porches-as-stages/establishing.webp The wide frame for this note: porches as stages, seen as a place rather than a detail. Brandt Asay in a Highland Road carport that wants to be a room, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/porches-as-stages/detail.webp The working detail: one prime lens and cream plaster, which is where the decision actually happens. Brandt Asay working with one prime lens beside cream plaster at a Highland Road carport that wants to be a room https://www.brandtasay.com/assets/images/journal/porches-as-stages/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at a Highland Road carport that wants to be a room https://www.brandtasay.com/journal/stair-rails-and-the-hand-that-uses-them/ https://www.brandtasay.com/assets/images/journal/stair-rails-and-the-hand-that-uses-them/establishing.webp The wide frame for this note: stair rails and the hand that uses them, seen as a place rather than a detail. Brandt Asay in a Drehr Place dining room at four o'clock, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/stair-rails-and-the-hand-that-uses-them/detail.webp The working detail: a gray card and old window glass, which is where the decision actually happens. Brandt Asay working with a gray card beside old window glass at a Drehr Place dining room at four o'clock https://www.brandtasay.com/assets/images/journal/stair-rails-and-the-hand-that-uses-them/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at a Drehr Place dining room at four o'clock https://www.brandtasay.com/journal/night-interiors-without-the-orange-cast/ https://www.brandtasay.com/assets/images/journal/night-interiors-without-the-orange-cast/establishing.webp The wide frame for this note: night interiors without the orange cast, seen as a place rather than a detail. Brandt Asay in an Old South Baton Rouge raised house, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/night-interiors-without-the-orange-cast/detail.webp The working detail: a 35mm lens and terracotta tile, which is where the decision actually happens. Brandt Asay working with a 35mm lens beside terracotta tile at an Old South Baton Rouge raised house https://www.brandtasay.com/assets/images/journal/night-interiors-without-the-orange-cast/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at an Old South Baton Rouge raised house https://www.brandtasay.com/journal/a-record-of-a-room-or-a-portrait-of-one/ https://www.brandtasay.com/assets/images/journal/a-record-of-a-room-or-a-portrait-of-one/establishing.webp The wide frame for this note: a record of a room, or a portrait of one, seen as a place rather than a detail. Brandt Asay in the boardwalk edge at Bluebonnet Swamp, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/a-record-of-a-room-or-a-portrait-of-one/detail.webp The working detail: a tripod set low and a linen curtain, which is where the decision actually happens. Brandt Asay working with a tripod set low beside a linen curtain at the boardwalk edge at Bluebonnet Swamp https://www.brandtasay.com/assets/images/journal/a-record-of-a-room-or-a-portrait-of-one/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at the boardwalk edge at Bluebonnet Swamp https://www.brandtasay.com/journal/cypress-weather-and-a-slow-shutter/ https://www.brandtasay.com/assets/images/journal/cypress-weather-and-a-slow-shutter/establishing.webp The wide frame for this note: cypress, weather, and a slow shutter, seen as a place rather than a detail. Brandt Asay in a Third Street doorway downtown, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/cypress-weather-and-a-slow-shutter/detail.webp The working detail: a handheld meter and oak floorboards, which is where the decision actually happens. Brandt Asay working with a handheld meter beside oak floorboards at a Third Street doorway downtown https://www.brandtasay.com/assets/images/journal/cypress-weather-and-a-slow-shutter/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at a Third Street doorway downtown https://www.brandtasay.com/journal/framing-a-door-so-the-next-room-stays-a-promise/ https://www.brandtasay.com/assets/images/journal/framing-a-door-so-the-next-room-stays-a-promise/establishing.webp The wide frame for this note: framing a door so the next room stays a promise, seen as a place rather than a detail. Brandt Asay in a Magnolia Mound outbuilding used as a test of shade, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/framing-a-door-so-the-next-room-stays-a-promise/detail.webp The working detail: a notebook and a slate hearth, which is where the decision actually happens. Brandt Asay working with a notebook beside a slate hearth at a Magnolia Mound outbuilding used as a test of shade https://www.brandtasay.com/assets/images/journal/framing-a-door-so-the-next-room-stays-a-promise/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at a Magnolia Mound outbuilding used as a test of shade https://www.brandtasay.com/journal/what-a-35mm-lens-does-to-a-parlor/ https://www.brandtasay.com/assets/images/journal/what-a-35mm-lens-does-to-a-parlor/establishing.webp The wide frame for this note: what a 35mm lens does to a parlor, seen as a place rather than a detail. Brandt Asay in a Perkins Road waiting room with one good window, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/what-a-35mm-lens-does-to-a-parlor/detail.webp The working detail: one prime lens and painted brick, which is where the decision actually happens. Brandt Asay working with one prime lens beside painted brick at a Perkins Road waiting room with one good window https://www.brandtasay.com/assets/images/journal/what-a-35mm-lens-does-to-a-parlor/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at a Perkins Road waiting room with one good window https://www.brandtasay.com/journal/tables-after-the-meal-is-cleared/ https://www.brandtasay.com/assets/images/journal/tables-after-the-meal-is-cleared/establishing.webp The wide frame for this note: tables after the meal is cleared, seen as a place rather than a detail. Brandt Asay in a Garden District stair that turns too early, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/tables-after-the-meal-is-cleared/detail.webp The working detail: a gray card and cypress siding, which is where the decision actually happens. Brandt Asay working with a gray card beside cypress siding at a Garden District stair that turns too early https://www.brandtasay.com/assets/images/journal/tables-after-the-meal-is-cleared/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at a Garden District stair that turns too early https://www.brandtasay.com/journal/light-through-shutters/ https://www.brandtasay.com/assets/images/journal/light-through-shutters/establishing.webp The wide frame for this note: light through shutters, seen as a place rather than a detail. Brandt Asay in a Southdowns bedroom under a ceiling fan, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/light-through-shutters/detail.webp The working detail: a 35mm lens and cream plaster, which is where the decision actually happens. Brandt Asay working with a 35mm lens beside cream plaster at a Southdowns bedroom under a ceiling fan https://www.brandtasay.com/assets/images/journal/light-through-shutters/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at a Southdowns bedroom under a ceiling fan https://www.brandtasay.com/journal/the-gray-of-louisiana-which-is-never-gray/ https://www.brandtasay.com/assets/images/journal/the-gray-of-louisiana-which-is-never-gray/establishing.webp The wide frame for this note: the gray of Louisiana, which is never gray, seen as a place rather than a detail. Brandt Asay in the river side of the USS Kidd levee, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/the-gray-of-louisiana-which-is-never-gray/detail.webp The working detail: a tripod set low and old window glass, which is where the decision actually happens. Brandt Asay working with a tripod set low beside old window glass at the river side of the USS Kidd levee https://www.brandtasay.com/assets/images/journal/the-gray-of-louisiana-which-is-never-gray/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at the river side of the USS Kidd levee https://www.brandtasay.com/journal/a-tripod-in-a-furnished-room/ https://www.brandtasay.com/assets/images/journal/a-tripod-in-a-furnished-room/establishing.webp The wide frame for this note: a tripod in a furnished room, seen as a place rather than a detail. Brandt Asay in a Spain Street enfilade of three rooms, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/a-tripod-in-a-furnished-room/detail.webp The working detail: a handheld meter and terracotta tile, which is where the decision actually happens. Brandt Asay working with a handheld meter beside terracotta tile at a Spain Street enfilade of three rooms https://www.brandtasay.com/assets/images/journal/a-tripod-in-a-furnished-room/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at a Spain Street enfilade of three rooms https://www.brandtasay.com/journal/standing-in-the-corner-you-are-not-supposed-to-notice/ https://www.brandtasay.com/assets/images/journal/standing-in-the-corner-you-are-not-supposed-to-notice/establishing.webp The wide frame for this note: standing in the corner you are not supposed to notice, seen as a place rather than a detail. Brandt Asay in a Beauregard Town kitchen borrowed from a closet window, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/standing-in-the-corner-you-are-not-supposed-to-notice/detail.webp The working detail: a notebook and a linen curtain, which is where the decision actually happens. Brandt Asay working with a notebook beside a linen curtain at a Beauregard Town kitchen borrowed from a closet window https://www.brandtasay.com/assets/images/journal/standing-in-the-corner-you-are-not-supposed-to-notice/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at a Beauregard Town kitchen borrowed from a closet window https://www.brandtasay.com/journal/reflections-in-old-glass/ https://www.brandtasay.com/assets/images/journal/reflections-in-old-glass/establishing.webp The wide frame for this note: reflections in old glass, seen as a place rather than a detail. Brandt Asay in an Ogden Park porch deep enough for two chairs, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/reflections-in-old-glass/detail.webp The working detail: one prime lens and oak floorboards, which is where the decision actually happens. Brandt Asay working with one prime lens beside oak floorboards at an Ogden Park porch deep enough for two chairs https://www.brandtasay.com/assets/images/journal/reflections-in-old-glass/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at an Ogden Park porch deep enough for two chairs https://www.brandtasay.com/journal/bookshelves-without-making-a-catalog/ https://www.brandtasay.com/assets/images/journal/bookshelves-without-making-a-catalog/establishing.webp The wide frame for this note: bookshelves without making a catalog, seen as a place rather than a detail. Brandt Asay in a Mid City gable seen from the side yard, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/bookshelves-without-making-a-catalog/detail.webp The working detail: a gray card and a slate hearth, which is where the decision actually happens. Brandt Asay working with a gray card beside a slate hearth at a Mid City gable seen from the side yard https://www.brandtasay.com/assets/images/journal/bookshelves-without-making-a-catalog/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at a Mid City gable seen from the side yard https://www.brandtasay.com/journal/morning-fog-on-the-lsu-lakes/ https://www.brandtasay.com/assets/images/journal/morning-fog-on-the-lsu-lakes/establishing.webp The wide frame for this note: morning fog on the LSU lakes, seen as a place rather than a detail. Brandt Asay in a Government Street drafting table by the front glass, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/morning-fog-on-the-lsu-lakes/detail.webp The working detail: a 35mm lens and painted brick, which is where the decision actually happens. Brandt Asay working with a 35mm lens beside painted brick at a Government Street drafting table by the front glass https://www.brandtasay.com/assets/images/journal/morning-fog-on-the-lsu-lakes/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at a Government Street drafting table by the front glass https://www.brandtasay.com/journal/the-horizon-in-a-flat-city/ https://www.brandtasay.com/assets/images/journal/the-horizon-in-a-flat-city/establishing.webp The wide frame for this note: the horizon in a flat city, seen as a place rather than a detail. Brandt Asay in the Capitol steps when the stone is still warm, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/the-horizon-in-a-flat-city/detail.webp The working detail: a tripod set low and cypress siding, which is where the decision actually happens. Brandt Asay working with a tripod set low beside cypress siding at the Capitol steps when the stone is still warm https://www.brandtasay.com/assets/images/journal/the-horizon-in-a-flat-city/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at the Capitol steps when the stone is still warm https://www.brandtasay.com/journal/hands-in-the-frame/ https://www.brandtasay.com/assets/images/journal/hands-in-the-frame/establishing.webp The wide frame for this note: hands in the frame, seen as a place rather than a detail. Brandt Asay in a Highland oak alley in February, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/hands-in-the-frame/detail.webp The working detail: a handheld meter and cream plaster, which is where the decision actually happens. Brandt Asay working with a handheld meter beside cream plaster at a Highland oak alley in February https://www.brandtasay.com/assets/images/journal/hands-in-the-frame/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at a Highland oak alley in February https://www.brandtasay.com/journal/plaster-cracks-as-material-not-damage/ https://www.brandtasay.com/assets/images/journal/plaster-cracks-as-material-not-damage/establishing.webp The wide frame for this note: plaster cracks as material, not damage, seen as a place rather than a detail. Brandt Asay in a Spanish Town side gallery, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/plaster-cracks-as-material-not-damage/detail.webp The working detail: a notebook and old window glass, which is where the decision actually happens. Brandt Asay working with a notebook beside old window glass at a Spanish Town side gallery https://www.brandtasay.com/assets/images/journal/plaster-cracks-as-material-not-damage/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at a Spanish Town side gallery https://www.brandtasay.com/journal/white-balance-for-cream-walls/ https://www.brandtasay.com/assets/images/journal/white-balance-for-cream-walls/establishing.webp The wide frame for this note: white balance for cream walls, seen as a place rather than a detail. Brandt Asay in a Bocage breakfast room with east light, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/white-balance-for-cream-walls/detail.webp The working detail: one prime lens and terracotta tile, which is where the decision actually happens. Brandt Asay working with one prime lens beside terracotta tile at a Bocage breakfast room with east light https://www.brandtasay.com/assets/images/journal/white-balance-for-cream-walls/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at a Bocage breakfast room with east light https://www.brandtasay.com/journal/the-long-walk-around-a-house-before-the-first-frame/ https://www.brandtasay.com/assets/images/journal/the-long-walk-around-a-house-before-the-first-frame/establishing.webp The wide frame for this note: the long walk around a house before the first frame, seen as a place rather than a detail. Brandt Asay in a City Park live oak used as a ceiling, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/the-long-walk-around-a-house-before-the-first-frame/detail.webp The working detail: a gray card and a linen curtain, which is where the decision actually happens. Brandt Asay working with a gray card beside a linen curtain at a City Park live oak used as a ceiling https://www.brandtasay.com/assets/images/journal/the-long-walk-around-a-house-before-the-first-frame/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at a City Park live oak used as a ceiling https://www.brandtasay.com/journal/a-gallery-wall-where-the-art-stays-primary/ https://www.brandtasay.com/assets/images/journal/a-gallery-wall-where-the-art-stays-primary/establishing.webp The wide frame for this note: a gallery wall where the art stays primary, seen as a place rather than a detail. Brandt Asay in a North Boulevard office with a transom, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/a-gallery-wall-where-the-art-stays-primary/detail.webp The working detail: a 35mm lens and oak floorboards, which is where the decision actually happens. Brandt Asay working with a 35mm lens beside oak floorboards at a North Boulevard office with a transom https://www.brandtasay.com/assets/images/journal/a-gallery-wall-where-the-art-stays-primary/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at a North Boulevard office with a transom https://www.brandtasay.com/journal/overhead-fans-and-the-motion-you-should-not-freeze/ https://www.brandtasay.com/assets/images/journal/overhead-fans-and-the-motion-you-should-not-freeze/establishing.webp The wide frame for this note: overhead fans and the motion you should not freeze, seen as a place rather than a detail. Brandt Asay in a Drehr Place guest room cleared to the bed, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/overhead-fans-and-the-motion-you-should-not-freeze/detail.webp The working detail: a tripod set low and a slate hearth, which is where the decision actually happens. Brandt Asay working with a tripod set low beside a slate hearth at a Drehr Place guest room cleared to the bed https://www.brandtasay.com/assets/images/journal/overhead-fans-and-the-motion-you-should-not-freeze/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at a Drehr Place guest room cleared to the bed https://www.brandtasay.com/journal/north-light-on-a-gulf-latitude/ https://www.brandtasay.com/assets/images/journal/north-light-on-a-gulf-latitude/establishing.webp The wide frame for this note: north light on a Gulf latitude, seen as a place rather than a detail. Brandt Asay in an Old South porch screened but not closed, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/north-light-on-a-gulf-latitude/detail.webp The working detail: a handheld meter and painted brick, which is where the decision actually happens. Brandt Asay working with a handheld meter beside painted brick at an Old South porch screened but not closed https://www.brandtasay.com/assets/images/journal/north-light-on-a-gulf-latitude/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at an Old South porch screened but not closed https://www.brandtasay.com/journal/tile-floors-and-the-grid-they-insist-on/ https://www.brandtasay.com/assets/images/journal/tile-floors-and-the-grid-they-insist-on/establishing.webp The wide frame for this note: tile floors and the grid they insist on, seen as a place rather than a detail. Brandt Asay in a swamp-edge cabin porch used as a light study, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/tile-floors-and-the-grid-they-insist-on/detail.webp The working detail: a notebook and cypress siding, which is where the decision actually happens. Brandt Asay working with a notebook beside cypress siding at a swamp-edge cabin porch used as a light study https://www.brandtasay.com/assets/images/journal/tile-floors-and-the-grid-they-insist-on/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at a swamp-edge cabin porch used as a light study https://www.brandtasay.com/journal/after-a-storm-before-the-yard-is-cleaned/ https://www.brandtasay.com/assets/images/journal/after-a-storm-before-the-yard-is-cleaned/establishing.webp The wide frame for this note: after a storm, before the yard is cleaned, seen as a place rather than a detail. Brandt Asay in a downtown loft corner with a factory window, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/after-a-storm-before-the-yard-is-cleaned/detail.webp The working detail: one prime lens and cream plaster, which is where the decision actually happens. Brandt Asay working with one prime lens beside cream plaster at a downtown loft corner with a factory window https://www.brandtasay.com/assets/images/journal/after-a-storm-before-the-yard-is-cleaned/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at a downtown loft corner with a factory window https://www.brandtasay.com/journal/the-camera-height-that-flatters-a-dining-room/ https://www.brandtasay.com/assets/images/journal/the-camera-height-that-flatters-a-dining-room/establishing.webp The wide frame for this note: the camera height that flatters a dining room, seen as a place rather than a detail. Brandt Asay in a Garden District porch on Drehr Place, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/the-camera-height-that-flatters-a-dining-room/detail.webp The working detail: a gray card and old window glass, which is where the decision actually happens. Brandt Asay working with a gray card beside old window glass at a Garden District porch on Drehr Place https://www.brandtasay.com/assets/images/journal/the-camera-height-that-flatters-a-dining-room/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at a Garden District porch on Drehr Place https://www.brandtasay.com/journal/a-fireplace-that-is-never-lit/ https://www.brandtasay.com/assets/images/journal/a-fireplace-that-is-never-lit/establishing.webp The wide frame for this note: a fireplace that is never lit, seen as a place rather than a detail. Brandt Asay in a shotgun on Spain Street, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/a-fireplace-that-is-never-lit/detail.webp The working detail: a 35mm lens and terracotta tile, which is where the decision actually happens. Brandt Asay working with a 35mm lens beside terracotta tile at a shotgun on Spain Street https://www.brandtasay.com/assets/images/journal/a-fireplace-that-is-never-lit/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at a shotgun on Spain Street https://www.brandtasay.com/journal/color-in-the-shade-of-a-camellia/ https://www.brandtasay.com/assets/images/journal/color-in-the-shade-of-a-camellia/establishing.webp The wide frame for this note: color in the shade of a camellia, seen as a place rather than a detail. Brandt Asay in the levee path above the Mississippi, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/color-in-the-shade-of-a-camellia/detail.webp The working detail: a tripod set low and a linen curtain, which is where the decision actually happens. Brandt Asay working with a tripod set low beside a linen curtain at the levee path above the Mississippi https://www.brandtasay.com/assets/images/journal/color-in-the-shade-of-a-camellia/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at the levee path above the Mississippi https://www.brandtasay.com/journal/when-the-best-photograph-is-the-plan/ https://www.brandtasay.com/assets/images/journal/when-the-best-photograph-is-the-plan/establishing.webp The wide frame for this note: when the best photograph is the plan, seen as a place rather than a detail. Brandt Asay in a Southdowns kitchen that faces the yard, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/when-the-best-photograph-is-the-plan/detail.webp The working detail: a handheld meter and oak floorboards, which is where the decision actually happens. Brandt Asay working with a handheld meter beside oak floorboards at a Southdowns kitchen that faces the yard https://www.brandtasay.com/assets/images/journal/when-the-best-photograph-is-the-plan/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at a Southdowns kitchen that faces the yard https://www.brandtasay.com/journal/a-notebook-page-beside-a-contact-sheet/ https://www.brandtasay.com/assets/images/journal/a-notebook-page-beside-a-contact-sheet/establishing.webp The wide frame for this note: a notebook page beside a contact sheet, seen as a place rather than a detail. Brandt Asay in the State Capitol terrace, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/a-notebook-page-beside-a-contact-sheet/detail.webp The working detail: a notebook and a slate hearth, which is where the decision actually happens. Brandt Asay working with a notebook beside a slate hearth at the State Capitol terrace https://www.brandtasay.com/assets/images/journal/a-notebook-page-beside-a-contact-sheet/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at the State Capitol terrace https://www.brandtasay.com/journal/thresholds-and-the-one-step-up-into-the-house/ https://www.brandtasay.com/assets/images/journal/thresholds-and-the-one-step-up-into-the-house/establishing.webp The wide frame for this note: thresholds and the one step up into the house, seen as a place rather than a detail. Brandt Asay in a raised cottage in Beauregard Town, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/thresholds-and-the-one-step-up-into-the-house/detail.webp The working detail: one prime lens and painted brick, which is where the decision actually happens. Brandt Asay working with one prime lens beside painted brick at a raised cottage in Beauregard Town https://www.brandtasay.com/assets/images/journal/thresholds-and-the-one-step-up-into-the-house/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at a raised cottage in Beauregard Town https://www.brandtasay.com/journal/exposing-a-porch-that-opens-into-a-dark-hall/ https://www.brandtasay.com/assets/images/journal/exposing-a-porch-that-opens-into-a-dark-hall/establishing.webp The wide frame for this note: exposing a porch that opens into a dark hall, seen as a place rather than a detail. Brandt Asay in a bungalow hall in Ogden Park, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/exposing-a-porch-that-opens-into-a-dark-hall/detail.webp The working detail: a gray card and cypress siding, which is where the decision actually happens. Brandt Asay working with a gray card beside cypress siding at a bungalow hall in Ogden Park https://www.brandtasay.com/assets/images/journal/exposing-a-porch-that-opens-into-a-dark-hall/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at a bungalow hall in Ogden Park https://www.brandtasay.com/journal/the-sound-of-a-shutter-in-an-occupied-house/ https://www.brandtasay.com/assets/images/journal/the-sound-of-a-shutter-in-an-occupied-house/establishing.webp The wide frame for this note: the sound of a shutter in an occupied house, seen as a place rather than a detail. Brandt Asay in the live-oak shade along Highland Road, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/the-sound-of-a-shutter-in-an-occupied-house/detail.webp The working detail: a 35mm lens and cream plaster, which is where the decision actually happens. Brandt Asay working with a 35mm lens beside cream plaster at the live-oak shade along Highland Road https://www.brandtasay.com/assets/images/journal/the-sound-of-a-shutter-in-an-occupied-house/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at the live-oak shade along Highland Road https://www.brandtasay.com/journal/editing-toward-the-room-you-remember/ https://www.brandtasay.com/assets/images/journal/editing-toward-the-room-you-remember/establishing.webp The wide frame for this note: editing toward the room you remember, seen as a place rather than a detail. Brandt Asay in a Mid City side yard, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/editing-toward-the-room-you-remember/detail.webp The working detail: a tripod set low and old window glass, which is where the decision actually happens. Brandt Asay working with a tripod set low beside old window glass at a Mid City side yard https://www.brandtasay.com/assets/images/journal/editing-toward-the-room-you-remember/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at a Mid City side yard https://www.brandtasay.com/journal/a-year-of-the-same-window/ https://www.brandtasay.com/assets/images/journal/a-year-of-the-same-window/establishing.webp The wide frame for this note: a year of the same window, seen as a place rather than a detail. Brandt Asay in a Government Street studio above a shop, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/a-year-of-the-same-window/detail.webp The working detail: a handheld meter and terracotta tile, which is where the decision actually happens. Brandt Asay working with a handheld meter beside terracotta tile at a Government Street studio above a shop https://www.brandtasay.com/assets/images/journal/a-year-of-the-same-window/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at a Government Street studio above a shop https://www.brandtasay.com/journal/how-a-roof-pitch-talks-to-the-street/ https://www.brandtasay.com/assets/images/journal/how-a-roof-pitch-talks-to-the-street/establishing.webp The wide frame for this note: how a roof pitch talks to the street, seen as a place rather than a detail. Brandt Asay in the lakes at LSU just after a rain, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/how-a-roof-pitch-talks-to-the-street/detail.webp The working detail: a pencil and a roll of trace and brick piers, which is where the decision actually happens. Brandt Asay working with a pencil and a roll of trace beside brick piers at the lakes at LSU just after a rain https://www.brandtasay.com/assets/images/journal/how-a-roof-pitch-talks-to-the-street/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at the lakes at LSU just after a rain https://www.brandtasay.com/journal/the-side-yard-the-survey-forgot/ https://www.brandtasay.com/assets/images/journal/the-side-yard-the-survey-forgot/establishing.webp The wide frame for this note: the side yard the survey forgot, seen as a place rather than a detail. Brandt Asay in a Spanish Town parlor with the shutters half closed, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/the-side-yard-the-survey-forgot/detail.webp The working detail: a tape measure and a wood sill, which is where the decision actually happens. Brandt Asay working with a tape measure beside a wood sill at a Spanish Town parlor with the shutters half closed https://www.brandtasay.com/assets/images/journal/the-side-yard-the-survey-forgot/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at a Spanish Town parlor with the shutters half closed https://www.brandtasay.com/journal/additions-that-do-not-apologize/ https://www.brandtasay.com/assets/images/journal/additions-that-do-not-apologize/establishing.webp The wide frame for this note: additions that do not apologize, seen as a place rather than a detail. Brandt Asay in a Bocage addition that still shows the old sill, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/additions-that-do-not-apologize/detail.webp The working detail: a section sketch and cement plaster, which is where the decision actually happens. Brandt Asay working with a section sketch beside cement plaster at a Bocage addition that still shows the old sill https://www.brandtasay.com/assets/images/journal/additions-that-do-not-apologize/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at a Bocage addition that still shows the old sill https://www.brandtasay.com/journal/windows-that-look-at-a-wall/ https://www.brandtasay.com/assets/images/journal/windows-that-look-at-a-wall/establishing.webp The wide frame for this note: windows that look at a wall, seen as a place rather than a detail. Brandt Asay in a City Park picnic porch used as a client table, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/windows-that-look-at-a-wall/detail.webp The working detail: a door swing drawn in plan and standing-seam metal, which is where the decision actually happens. Brandt Asay working with a door swing drawn in plan beside standing-seam metal at a City Park picnic porch used as a client table https://www.brandtasay.com/assets/images/journal/windows-that-look-at-a-wall/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at a City Park picnic porch used as a client table https://www.brandtasay.com/journal/the-scale-of-a-public-room/ https://www.brandtasay.com/assets/images/journal/the-scale-of-a-public-room/establishing.webp The wide frame for this note: the scale of a public room, seen as a place rather than a detail. Brandt Asay in the brick sidewalk on North Boulevard, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/the-scale-of-a-public-room/detail.webp The working detail: a scale figure and cypress eaves, which is where the decision actually happens. Brandt Asay working with a scale figure beside cypress eaves at the brick sidewalk on North Boulevard https://www.brandtasay.com/assets/images/journal/the-scale-of-a-public-room/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at the brick sidewalk on North Boulevard https://www.brandtasay.com/journal/brick-piers-and-the-modern-slab/ https://www.brandtasay.com/assets/images/journal/brick-piers-and-the-modern-slab/establishing.webp The wide frame for this note: brick piers and the modern slab, seen as a place rather than a detail. Brandt Asay in a Highland Road carport that wants to be a room, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/brick-piers-and-the-modern-slab/detail.webp The working detail: a site photo pinned to the trace and a screened panel, which is where the decision actually happens. Brandt Asay working with a site photo pinned to the trace beside a screened panel at a Highland Road carport that wants to be a room https://www.brandtasay.com/assets/images/journal/brick-piers-and-the-modern-slab/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at a Highland Road carport that wants to be a room https://www.brandtasay.com/journal/a-plan-that-starts-from-the-light/ https://www.brandtasay.com/assets/images/journal/a-plan-that-starts-from-the-light/establishing.webp The wide frame for this note: a plan that starts from the light, seen as a place rather than a detail. Brandt Asay in a Drehr Place dining room at four o'clock, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/a-plan-that-starts-from-the-light/detail.webp The working detail: a pencil and a roll of trace and heart pine, which is where the decision actually happens. Brandt Asay working with a pencil and a roll of trace beside heart pine at a Drehr Place dining room at four o'clock https://www.brandtasay.com/assets/images/journal/a-plan-that-starts-from-the-light/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at a Drehr Place dining room at four o'clock https://www.brandtasay.com/journal/cross-ventilation-when-the-air-is-still/ https://www.brandtasay.com/assets/images/journal/cross-ventilation-when-the-air-is-still/establishing.webp The wide frame for this note: cross ventilation when the air is still, seen as a place rather than a detail. Brandt Asay in an Old South Baton Rouge raised house, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/cross-ventilation-when-the-air-is-still/detail.webp The working detail: a tape measure and a concrete porch slab, which is where the decision actually happens. Brandt Asay working with a tape measure beside a concrete porch slab at an Old South Baton Rouge raised house https://www.brandtasay.com/assets/images/journal/cross-ventilation-when-the-air-is-still/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at an Old South Baton Rouge raised house https://www.brandtasay.com/journal/the-door-swing-that-ruins-a-dining-room/ https://www.brandtasay.com/assets/images/journal/the-door-swing-that-ruins-a-dining-room/establishing.webp The wide frame for this note: the door swing that ruins a dining room, seen as a place rather than a detail. Brandt Asay in the boardwalk edge at Bluebonnet Swamp, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/the-door-swing-that-ruins-a-dining-room/detail.webp The working detail: a section sketch and brick piers, which is where the decision actually happens. Brandt Asay working with a section sketch beside brick piers at the boardwalk edge at Bluebonnet Swamp https://www.brandtasay.com/assets/images/journal/the-door-swing-that-ruins-a-dining-room/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at the boardwalk edge at Bluebonnet Swamp https://www.brandtasay.com/journal/eaves-shade-and-a-bigger-overhang/ https://www.brandtasay.com/assets/images/journal/eaves-shade-and-a-bigger-overhang/establishing.webp The wide frame for this note: eaves, shade, and a bigger overhang, seen as a place rather than a detail. Brandt Asay in a Third Street doorway downtown, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/eaves-shade-and-a-bigger-overhang/detail.webp The working detail: a door swing drawn in plan and a wood sill, which is where the decision actually happens. Brandt Asay working with a door swing drawn in plan beside a wood sill at a Third Street doorway downtown https://www.brandtasay.com/assets/images/journal/eaves-shade-and-a-bigger-overhang/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at a Third Street doorway downtown https://www.brandtasay.com/journal/lining-a-new-opening-up-with-an-old-window/ https://www.brandtasay.com/assets/images/journal/lining-a-new-opening-up-with-an-old-window/establishing.webp The wide frame for this note: lining a new opening up with an old window, seen as a place rather than a detail. Brandt Asay in a Magnolia Mound outbuilding used as a test of shade, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/lining-a-new-opening-up-with-an-old-window/detail.webp The working detail: a scale figure and cement plaster, which is where the decision actually happens. Brandt Asay working with a scale figure beside cement plaster at a Magnolia Mound outbuilding used as a test of shade https://www.brandtasay.com/assets/images/journal/lining-a-new-opening-up-with-an-old-window/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at a Magnolia Mound outbuilding used as a test of shade https://www.brandtasay.com/journal/the-fireplace-as-structure/ https://www.brandtasay.com/assets/images/journal/the-fireplace-as-structure/establishing.webp The wide frame for this note: the fireplace as structure, seen as a place rather than a detail. Brandt Asay in a Perkins Road waiting room with one good window, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/the-fireplace-as-structure/detail.webp The working detail: a site photo pinned to the trace and standing-seam metal, which is where the decision actually happens. Brandt Asay working with a site photo pinned to the trace beside standing-seam metal at a Perkins Road waiting room with one good window https://www.brandtasay.com/assets/images/journal/the-fireplace-as-structure/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at a Perkins Road waiting room with one good window https://www.brandtasay.com/journal/what-a-five-foot-side-setback-does/ https://www.brandtasay.com/assets/images/journal/what-a-five-foot-side-setback-does/establishing.webp The wide frame for this note: what a five-foot side setback does, seen as a place rather than a detail. Brandt Asay in a Garden District stair that turns too early, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/what-a-five-foot-side-setback-does/detail.webp The working detail: a pencil and a roll of trace and cypress eaves, which is where the decision actually happens. Brandt Asay working with a pencil and a roll of trace beside cypress eaves at a Garden District stair that turns too early https://www.brandtasay.com/assets/images/journal/what-a-five-foot-side-setback-does/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at a Garden District stair that turns too early https://www.brandtasay.com/journal/stairs-that-arrive-in-the-right-room/ https://www.brandtasay.com/assets/images/journal/stairs-that-arrive-in-the-right-room/establishing.webp The wide frame for this note: stairs that arrive in the right room, seen as a place rather than a detail. Brandt Asay in a Southdowns bedroom under a ceiling fan, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/stairs-that-arrive-in-the-right-room/detail.webp The working detail: a tape measure and a screened panel, which is where the decision actually happens. Brandt Asay working with a tape measure beside a screened panel at a Southdowns bedroom under a ceiling fan https://www.brandtasay.com/assets/images/journal/stairs-that-arrive-in-the-right-room/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at a Southdowns bedroom under a ceiling fan https://www.brandtasay.com/journal/a-studio-that-shares-a-wall-with-a-kitchen/ https://www.brandtasay.com/assets/images/journal/a-studio-that-shares-a-wall-with-a-kitchen/establishing.webp The wide frame for this note: a studio that shares a wall with a kitchen, seen as a place rather than a detail. Brandt Asay in the river side of the USS Kidd levee, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/a-studio-that-shares-a-wall-with-a-kitchen/detail.webp The working detail: a section sketch and heart pine, which is where the decision actually happens. Brandt Asay working with a section sketch beside heart pine at the river side of the USS Kidd levee https://www.brandtasay.com/assets/images/journal/a-studio-that-shares-a-wall-with-a-kitchen/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at the river side of the USS Kidd levee https://www.brandtasay.com/journal/drawing-at-the-table-before-the-screen/ https://www.brandtasay.com/assets/images/journal/drawing-at-the-table-before-the-screen/establishing.webp The wide frame for this note: drawing at the table before the screen, seen as a place rather than a detail. Brandt Asay in a Spain Street enfilade of three rooms, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/drawing-at-the-table-before-the-screen/detail.webp The working detail: a door swing drawn in plan and a concrete porch slab, which is where the decision actually happens. Brandt Asay working with a door swing drawn in plan beside a concrete porch slab at a Spain Street enfilade of three rooms https://www.brandtasay.com/assets/images/journal/drawing-at-the-table-before-the-screen/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at a Spain Street enfilade of three rooms https://www.brandtasay.com/journal/the-difference-between-a-hall-and-wasted-width/ https://www.brandtasay.com/assets/images/journal/the-difference-between-a-hall-and-wasted-width/establishing.webp The wide frame for this note: the difference between a hall and wasted width, seen as a place rather than a detail. Brandt Asay in a Beauregard Town kitchen borrowed from a closet window, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/the-difference-between-a-hall-and-wasted-width/detail.webp The working detail: a scale figure and brick piers, which is where the decision actually happens. Brandt Asay working with a scale figure beside brick piers at a Beauregard Town kitchen borrowed from a closet window https://www.brandtasay.com/assets/images/journal/the-difference-between-a-hall-and-wasted-width/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at a Beauregard Town kitchen borrowed from a closet window https://www.brandtasay.com/journal/clerestory-light-in-a-one-story-house/ https://www.brandtasay.com/assets/images/journal/clerestory-light-in-a-one-story-house/establishing.webp The wide frame for this note: clerestory light in a one-story house, seen as a place rather than a detail. Brandt Asay in an Ogden Park porch deep enough for two chairs, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/clerestory-light-in-a-one-story-house/detail.webp The working detail: a site photo pinned to the trace and a wood sill, which is where the decision actually happens. Brandt Asay working with a site photo pinned to the trace beside a wood sill at an Ogden Park porch deep enough for two chairs https://www.brandtasay.com/assets/images/journal/clerestory-light-in-a-one-story-house/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at an Ogden Park porch deep enough for two chairs https://www.brandtasay.com/journal/thickening-a-wall-so-a-window-can-sit-in-it/ https://www.brandtasay.com/assets/images/journal/thickening-a-wall-so-a-window-can-sit-in-it/establishing.webp The wide frame for this note: thickening a wall so a window can sit in it, seen as a place rather than a detail. Brandt Asay in a Mid City gable seen from the side yard, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/thickening-a-wall-so-a-window-can-sit-in-it/detail.webp The working detail: a pencil and a roll of trace and cement plaster, which is where the decision actually happens. Brandt Asay working with a pencil and a roll of trace beside cement plaster at a Mid City gable seen from the side yard https://www.brandtasay.com/assets/images/journal/thickening-a-wall-so-a-window-can-sit-in-it/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at a Mid City gable seen from the side yard https://www.brandtasay.com/journal/the-private-room-behind-a-garden-district-porch/ https://www.brandtasay.com/assets/images/journal/the-private-room-behind-a-garden-district-porch/establishing.webp The wide frame for this note: the private room behind a Garden District porch, seen as a place rather than a detail. Brandt Asay in a Government Street drafting table by the front glass, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/the-private-room-behind-a-garden-district-porch/detail.webp The working detail: a tape measure and standing-seam metal, which is where the decision actually happens. Brandt Asay working with a tape measure beside standing-seam metal at a Government Street drafting table by the front glass https://www.brandtasay.com/assets/images/journal/the-private-room-behind-a-garden-district-porch/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at a Government Street drafting table by the front glass https://www.brandtasay.com/journal/a-bathroom-that-borrows-a-closet-window/ https://www.brandtasay.com/assets/images/journal/a-bathroom-that-borrows-a-closet-window/establishing.webp The wide frame for this note: a bathroom that borrows a closet window, seen as a place rather than a detail. Brandt Asay in the Capitol steps when the stone is still warm, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/a-bathroom-that-borrows-a-closet-window/detail.webp The working detail: a section sketch and cypress eaves, which is where the decision actually happens. Brandt Asay working with a section sketch beside cypress eaves at the Capitol steps when the stone is still warm https://www.brandtasay.com/assets/images/journal/a-bathroom-that-borrows-a-closet-window/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at the Capitol steps when the stone is still warm https://www.brandtasay.com/journal/kitchens-that-face-the-yard/ https://www.brandtasay.com/assets/images/journal/kitchens-that-face-the-yard/establishing.webp The wide frame for this note: kitchens that face the yard, seen as a place rather than a detail. Brandt Asay in a Highland oak alley in February, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/kitchens-that-face-the-yard/detail.webp The working detail: a door swing drawn in plan and a screened panel, which is where the decision actually happens. Brandt Asay working with a door swing drawn in plan beside a screened panel at a Highland oak alley in February https://www.brandtasay.com/assets/images/journal/kitchens-that-face-the-yard/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at a Highland oak alley in February https://www.brandtasay.com/journal/the-mudroom-a-louisiana-house-needs/ https://www.brandtasay.com/assets/images/journal/the-mudroom-a-louisiana-house-needs/establishing.webp The wide frame for this note: the mudroom a Louisiana house needs, seen as a place rather than a detail. Brandt Asay in a Spanish Town side gallery, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/the-mudroom-a-louisiana-house-needs/detail.webp The working detail: a scale figure and heart pine, which is where the decision actually happens. Brandt Asay working with a scale figure beside heart pine at a Spanish Town side gallery https://www.brandtasay.com/assets/images/journal/the-mudroom-a-louisiana-house-needs/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at a Spanish Town side gallery https://www.brandtasay.com/journal/roof-overhangs-and-sideways-rain/ https://www.brandtasay.com/assets/images/journal/roof-overhangs-and-sideways-rain/establishing.webp The wide frame for this note: roof overhangs and sideways rain, seen as a place rather than a detail. Brandt Asay in a Bocage breakfast room with east light, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/roof-overhangs-and-sideways-rain/detail.webp The working detail: a site photo pinned to the trace and a concrete porch slab, which is where the decision actually happens. Brandt Asay working with a site photo pinned to the trace beside a concrete porch slab at a Bocage breakfast room with east light https://www.brandtasay.com/assets/images/journal/roof-overhangs-and-sideways-rain/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at a Bocage breakfast room with east light https://www.brandtasay.com/journal/one-long-view-that-makes-a-small-house-larger/ https://www.brandtasay.com/assets/images/journal/one-long-view-that-makes-a-small-house-larger/establishing.webp The wide frame for this note: one long view that makes a small house larger, seen as a place rather than a detail. Brandt Asay in a City Park live oak used as a ceiling, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/one-long-view-that-makes-a-small-house-larger/detail.webp The working detail: a pencil and a roll of trace and brick piers, which is where the decision actually happens. Brandt Asay working with a pencil and a roll of trace beside brick piers at a City Park live oak used as a ceiling https://www.brandtasay.com/assets/images/journal/one-long-view-that-makes-a-small-house-larger/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at a City Park live oak used as a ceiling https://www.brandtasay.com/journal/materials-that-can-take-humidity/ https://www.brandtasay.com/assets/images/journal/materials-that-can-take-humidity/establishing.webp The wide frame for this note: materials that can take humidity, seen as a place rather than a detail. Brandt Asay in a North Boulevard office with a transom, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/materials-that-can-take-humidity/detail.webp The working detail: a tape measure and a wood sill, which is where the decision actually happens. Brandt Asay working with a tape measure beside a wood sill at a North Boulevard office with a transom https://www.brandtasay.com/assets/images/journal/materials-that-can-take-humidity/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at a North Boulevard office with a transom https://www.brandtasay.com/journal/the-beauty-of-a-simple-gable/ https://www.brandtasay.com/assets/images/journal/the-beauty-of-a-simple-gable/establishing.webp The wide frame for this note: the beauty of a simple gable, seen as a place rather than a detail. Brandt Asay in a Drehr Place guest room cleared to the bed, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/the-beauty-of-a-simple-gable/detail.webp The working detail: a section sketch and cement plaster, which is where the decision actually happens. Brandt Asay working with a section sketch beside cement plaster at a Drehr Place guest room cleared to the bed https://www.brandtasay.com/assets/images/journal/the-beauty-of-a-simple-gable/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at a Drehr Place guest room cleared to the bed https://www.brandtasay.com/journal/how-to-end-a-hallway/ https://www.brandtasay.com/assets/images/journal/how-to-end-a-hallway/establishing.webp The wide frame for this note: how to end a hallway, seen as a place rather than a detail. Brandt Asay in an Old South porch screened but not closed, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/how-to-end-a-hallway/detail.webp The working detail: a door swing drawn in plan and standing-seam metal, which is where the decision actually happens. Brandt Asay working with a door swing drawn in plan beside standing-seam metal at an Old South porch screened but not closed https://www.brandtasay.com/assets/images/journal/how-to-end-a-hallway/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at an Old South porch screened but not closed https://www.brandtasay.com/journal/built-in-seats-the-plan-makes-inevitable/ https://www.brandtasay.com/assets/images/journal/built-in-seats-the-plan-makes-inevitable/establishing.webp The wide frame for this note: built-in seats the plan makes inevitable, seen as a place rather than a detail. Brandt Asay in a swamp-edge cabin porch used as a light study, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/built-in-seats-the-plan-makes-inevitable/detail.webp The working detail: a scale figure and cypress eaves, which is where the decision actually happens. Brandt Asay working with a scale figure beside cypress eaves at a swamp-edge cabin porch used as a light study https://www.brandtasay.com/assets/images/journal/built-in-seats-the-plan-makes-inevitable/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at a swamp-edge cabin porch used as a light study https://www.brandtasay.com/journal/a-carport-that-does-not-become-the-front/ https://www.brandtasay.com/assets/images/journal/a-carport-that-does-not-become-the-front/establishing.webp The wide frame for this note: a carport that does not become the front, seen as a place rather than a detail. Brandt Asay in a downtown loft corner with a factory window, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/a-carport-that-does-not-become-the-front/detail.webp The working detail: a site photo pinned to the trace and a screened panel, which is where the decision actually happens. Brandt Asay working with a site photo pinned to the trace beside a screened panel at a downtown loft corner with a factory window https://www.brandtasay.com/assets/images/journal/a-carport-that-does-not-become-the-front/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at a downtown loft corner with a factory window https://www.brandtasay.com/journal/renovating-a-1940-bungalow-without-erasing-the-plan/ https://www.brandtasay.com/assets/images/journal/renovating-a-1940-bungalow-without-erasing-the-plan/establishing.webp The wide frame for this note: renovating a 1940 bungalow without erasing the plan, seen as a place rather than a detail. Brandt Asay in a Garden District porch on Drehr Place, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/renovating-a-1940-bungalow-without-erasing-the-plan/detail.webp The working detail: a pencil and a roll of trace and heart pine, which is where the decision actually happens. Brandt Asay working with a pencil and a roll of trace beside heart pine at a Garden District porch on Drehr Place https://www.brandtasay.com/assets/images/journal/renovating-a-1940-bungalow-without-erasing-the-plan/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at a Garden District porch on Drehr Place https://www.brandtasay.com/journal/the-center-hall-and-the-rooms-that-deserve-it/ https://www.brandtasay.com/assets/images/journal/the-center-hall-and-the-rooms-that-deserve-it/establishing.webp The wide frame for this note: the center hall and the rooms that deserve it, seen as a place rather than a detail. Brandt Asay in a shotgun on Spain Street, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/the-center-hall-and-the-rooms-that-deserve-it/detail.webp The working detail: a tape measure and a concrete porch slab, which is where the decision actually happens. Brandt Asay working with a tape measure beside a concrete porch slab at a shotgun on Spain Street https://www.brandtasay.com/assets/images/journal/the-center-hall-and-the-rooms-that-deserve-it/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at a shotgun on Spain Street https://www.brandtasay.com/journal/proportions-before-finishes/ https://www.brandtasay.com/assets/images/journal/proportions-before-finishes/establishing.webp The wide frame for this note: proportions before finishes, seen as a place rather than a detail. Brandt Asay in the levee path above the Mississippi, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/proportions-before-finishes/detail.webp The working detail: a section sketch and brick piers, which is where the decision actually happens. Brandt Asay working with a section sketch beside brick piers at the levee path above the Mississippi https://www.brandtasay.com/assets/images/journal/proportions-before-finishes/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at the levee path above the Mississippi https://www.brandtasay.com/journal/what-an-open-plan-costs-a-house-here/ https://www.brandtasay.com/assets/images/journal/what-an-open-plan-costs-a-house-here/establishing.webp The wide frame for this note: what an open plan costs a house here, seen as a place rather than a detail. Brandt Asay in a Southdowns kitchen that faces the yard, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/what-an-open-plan-costs-a-house-here/detail.webp The working detail: a door swing drawn in plan and a wood sill, which is where the decision actually happens. Brandt Asay working with a door swing drawn in plan beside a wood sill at a Southdowns kitchen that faces the yard https://www.brandtasay.com/assets/images/journal/what-an-open-plan-costs-a-house-here/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at a Southdowns kitchen that faces the yard https://www.brandtasay.com/journal/a-courtyard-the-size-of-a-parking-space/ https://www.brandtasay.com/assets/images/journal/a-courtyard-the-size-of-a-parking-space/establishing.webp The wide frame for this note: a courtyard the size of a parking space, seen as a place rather than a detail. Brandt Asay in the State Capitol terrace, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/a-courtyard-the-size-of-a-parking-space/detail.webp The working detail: a scale figure and cement plaster, which is where the decision actually happens. Brandt Asay working with a scale figure beside cement plaster at the State Capitol terrace https://www.brandtasay.com/assets/images/journal/a-courtyard-the-size-of-a-parking-space/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at the State Capitol terrace https://www.brandtasay.com/journal/aligning-cabinet-tops-with-window-heads/ https://www.brandtasay.com/assets/images/journal/aligning-cabinet-tops-with-window-heads/establishing.webp The wide frame for this note: aligning cabinet tops with window heads, seen as a place rather than a detail. Brandt Asay in a raised cottage in Beauregard Town, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/aligning-cabinet-tops-with-window-heads/detail.webp The working detail: a site photo pinned to the trace and standing-seam metal, which is where the decision actually happens. Brandt Asay working with a site photo pinned to the trace beside standing-seam metal at a raised cottage in Beauregard Town https://www.brandtasay.com/assets/images/journal/aligning-cabinet-tops-with-window-heads/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at a raised cottage in Beauregard Town https://www.brandtasay.com/journal/the-quiet-work-of-a-good-sill-height/ https://www.brandtasay.com/assets/images/journal/the-quiet-work-of-a-good-sill-height/establishing.webp The wide frame for this note: the quiet work of a good sill height, seen as a place rather than a detail. Brandt Asay in a bungalow hall in Ogden Park, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/the-quiet-work-of-a-good-sill-height/detail.webp The working detail: a pencil and a roll of trace and cypress eaves, which is where the decision actually happens. Brandt Asay working with a pencil and a roll of trace beside cypress eaves at a bungalow hall in Ogden Park https://www.brandtasay.com/assets/images/journal/the-quiet-work-of-a-good-sill-height/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at a bungalow hall in Ogden Park https://www.brandtasay.com/journal/how-a-house-meets-the-sidewalk/ https://www.brandtasay.com/assets/images/journal/how-a-house-meets-the-sidewalk/establishing.webp The wide frame for this note: how a house meets the sidewalk, seen as a place rather than a detail. Brandt Asay in the live-oak shade along Highland Road, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/how-a-house-meets-the-sidewalk/detail.webp The working detail: a tape measure and a screened panel, which is where the decision actually happens. Brandt Asay working with a tape measure beside a screened panel at the live-oak shade along Highland Road https://www.brandtasay.com/assets/images/journal/how-a-house-meets-the-sidewalk/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at the live-oak shade along Highland Road https://www.brandtasay.com/journal/screening-a-porch-without-losing-the-street/ https://www.brandtasay.com/assets/images/journal/screening-a-porch-without-losing-the-street/establishing.webp The wide frame for this note: screening a porch without losing the street, seen as a place rather than a detail. Brandt Asay in a Mid City side yard, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/screening-a-porch-without-losing-the-street/detail.webp The working detail: a section sketch and heart pine, which is where the decision actually happens. Brandt Asay working with a section sketch beside heart pine at a Mid City side yard https://www.brandtasay.com/assets/images/journal/screening-a-porch-without-losing-the-street/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at a Mid City side yard https://www.brandtasay.com/journal/a-studio-shed-that-respects-the-main-roof/ https://www.brandtasay.com/assets/images/journal/a-studio-shed-that-respects-the-main-roof/establishing.webp The wide frame for this note: a studio shed that respects the main roof, seen as a place rather than a detail. Brandt Asay in a Government Street studio above a shop, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/a-studio-shed-that-respects-the-main-roof/detail.webp The working detail: a door swing drawn in plan and a concrete porch slab, which is where the decision actually happens. Brandt Asay working with a door swing drawn in plan beside a concrete porch slab at a Government Street studio above a shop https://www.brandtasay.com/assets/images/journal/a-studio-shed-that-respects-the-main-roof/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at a Government Street studio above a shop https://www.brandtasay.com/journal/drawing-the-furniture-before-the-walls/ https://www.brandtasay.com/assets/images/journal/drawing-the-furniture-before-the-walls/establishing.webp The wide frame for this note: drawing the furniture before the walls, seen as a place rather than a detail. Brandt Asay in the lakes at LSU just after a rain, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/drawing-the-furniture-before-the-walls/detail.webp The working detail: a scale figure and brick piers, which is where the decision actually happens. Brandt Asay working with a scale figure beside brick piers at the lakes at LSU just after a rain https://www.brandtasay.com/assets/images/journal/drawing-the-furniture-before-the-walls/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at the lakes at LSU just after a rain https://www.brandtasay.com/journal/the-room-that-should-stay-closed/ https://www.brandtasay.com/assets/images/journal/the-room-that-should-stay-closed/establishing.webp The wide frame for this note: the room that should stay closed, seen as a place rather than a detail. Brandt Asay in a Spanish Town parlor with the shutters half closed, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/the-room-that-should-stay-closed/detail.webp The working detail: a site photo pinned to the trace and a wood sill, which is where the decision actually happens. Brandt Asay working with a site photo pinned to the trace beside a wood sill at a Spanish Town parlor with the shutters half closed https://www.brandtasay.com/assets/images/journal/the-room-that-should-stay-closed/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at a Spanish Town parlor with the shutters half closed https://www.brandtasay.com/journal/wood-floors-and-the-thermal-mass-myth/ https://www.brandtasay.com/assets/images/journal/wood-floors-and-the-thermal-mass-myth/establishing.webp The wide frame for this note: wood floors and the thermal-mass myth, seen as a place rather than a detail. Brandt Asay in a Bocage addition that still shows the old sill, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/wood-floors-and-the-thermal-mass-myth/detail.webp The working detail: a pencil and a roll of trace and cement plaster, which is where the decision actually happens. Brandt Asay working with a pencil and a roll of trace beside cement plaster at a Bocage addition that still shows the old sill https://www.brandtasay.com/assets/images/journal/wood-floors-and-the-thermal-mass-myth/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at a Bocage addition that still shows the old sill https://www.brandtasay.com/journal/a-section-drawing-that-explains-the-porch/ https://www.brandtasay.com/assets/images/journal/a-section-drawing-that-explains-the-porch/establishing.webp The wide frame for this note: a section drawing that explains the porch, seen as a place rather than a detail. Brandt Asay in a City Park picnic porch used as a client table, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/a-section-drawing-that-explains-the-porch/detail.webp The working detail: a tape measure and standing-seam metal, which is where the decision actually happens. Brandt Asay working with a tape measure beside standing-seam metal at a City Park picnic porch used as a client table https://www.brandtasay.com/assets/images/journal/a-section-drawing-that-explains-the-porch/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at a City Park picnic porch used as a client table https://www.brandtasay.com/journal/leaving-one-window-for-the-tree/ https://www.brandtasay.com/assets/images/journal/leaving-one-window-for-the-tree/establishing.webp The wide frame for this note: leaving one window for the tree, seen as a place rather than a detail. Brandt Asay in the brick sidewalk on North Boulevard, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/leaving-one-window-for-the-tree/detail.webp The working detail: a section sketch and cypress eaves, which is where the decision actually happens. Brandt Asay working with a section sketch beside cypress eaves at the brick sidewalk on North Boulevard https://www.brandtasay.com/assets/images/journal/leaving-one-window-for-the-tree/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at the brick sidewalk on North Boulevard https://www.brandtasay.com/journal/books-as-architecture/ https://www.brandtasay.com/assets/images/journal/books-as-architecture/establishing.webp The wide frame for this note: books as architecture, seen as a place rather than a detail. Brandt Asay in a Highland Road carport that wants to be a room, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/books-as-architecture/detail.webp The working detail: a sample of the paint in the real light and limewashed plaster, which is where the decision actually happens. Brandt Asay working with a sample of the paint in the real light beside limewashed plaster at a Highland Road carport that wants to be a room https://www.brandtasay.com/assets/images/journal/books-as-architecture/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at a Highland Road carport that wants to be a room https://www.brandtasay.com/journal/the-lamp-that-does-the-evenings-work/ https://www.brandtasay.com/assets/images/journal/the-lamp-that-does-the-evenings-work/establishing.webp The wide frame for this note: the lamp that does the evening's work, seen as a place rather than a detail. Brandt Asay in a Drehr Place dining room at four o'clock, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/the-lamp-that-does-the-evenings-work/detail.webp The working detail: a paper template for the rug and a wool rug, which is where the decision actually happens. Brandt Asay working with a paper template for the rug beside a wool rug at a Drehr Place dining room at four o'clock https://www.brandtasay.com/assets/images/journal/the-lamp-that-does-the-evenings-work/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at a Drehr Place dining room at four o'clock https://www.brandtasay.com/journal/wood-tones-that-can-share-a-room/ https://www.brandtasay.com/assets/images/journal/wood-tones-that-can-share-a-room/establishing.webp The wide frame for this note: wood tones that can share a room, seen as a place rather than a detail. Brandt Asay in an Old South Baton Rouge raised house, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/wood-tones-that-can-share-a-room/detail.webp The working detail: one lamp, switched on at dusk and oak, which is where the decision actually happens. Brandt Asay working with one lamp, switched on at dusk beside oak at an Old South Baton Rouge raised house https://www.brandtasay.com/assets/images/journal/wood-tones-that-can-share-a-room/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at an Old South Baton Rouge raised house https://www.brandtasay.com/journal/a-bedroom-that-is-not-a-storage-unit/ https://www.brandtasay.com/assets/images/journal/a-bedroom-that-is-not-a-storage-unit/establishing.webp The wide frame for this note: a bedroom that is not a storage unit, seen as a place rather than a detail. Brandt Asay in the boardwalk edge at Bluebonnet Swamp, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/a-bedroom-that-is-not-a-storage-unit/detail.webp The working detail: a stack of frames leaned before hanging and linen, which is where the decision actually happens. Brandt Asay working with a stack of frames leaned before hanging beside linen at the boardwalk edge at Bluebonnet Swamp https://www.brandtasay.com/assets/images/journal/a-bedroom-that-is-not-a-storage-unit/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at the boardwalk edge at Bluebonnet Swamp https://www.brandtasay.com/journal/art-height-for-a-seated-person/ https://www.brandtasay.com/assets/images/journal/art-height-for-a-seated-person/establishing.webp The wide frame for this note: art height for a seated person, seen as a place rather than a detail. Brandt Asay in a Third Street doorway downtown, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/art-height-for-a-seated-person/detail.webp The working detail: a tape at the floor and glazed tile, which is where the decision actually happens. Brandt Asay working with a tape at the floor beside glazed tile at a Third Street doorway downtown https://www.brandtasay.com/assets/images/journal/art-height-for-a-seated-person/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at a Third Street doorway downtown https://www.brandtasay.com/journal/the-console-that-earns-the-entry/ https://www.brandtasay.com/assets/images/journal/the-console-that-earns-the-entry/establishing.webp The wide frame for this note: the console that earns the entry, seen as a place rather than a detail. Brandt Asay in a Magnolia Mound outbuilding used as a test of shade, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/the-console-that-earns-the-entry/detail.webp The working detail: a sample of the paint in the real light and an iron hardware set, which is where the decision actually happens. Brandt Asay working with a sample of the paint in the real light beside an iron hardware set at a Magnolia Mound outbuilding used as a test of shade https://www.brandtasay.com/assets/images/journal/the-console-that-earns-the-entry/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at a Magnolia Mound outbuilding used as a test of shade https://www.brandtasay.com/journal/plants-are-not-a-substitute-for-a-view/ https://www.brandtasay.com/assets/images/journal/plants-are-not-a-substitute-for-a-view/establishing.webp The wide frame for this note: plants are not a substitute for a view, seen as a place rather than a detail. Brandt Asay in a Perkins Road waiting room with one good window, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/plants-are-not-a-substitute-for-a-view/detail.webp The working detail: a paper template for the rug and a paper lampshade, which is where the decision actually happens. Brandt Asay working with a paper template for the rug beside a paper lampshade at a Perkins Road waiting room with one good window https://www.brandtasay.com/assets/images/journal/plants-are-not-a-substitute-for-a-view/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at a Perkins Road waiting room with one good window https://www.brandtasay.com/journal/tile-you-can-live-on/ https://www.brandtasay.com/assets/images/journal/tile-you-can-live-on/establishing.webp The wide frame for this note: tile you can live on, seen as a place rather than a detail. Brandt Asay in a Garden District stair that turns too early, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/tile-you-can-live-on/detail.webp The working detail: one lamp, switched on at dusk and a marble scrap used once, which is where the decision actually happens. Brandt Asay working with one lamp, switched on at dusk beside a marble scrap used once at a Garden District stair that turns too early https://www.brandtasay.com/assets/images/journal/tile-you-can-live-on/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at a Garden District stair that turns too early https://www.brandtasay.com/journal/a-sofa-the-room-can-afford-in-inches/ https://www.brandtasay.com/assets/images/journal/a-sofa-the-room-can-afford-in-inches/establishing.webp The wide frame for this note: a sofa the room can afford, in inches, seen as a place rather than a detail. Brandt Asay in a Southdowns bedroom under a ceiling fan, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/a-sofa-the-room-can-afford-in-inches/detail.webp The working detail: a stack of frames leaned before hanging and limewashed plaster, which is where the decision actually happens. Brandt Asay working with a stack of frames leaned before hanging beside limewashed plaster at a Southdowns bedroom under a ceiling fan https://www.brandtasay.com/assets/images/journal/a-sofa-the-room-can-afford-in-inches/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at a Southdowns bedroom under a ceiling fan https://www.brandtasay.com/journal/paint-colors-that-survive-afternoon-sun/ https://www.brandtasay.com/assets/images/journal/paint-colors-that-survive-afternoon-sun/establishing.webp The wide frame for this note: paint colors that survive afternoon sun, seen as a place rather than a detail. Brandt Asay in the river side of the USS Kidd levee, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/paint-colors-that-survive-afternoon-sun/detail.webp The working detail: a tape at the floor and a wool rug, which is where the decision actually happens. Brandt Asay working with a tape at the floor beside a wool rug at the river side of the USS Kidd levee https://www.brandtasay.com/assets/images/journal/paint-colors-that-survive-afternoon-sun/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at the river side of the USS Kidd levee https://www.brandtasay.com/journal/the-dining-table-as-the-houses-largest-tool/ https://www.brandtasay.com/assets/images/journal/the-dining-table-as-the-houses-largest-tool/establishing.webp The wide frame for this note: the dining table as the house's largest tool, seen as a place rather than a detail. Brandt Asay in a Spain Street enfilade of three rooms, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/the-dining-table-as-the-houses-largest-tool/detail.webp The working detail: a sample of the paint in the real light and oak, which is where the decision actually happens. Brandt Asay working with a sample of the paint in the real light beside oak at a Spain Street enfilade of three rooms https://www.brandtasay.com/assets/images/journal/the-dining-table-as-the-houses-largest-tool/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at a Spain Street enfilade of three rooms https://www.brandtasay.com/journal/shelves-that-stop-before-the-ceiling/ https://www.brandtasay.com/assets/images/journal/shelves-that-stop-before-the-ceiling/establishing.webp The wide frame for this note: shelves that stop before the ceiling, seen as a place rather than a detail. Brandt Asay in a Beauregard Town kitchen borrowed from a closet window, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/shelves-that-stop-before-the-ceiling/detail.webp The working detail: a paper template for the rug and linen, which is where the decision actually happens. Brandt Asay working with a paper template for the rug beside linen at a Beauregard Town kitchen borrowed from a closet window https://www.brandtasay.com/assets/images/journal/shelves-that-stop-before-the-ceiling/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at a Beauregard Town kitchen borrowed from a closet window https://www.brandtasay.com/journal/hardware-that-belongs-to-the-door/ https://www.brandtasay.com/assets/images/journal/hardware-that-belongs-to-the-door/establishing.webp The wide frame for this note: hardware that belongs to the door, seen as a place rather than a detail. Brandt Asay in an Ogden Park porch deep enough for two chairs, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/hardware-that-belongs-to-the-door/detail.webp The working detail: one lamp, switched on at dusk and glazed tile, which is where the decision actually happens. Brandt Asay working with one lamp, switched on at dusk beside glazed tile at an Ogden Park porch deep enough for two chairs https://www.brandtasay.com/assets/images/journal/hardware-that-belongs-to-the-door/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at an Ogden Park porch deep enough for two chairs https://www.brandtasay.com/journal/a-guest-room-that-is-ready-not-decorated/ https://www.brandtasay.com/assets/images/journal/a-guest-room-that-is-ready-not-decorated/establishing.webp The wide frame for this note: a guest room that is ready, not decorated, seen as a place rather than a detail. Brandt Asay in a Mid City gable seen from the side yard, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/a-guest-room-that-is-ready-not-decorated/detail.webp The working detail: a stack of frames leaned before hanging and an iron hardware set, which is where the decision actually happens. Brandt Asay working with a stack of frames leaned before hanging beside an iron hardware set at a Mid City gable seen from the side yard https://www.brandtasay.com/assets/images/journal/a-guest-room-that-is-ready-not-decorated/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at a Mid City gable seen from the side yard https://www.brandtasay.com/journal/old-frames-with-a-new-photograph/ https://www.brandtasay.com/assets/images/journal/old-frames-with-a-new-photograph/establishing.webp The wide frame for this note: old frames with a new photograph, seen as a place rather than a detail. Brandt Asay in a Government Street drafting table by the front glass, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/old-frames-with-a-new-photograph/detail.webp The working detail: a tape at the floor and a paper lampshade, which is where the decision actually happens. Brandt Asay working with a tape at the floor beside a paper lampshade at a Government Street drafting table by the front glass https://www.brandtasay.com/assets/images/journal/old-frames-with-a-new-photograph/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at a Government Street drafting table by the front glass https://www.brandtasay.com/journal/the-runner-that-makes-a-hall-a-place/ https://www.brandtasay.com/assets/images/journal/the-runner-that-makes-a-hall-a-place/establishing.webp The wide frame for this note: the runner that makes a hall a place, seen as a place rather than a detail. Brandt Asay in the Capitol steps when the stone is still warm, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/the-runner-that-makes-a-hall-a-place/detail.webp The working detail: a sample of the paint in the real light and a marble scrap used once, which is where the decision actually happens. Brandt Asay working with a sample of the paint in the real light beside a marble scrap used once at the Capitol steps when the stone is still warm https://www.brandtasay.com/assets/images/journal/the-runner-that-makes-a-hall-a-place/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at the Capitol steps when the stone is still warm https://www.brandtasay.com/journal/a-window-seat-cushion-that-was-not-an-afterthought/ https://www.brandtasay.com/assets/images/journal/a-window-seat-cushion-that-was-not-an-afterthought/establishing.webp The wide frame for this note: a window-seat cushion that was not an afterthought, seen as a place rather than a detail. Brandt Asay in a Highland oak alley in February, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/a-window-seat-cushion-that-was-not-an-afterthought/detail.webp The working detail: a paper template for the rug and limewashed plaster, which is where the decision actually happens. Brandt Asay working with a paper template for the rug beside limewashed plaster at a Highland oak alley in February https://www.brandtasay.com/assets/images/journal/a-window-seat-cushion-that-was-not-an-afterthought/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at a Highland oak alley in February https://www.brandtasay.com/journal/a-desk-that-should-not-face-the-wall/ https://www.brandtasay.com/assets/images/journal/a-desk-that-should-not-face-the-wall/establishing.webp The wide frame for this note: a desk that should not face the wall, seen as a place rather than a detail. Brandt Asay in a Spanish Town side gallery, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/a-desk-that-should-not-face-the-wall/detail.webp The working detail: one lamp, switched on at dusk and a wool rug, which is where the decision actually happens. Brandt Asay working with one lamp, switched on at dusk beside a wool rug at a Spanish Town side gallery https://www.brandtasay.com/assets/images/journal/a-desk-that-should-not-face-the-wall/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at a Spanish Town side gallery https://www.brandtasay.com/journal/linen-cotton-and-the-season-of-the-cloth/ https://www.brandtasay.com/assets/images/journal/linen-cotton-and-the-season-of-the-cloth/establishing.webp The wide frame for this note: linen, cotton, and the season of the cloth, seen as a place rather than a detail. Brandt Asay in a Bocage breakfast room with east light, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/linen-cotton-and-the-season-of-the-cloth/detail.webp The working detail: a stack of frames leaned before hanging and oak, which is where the decision actually happens. Brandt Asay working with a stack of frames leaned before hanging beside oak at a Bocage breakfast room with east light https://www.brandtasay.com/assets/images/journal/linen-cotton-and-the-season-of-the-cloth/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at a Bocage breakfast room with east light https://www.brandtasay.com/journal/the-coffee-table-that-is-low-enough/ https://www.brandtasay.com/assets/images/journal/the-coffee-table-that-is-low-enough/establishing.webp The wide frame for this note: the coffee table that is low enough, seen as a place rather than a detail. Brandt Asay in a City Park live oak used as a ceiling, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/the-coffee-table-that-is-low-enough/detail.webp The working detail: a tape at the floor and linen, which is where the decision actually happens. Brandt Asay working with a tape at the floor beside linen at a City Park live oak used as a ceiling https://www.brandtasay.com/assets/images/journal/the-coffee-table-that-is-low-enough/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at a City Park live oak used as a ceiling https://www.brandtasay.com/journal/the-back-of-the-cabinet-door/ https://www.brandtasay.com/assets/images/journal/the-back-of-the-cabinet-door/establishing.webp The wide frame for this note: the back of the cabinet door, seen as a place rather than a detail. Brandt Asay in a North Boulevard office with a transom, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/the-back-of-the-cabinet-door/detail.webp The working detail: a sample of the paint in the real light and glazed tile, which is where the decision actually happens. Brandt Asay working with a sample of the paint in the real light beside glazed tile at a North Boulevard office with a transom https://www.brandtasay.com/assets/images/journal/the-back-of-the-cabinet-door/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at a North Boulevard office with a transom https://www.brandtasay.com/journal/a-dark-ceiling-used-once/ https://www.brandtasay.com/assets/images/journal/a-dark-ceiling-used-once/establishing.webp The wide frame for this note: a dark ceiling, used once, seen as a place rather than a detail. Brandt Asay in a Drehr Place guest room cleared to the bed, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/a-dark-ceiling-used-once/detail.webp The working detail: a paper template for the rug and an iron hardware set, which is where the decision actually happens. Brandt Asay working with a paper template for the rug beside an iron hardware set at a Drehr Place guest room cleared to the bed https://www.brandtasay.com/assets/images/journal/a-dark-ceiling-used-once/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at a Drehr Place guest room cleared to the bed https://www.brandtasay.com/journal/mirrors-that-double-a-window-not-a-mess/ https://www.brandtasay.com/assets/images/journal/mirrors-that-double-a-window-not-a-mess/establishing.webp The wide frame for this note: mirrors that double a window, not a mess, seen as a place rather than a detail. Brandt Asay in an Old South porch screened but not closed, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/mirrors-that-double-a-window-not-a-mess/detail.webp The working detail: one lamp, switched on at dusk and a paper lampshade, which is where the decision actually happens. Brandt Asay working with one lamp, switched on at dusk beside a paper lampshade at an Old South porch screened but not closed https://www.brandtasay.com/assets/images/journal/mirrors-that-double-a-window-not-a-mess/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at an Old South porch screened but not closed https://www.brandtasay.com/journal/the-chair-nobody-sits-in/ https://www.brandtasay.com/assets/images/journal/the-chair-nobody-sits-in/establishing.webp The wide frame for this note: the chair nobody sits in, seen as a place rather than a detail. Brandt Asay in a swamp-edge cabin porch used as a light study, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/the-chair-nobody-sits-in/detail.webp The working detail: a stack of frames leaned before hanging and a marble scrap used once, which is where the decision actually happens. Brandt Asay working with a stack of frames leaned before hanging beside a marble scrap used once at a swamp-edge cabin porch used as a light study https://www.brandtasay.com/assets/images/journal/the-chair-nobody-sits-in/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at a swamp-edge cabin porch used as a light study https://www.brandtasay.com/journal/bedding-that-calms-a-small-room/ https://www.brandtasay.com/assets/images/journal/bedding-that-calms-a-small-room/establishing.webp The wide frame for this note: bedding that calms a small room, seen as a place rather than a detail. Brandt Asay in a downtown loft corner with a factory window, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/bedding-that-calms-a-small-room/detail.webp The working detail: a tape at the floor and limewashed plaster, which is where the decision actually happens. Brandt Asay working with a tape at the floor beside limewashed plaster at a downtown loft corner with a factory window https://www.brandtasay.com/assets/images/journal/bedding-that-calms-a-small-room/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at a downtown loft corner with a factory window https://www.brandtasay.com/journal/a-collection-edited-to-one-shelf/ https://www.brandtasay.com/assets/images/journal/a-collection-edited-to-one-shelf/establishing.webp The wide frame for this note: a collection edited to one shelf, seen as a place rather than a detail. Brandt Asay in a Garden District porch on Drehr Place, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/a-collection-edited-to-one-shelf/detail.webp The working detail: a sample of the paint in the real light and a wool rug, which is where the decision actually happens. Brandt Asay working with a sample of the paint in the real light beside a wool rug at a Garden District porch on Drehr Place https://www.brandtasay.com/assets/images/journal/a-collection-edited-to-one-shelf/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at a Garden District porch on Drehr Place https://www.brandtasay.com/journal/the-third-material-you-do-not-need/ https://www.brandtasay.com/assets/images/journal/the-third-material-you-do-not-need/establishing.webp The wide frame for this note: the third material you do not need, seen as a place rather than a detail. Brandt Asay in a shotgun on Spain Street, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/the-third-material-you-do-not-need/detail.webp The working detail: a paper template for the rug and oak, which is where the decision actually happens. Brandt Asay working with a paper template for the rug beside oak at a shotgun on Spain Street https://www.brandtasay.com/assets/images/journal/the-third-material-you-do-not-need/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at a shotgun on Spain Street https://www.brandtasay.com/journal/lighting-a-painting-without-a-gallery-track/ https://www.brandtasay.com/assets/images/journal/lighting-a-painting-without-a-gallery-track/establishing.webp The wide frame for this note: lighting a painting without a gallery track, seen as a place rather than a detail. Brandt Asay in the levee path above the Mississippi, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/lighting-a-painting-without-a-gallery-track/detail.webp The working detail: one lamp, switched on at dusk and linen, which is where the decision actually happens. Brandt Asay working with one lamp, switched on at dusk beside linen at the levee path above the Mississippi https://www.brandtasay.com/assets/images/journal/lighting-a-painting-without-a-gallery-track/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at the levee path above the Mississippi https://www.brandtasay.com/journal/the-mat-on-a-photograph/ https://www.brandtasay.com/assets/images/journal/the-mat-on-a-photograph/establishing.webp The wide frame for this note: the mat on a photograph, seen as a place rather than a detail. Brandt Asay in a Southdowns kitchen that faces the yard, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/the-mat-on-a-photograph/detail.webp The working detail: a stack of frames leaned before hanging and glazed tile, which is where the decision actually happens. Brandt Asay working with a stack of frames leaned before hanging beside glazed tile at a Southdowns kitchen that faces the yard https://www.brandtasay.com/assets/images/journal/the-mat-on-a-photograph/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at a Southdowns kitchen that faces the yard https://www.brandtasay.com/journal/a-house-that-still-looks-considered-with-children/ https://www.brandtasay.com/assets/images/journal/a-house-that-still-looks-considered-with-children/establishing.webp The wide frame for this note: a house that still looks considered with children, seen as a place rather than a detail. Brandt Asay in the State Capitol terrace, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/a-house-that-still-looks-considered-with-children/detail.webp The working detail: a tape at the floor and an iron hardware set, which is where the decision actually happens. Brandt Asay working with a tape at the floor beside an iron hardware set at the State Capitol terrace https://www.brandtasay.com/assets/images/journal/a-house-that-still-looks-considered-with-children/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at the State Capitol terrace https://www.brandtasay.com/journal/a-bar-cabinet-that-closes/ https://www.brandtasay.com/assets/images/journal/a-bar-cabinet-that-closes/establishing.webp The wide frame for this note: a bar cabinet that closes, seen as a place rather than a detail. Brandt Asay in a raised cottage in Beauregard Town, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/a-bar-cabinet-that-closes/detail.webp The working detail: a sample of the paint in the real light and a paper lampshade, which is where the decision actually happens. Brandt Asay working with a sample of the paint in the real light beside a paper lampshade at a raised cottage in Beauregard Town https://www.brandtasay.com/assets/images/journal/a-bar-cabinet-that-closes/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at a raised cottage in Beauregard Town https://www.brandtasay.com/journal/rugs-on-tile/ https://www.brandtasay.com/assets/images/journal/rugs-on-tile/establishing.webp The wide frame for this note: rugs on tile, seen as a place rather than a detail. Brandt Asay in a bungalow hall in Ogden Park, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/rugs-on-tile/detail.webp The working detail: a paper template for the rug and a marble scrap used once, which is where the decision actually happens. Brandt Asay working with a paper template for the rug beside a marble scrap used once at a bungalow hall in Ogden Park https://www.brandtasay.com/assets/images/journal/rugs-on-tile/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at a bungalow hall in Ogden Park https://www.brandtasay.com/journal/the-front-doors-color-seen-from-inside/ https://www.brandtasay.com/assets/images/journal/the-front-doors-color-seen-from-inside/establishing.webp The wide frame for this note: the front door's color, seen from inside, seen as a place rather than a detail. Brandt Asay in the live-oak shade along Highland Road, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/the-front-doors-color-seen-from-inside/detail.webp The working detail: one lamp, switched on at dusk and limewashed plaster, which is where the decision actually happens. Brandt Asay working with one lamp, switched on at dusk beside limewashed plaster at the live-oak shade along Highland Road https://www.brandtasay.com/assets/images/journal/the-front-doors-color-seen-from-inside/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at the live-oak shade along Highland Road https://www.brandtasay.com/journal/side-tables-with-a-job/ https://www.brandtasay.com/assets/images/journal/side-tables-with-a-job/establishing.webp The wide frame for this note: side tables with a job, seen as a place rather than a detail. Brandt Asay in a Mid City side yard, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/side-tables-with-a-job/detail.webp The working detail: a stack of frames leaned before hanging and a wool rug, which is where the decision actually happens. Brandt Asay working with a stack of frames leaned before hanging beside a wool rug at a Mid City side yard https://www.brandtasay.com/assets/images/journal/side-tables-with-a-job/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at a Mid City side yard https://www.brandtasay.com/journal/a-reading-corner-that-is-a-chair-and-a-lamp/ https://www.brandtasay.com/assets/images/journal/a-reading-corner-that-is-a-chair-and-a-lamp/establishing.webp The wide frame for this note: a reading corner that is a chair and a lamp, seen as a place rather than a detail. Brandt Asay in a Government Street studio above a shop, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/a-reading-corner-that-is-a-chair-and-a-lamp/detail.webp The working detail: a tape at the floor and oak, which is where the decision actually happens. Brandt Asay working with a tape at the floor beside oak at a Government Street studio above a shop https://www.brandtasay.com/assets/images/journal/a-reading-corner-that-is-a-chair-and-a-lamp/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at a Government Street studio above a shop https://www.brandtasay.com/journal/open-kitchen-shelves-and-the-limit/ https://www.brandtasay.com/assets/images/journal/open-kitchen-shelves-and-the-limit/establishing.webp The wide frame for this note: open kitchen shelves, and the limit, seen as a place rather than a detail. Brandt Asay in the lakes at LSU just after a rain, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/open-kitchen-shelves-and-the-limit/detail.webp The working detail: a sample of the paint in the real light and linen, which is where the decision actually happens. Brandt Asay working with a sample of the paint in the real light beside linen at the lakes at LSU just after a rain https://www.brandtasay.com/assets/images/journal/open-kitchen-shelves-and-the-limit/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at the lakes at LSU just after a rain https://www.brandtasay.com/journal/the-vase-that-is-empty-half-the-year/ https://www.brandtasay.com/assets/images/journal/the-vase-that-is-empty-half-the-year/establishing.webp The wide frame for this note: the vase that is empty half the year, seen as a place rather than a detail. Brandt Asay in a Spanish Town parlor with the shutters half closed, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/the-vase-that-is-empty-half-the-year/detail.webp The working detail: a paper template for the rug and glazed tile, which is where the decision actually happens. Brandt Asay working with a paper template for the rug beside glazed tile at a Spanish Town parlor with the shutters half closed https://www.brandtasay.com/assets/images/journal/the-vase-that-is-empty-half-the-year/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at a Spanish Town parlor with the shutters half closed https://www.brandtasay.com/journal/the-wall-a-headboard-needs/ https://www.brandtasay.com/assets/images/journal/the-wall-a-headboard-needs/establishing.webp The wide frame for this note: the wall a headboard needs, seen as a place rather than a detail. Brandt Asay in a Bocage addition that still shows the old sill, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/the-wall-a-headboard-needs/detail.webp The working detail: one lamp, switched on at dusk and an iron hardware set, which is where the decision actually happens. Brandt Asay working with one lamp, switched on at dusk beside an iron hardware set at a Bocage addition that still shows the old sill https://www.brandtasay.com/assets/images/journal/the-wall-a-headboard-needs/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at a Bocage addition that still shows the old sill https://www.brandtasay.com/journal/a-powder-room-with-one-good-idea/ https://www.brandtasay.com/assets/images/journal/a-powder-room-with-one-good-idea/establishing.webp The wide frame for this note: a powder room with one good idea, seen as a place rather than a detail. Brandt Asay in a City Park picnic porch used as a client table, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/a-powder-room-with-one-good-idea/detail.webp The working detail: a stack of frames leaned before hanging and a paper lampshade, which is where the decision actually happens. Brandt Asay working with a stack of frames leaned before hanging beside a paper lampshade at a City Park picnic porch used as a client table https://www.brandtasay.com/assets/images/journal/a-powder-room-with-one-good-idea/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at a City Park picnic porch used as a client table https://www.brandtasay.com/journal/table-linens-for-a-weeknight/ https://www.brandtasay.com/assets/images/journal/table-linens-for-a-weeknight/establishing.webp The wide frame for this note: table linens for a weeknight, seen as a place rather than a detail. Brandt Asay in the brick sidewalk on North Boulevard, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/table-linens-for-a-weeknight/detail.webp The working detail: a tape at the floor and a marble scrap used once, which is where the decision actually happens. Brandt Asay working with a tape at the floor beside a marble scrap used once at the brick sidewalk on North Boulevard https://www.brandtasay.com/assets/images/journal/table-linens-for-a-weeknight/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at the brick sidewalk on North Boulevard https://www.brandtasay.com/journal/the-wall-that-can-hold-a-television/ https://www.brandtasay.com/assets/images/journal/the-wall-that-can-hold-a-television/establishing.webp The wide frame for this note: the wall that can hold a television, seen as a place rather than a detail. Brandt Asay in a Highland Road carport that wants to be a room, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/the-wall-that-can-hold-a-television/detail.webp The working detail: a sample of the paint in the real light and limewashed plaster, which is where the decision actually happens. Brandt Asay working with a sample of the paint in the real light beside limewashed plaster at a Highland Road carport that wants to be a room https://www.brandtasay.com/assets/images/journal/the-wall-that-can-hold-a-television/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at a Highland Road carport that wants to be a room https://www.brandtasay.com/journal/mixing-metals-without-a-formula/ https://www.brandtasay.com/assets/images/journal/mixing-metals-without-a-formula/establishing.webp The wide frame for this note: mixing metals without a formula, seen as a place rather than a detail. Brandt Asay in a Drehr Place dining room at four o'clock, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/mixing-metals-without-a-formula/detail.webp The working detail: a paper template for the rug and a wool rug, which is where the decision actually happens. Brandt Asay working with a paper template for the rug beside a wool rug at a Drehr Place dining room at four o'clock https://www.brandtasay.com/assets/images/journal/mixing-metals-without-a-formula/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at a Drehr Place dining room at four o'clock https://www.brandtasay.com/journal/a-nursery-that-can-become-a-bedroom/ https://www.brandtasay.com/assets/images/journal/a-nursery-that-can-become-a-bedroom/establishing.webp The wide frame for this note: a nursery that can become a bedroom, seen as a place rather than a detail. Brandt Asay in an Old South Baton Rouge raised house, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/a-nursery-that-can-become-a-bedroom/detail.webp The working detail: one lamp, switched on at dusk and oak, which is where the decision actually happens. Brandt Asay working with one lamp, switched on at dusk beside oak at an Old South Baton Rouge raised house https://www.brandtasay.com/assets/images/journal/a-nursery-that-can-become-a-bedroom/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at an Old South Baton Rouge raised house https://www.brandtasay.com/journal/the-last-five-objects-to-leave-a-room/ https://www.brandtasay.com/assets/images/journal/the-last-five-objects-to-leave-a-room/establishing.webp The wide frame for this note: the last five objects to leave a room, seen as a place rather than a detail. Brandt Asay in the boardwalk edge at Bluebonnet Swamp, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/the-last-five-objects-to-leave-a-room/detail.webp The working detail: a stack of frames leaned before hanging and linen, which is where the decision actually happens. Brandt Asay working with a stack of frames leaned before hanging beside linen at the boardwalk edge at Bluebonnet Swamp https://www.brandtasay.com/assets/images/journal/the-last-five-objects-to-leave-a-room/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at the boardwalk edge at Bluebonnet Swamp https://www.brandtasay.com/journal/how-a-room-looks-at-seven-in-the-morning/ https://www.brandtasay.com/assets/images/journal/how-a-room-looks-at-seven-in-the-morning/establishing.webp The wide frame for this note: how a room looks at seven in the morning, seen as a place rather than a detail. Brandt Asay in a Third Street doorway downtown, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/how-a-room-looks-at-seven-in-the-morning/detail.webp The working detail: a tape at the floor and glazed tile, which is where the decision actually happens. Brandt Asay working with a tape at the floor beside glazed tile at a Third Street doorway downtown https://www.brandtasay.com/assets/images/journal/how-a-room-looks-at-seven-in-the-morning/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at a Third Street doorway downtown https://www.brandtasay.com/journal/a-desk-cleared-to-the-wood-once-a-week/ https://www.brandtasay.com/assets/images/journal/a-desk-cleared-to-the-wood-once-a-week/establishing.webp The wide frame for this note: a desk cleared to the wood once a week, seen as a place rather than a detail. Brandt Asay in a Magnolia Mound outbuilding used as a test of shade, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/a-desk-cleared-to-the-wood-once-a-week/detail.webp The working detail: a single tray and a maple drawer box, which is where the decision actually happens. Brandt Asay working with a single tray beside a maple drawer box at a Magnolia Mound outbuilding used as a test of shade https://www.brandtasay.com/assets/images/journal/a-desk-cleared-to-the-wood-once-a-week/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at a Magnolia Mound outbuilding used as a test of shade https://www.brandtasay.com/journal/what-belongs-on-a-nightstand/ https://www.brandtasay.com/assets/images/journal/what-belongs-on-a-nightstand/establishing.webp The wide frame for this note: what belongs on a nightstand, seen as a place rather than a detail. Brandt Asay in a Perkins Road waiting room with one good window, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/what-belongs-on-a-nightstand/detail.webp The working detail: a hook at hand height and a steel hook, which is where the decision actually happens. Brandt Asay working with a hook at hand height beside a steel hook at a Perkins Road waiting room with one good window https://www.brandtasay.com/assets/images/journal/what-belongs-on-a-nightstand/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at a Perkins Road waiting room with one good window https://www.brandtasay.com/journal/the-linen-closet-as-a-section-drawing/ https://www.brandtasay.com/assets/images/journal/the-linen-closet-as-a-section-drawing/establishing.webp The wide frame for this note: the linen closet as a section drawing, seen as a place rather than a detail. Brandt Asay in a Garden District stair that turns too early, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/the-linen-closet-as-a-section-drawing/detail.webp The working detail: a donation bag and a linen bin, which is where the decision actually happens. Brandt Asay working with a donation bag beside a linen bin at a Garden District stair that turns too early https://www.brandtasay.com/assets/images/journal/the-linen-closet-as-a-section-drawing/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at a Garden District stair that turns too early https://www.brandtasay.com/journal/a-house-that-is-not-a-hallway-of-shoes/ https://www.brandtasay.com/assets/images/journal/a-house-that-is-not-a-hallway-of-shoes/establishing.webp The wide frame for this note: a house that is not a hallway of shoes, seen as a place rather than a detail. Brandt Asay in a Southdowns bedroom under a ceiling fan, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/a-house-that-is-not-a-hallway-of-shoes/detail.webp The working detail: a timer set for ten minutes and a shallow tray, which is where the decision actually happens. Brandt Asay working with a timer set for ten minutes beside a shallow tray at a Southdowns bedroom under a ceiling fan https://www.brandtasay.com/assets/images/journal/a-house-that-is-not-a-hallway-of-shoes/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at a Southdowns bedroom under a ceiling fan https://www.brandtasay.com/journal/mail-the-same-day/ https://www.brandtasay.com/assets/images/journal/mail-the-same-day/establishing.webp The wide frame for this note: mail, the same day, seen as a place rather than a detail. Brandt Asay in the river side of the USS Kidd levee, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/mail-the-same-day/detail.webp The working detail: a pencil inventory and a labeled house file, which is where the decision actually happens. Brandt Asay working with a pencil inventory beside a labeled house file at the river side of the USS Kidd levee https://www.brandtasay.com/assets/images/journal/mail-the-same-day/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at the river side of the USS Kidd levee https://www.brandtasay.com/journal/a-pantry-you-can-read-from-the-door/ https://www.brandtasay.com/assets/images/journal/a-pantry-you-can-read-from-the-door/establishing.webp The wide frame for this note: a pantry you can read from the door, seen as a place rather than a detail. Brandt Asay in a Spain Street enfilade of three rooms, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/a-pantry-you-can-read-from-the-door/detail.webp The working detail: an empty box broken flat and a pegboard, which is where the decision actually happens. Brandt Asay working with an empty box broken flat beside a pegboard at a Spain Street enfilade of three rooms https://www.brandtasay.com/assets/images/journal/a-pantry-you-can-read-from-the-door/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at a Spain Street enfilade of three rooms https://www.brandtasay.com/journal/cables-and-the-box-they-disappear-into/ https://www.brandtasay.com/assets/images/journal/cables-and-the-box-they-disappear-into/establishing.webp The wide frame for this note: cables and the box they disappear into, seen as a place rather than a detail. Brandt Asay in a Beauregard Town kitchen borrowed from a closet window, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/cables-and-the-box-they-disappear-into/detail.webp The working detail: a single tray and a clear jar, which is where the decision actually happens. Brandt Asay working with a single tray beside a clear jar at a Beauregard Town kitchen borrowed from a closet window https://www.brandtasay.com/assets/images/journal/cables-and-the-box-they-disappear-into/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at a Beauregard Town kitchen borrowed from a closet window https://www.brandtasay.com/journal/the-junk-drawer-renamed-and-reduced/ https://www.brandtasay.com/assets/images/journal/the-junk-drawer-renamed-and-reduced/establishing.webp The wide frame for this note: the junk drawer, renamed and reduced, seen as a place rather than a detail. Brandt Asay in an Ogden Park porch deep enough for two chairs, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/the-junk-drawer-renamed-and-reduced/detail.webp The working detail: a hook at hand height and a canvas donation bag, which is where the decision actually happens. Brandt Asay working with a hook at hand height beside a canvas donation bag at an Ogden Park porch deep enough for two chairs https://www.brandtasay.com/assets/images/journal/the-junk-drawer-renamed-and-reduced/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at an Ogden Park porch deep enough for two chairs https://www.brandtasay.com/journal/books-you-will-read-and-the-others/ https://www.brandtasay.com/assets/images/journal/books-you-will-read-and-the-others/establishing.webp The wide frame for this note: books you will read, and the others, seen as a place rather than a detail. Brandt Asay in a Mid City gable seen from the side yard, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/books-you-will-read-and-the-others/detail.webp The working detail: a donation bag and a maple drawer box, which is where the decision actually happens. Brandt Asay working with a donation bag beside a maple drawer box at a Mid City gable seen from the side yard https://www.brandtasay.com/assets/images/journal/books-you-will-read-and-the-others/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at a Mid City gable seen from the side yard https://www.brandtasay.com/journal/a-calendar-that-is-not-an-app/ https://www.brandtasay.com/assets/images/journal/a-calendar-that-is-not-an-app/establishing.webp The wide frame for this note: a calendar that is not an app, seen as a place rather than a detail. Brandt Asay in a Government Street drafting table by the front glass, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/a-calendar-that-is-not-an-app/detail.webp The working detail: a timer set for ten minutes and a steel hook, which is where the decision actually happens. Brandt Asay working with a timer set for ten minutes beside a steel hook at a Government Street drafting table by the front glass https://www.brandtasay.com/assets/images/journal/a-calendar-that-is-not-an-app/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at a Government Street drafting table by the front glass https://www.brandtasay.com/journal/the-entry-closet/ https://www.brandtasay.com/assets/images/journal/the-entry-closet/establishing.webp The wide frame for this note: the entry closet, seen as a place rather than a detail. Brandt Asay in the Capitol steps when the stone is still warm, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/the-entry-closet/detail.webp The working detail: a pencil inventory and a linen bin, which is where the decision actually happens. Brandt Asay working with a pencil inventory beside a linen bin at the Capitol steps when the stone is still warm https://www.brandtasay.com/assets/images/journal/the-entry-closet/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at the Capitol steps when the stone is still warm https://www.brandtasay.com/journal/tools-on-a-peg-not-in-a-pile/ https://www.brandtasay.com/assets/images/journal/tools-on-a-peg-not-in-a-pile/establishing.webp The wide frame for this note: tools on a peg, not in a pile, seen as a place rather than a detail. Brandt Asay in a Highland oak alley in February, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/tools-on-a-peg-not-in-a-pile/detail.webp The working detail: an empty box broken flat and a shallow tray, which is where the decision actually happens. Brandt Asay working with an empty box broken flat beside a shallow tray at a Highland oak alley in February https://www.brandtasay.com/assets/images/journal/tools-on-a-peg-not-in-a-pile/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at a Highland oak alley in February https://www.brandtasay.com/journal/the-box-of-seasonal-clothes/ https://www.brandtasay.com/assets/images/journal/the-box-of-seasonal-clothes/establishing.webp The wide frame for this note: the box of seasonal clothes, seen as a place rather than a detail. Brandt Asay in a Spanish Town side gallery, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/the-box-of-seasonal-clothes/detail.webp The working detail: a single tray and a labeled house file, which is where the decision actually happens. Brandt Asay working with a single tray beside a labeled house file at a Spanish Town side gallery https://www.brandtasay.com/assets/images/journal/the-box-of-seasonal-clothes/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at a Spanish Town side gallery https://www.brandtasay.com/journal/a-refrigerator-that-is-a-plan/ https://www.brandtasay.com/assets/images/journal/a-refrigerator-that-is-a-plan/establishing.webp The wide frame for this note: a refrigerator that is a plan, seen as a place rather than a detail. Brandt Asay in a Bocage breakfast room with east light, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/a-refrigerator-that-is-a-plan/detail.webp The working detail: a hook at hand height and a pegboard, which is where the decision actually happens. Brandt Asay working with a hook at hand height beside a pegboard at a Bocage breakfast room with east light https://www.brandtasay.com/assets/images/journal/a-refrigerator-that-is-a-plan/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at a Bocage breakfast room with east light https://www.brandtasay.com/journal/the-table-after-dinner-reset/ https://www.brandtasay.com/assets/images/journal/the-table-after-dinner-reset/establishing.webp The wide frame for this note: the table after dinner, reset, seen as a place rather than a detail. Brandt Asay in a City Park live oak used as a ceiling, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/the-table-after-dinner-reset/detail.webp The working detail: a donation bag and a clear jar, which is where the decision actually happens. Brandt Asay working with a donation bag beside a clear jar at a City Park live oak used as a ceiling https://www.brandtasay.com/assets/images/journal/the-table-after-dinner-reset/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at a City Park live oak used as a ceiling https://www.brandtasay.com/journal/files-for-a-house/ https://www.brandtasay.com/assets/images/journal/files-for-a-house/establishing.webp The wide frame for this note: files for a house, seen as a place rather than a detail. Brandt Asay in a North Boulevard office with a transom, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/files-for-a-house/detail.webp The working detail: a timer set for ten minutes and a canvas donation bag, which is where the decision actually happens. Brandt Asay working with a timer set for ten minutes beside a canvas donation bag at a North Boulevard office with a transom https://www.brandtasay.com/assets/images/journal/files-for-a-house/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at a North Boulevard office with a transom https://www.brandtasay.com/journal/a-donation-bag-that-stays-by-the-door/ https://www.brandtasay.com/assets/images/journal/a-donation-bag-that-stays-by-the-door/establishing.webp The wide frame for this note: a donation bag that stays by the door, seen as a place rather than a detail. Brandt Asay in a Drehr Place guest room cleared to the bed, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/a-donation-bag-that-stays-by-the-door/detail.webp The working detail: a pencil inventory and a maple drawer box, which is where the decision actually happens. Brandt Asay working with a pencil inventory beside a maple drawer box at a Drehr Place guest room cleared to the bed https://www.brandtasay.com/assets/images/journal/a-donation-bag-that-stays-by-the-door/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at a Drehr Place guest room cleared to the bed https://www.brandtasay.com/journal/objects-allowed-to-live-on-the-counter/ https://www.brandtasay.com/assets/images/journal/objects-allowed-to-live-on-the-counter/establishing.webp The wide frame for this note: objects allowed to live on the counter, seen as a place rather than a detail. Brandt Asay in an Old South porch screened but not closed, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/objects-allowed-to-live-on-the-counter/detail.webp The working detail: an empty box broken flat and a steel hook, which is where the decision actually happens. Brandt Asay working with an empty box broken flat beside a steel hook at an Old South porch screened but not closed https://www.brandtasay.com/assets/images/journal/objects-allowed-to-live-on-the-counter/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at an Old South porch screened but not closed https://www.brandtasay.com/journal/the-bathroom-cabinet/ https://www.brandtasay.com/assets/images/journal/the-bathroom-cabinet/establishing.webp The wide frame for this note: the bathroom cabinet, seen as a place rather than a detail. Brandt Asay in a swamp-edge cabin porch used as a light study, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/the-bathroom-cabinet/detail.webp The working detail: a single tray and a linen bin, which is where the decision actually happens. Brandt Asay working with a single tray beside a linen bin at a swamp-edge cabin porch used as a light study https://www.brandtasay.com/assets/images/journal/the-bathroom-cabinet/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at a swamp-edge cabin porch used as a light study https://www.brandtasay.com/journal/childrens-art-kept-and-released/ https://www.brandtasay.com/assets/images/journal/childrens-art-kept-and-released/establishing.webp The wide frame for this note: children's art, kept and released, seen as a place rather than a detail. Brandt Asay in a downtown loft corner with a factory window, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/childrens-art-kept-and-released/detail.webp The working detail: a hook at hand height and a shallow tray, which is where the decision actually happens. Brandt Asay working with a hook at hand height beside a shallow tray at a downtown loft corner with a factory window https://www.brandtasay.com/assets/images/journal/childrens-art-kept-and-released/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at a downtown loft corner with a factory window https://www.brandtasay.com/journal/a-camera-bag-packed-the-same-way-every-time/ https://www.brandtasay.com/assets/images/journal/a-camera-bag-packed-the-same-way-every-time/establishing.webp The wide frame for this note: a camera bag packed the same way every time, seen as a place rather than a detail. Brandt Asay in a Garden District porch on Drehr Place, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/a-camera-bag-packed-the-same-way-every-time/detail.webp The working detail: a donation bag and a labeled house file, which is where the decision actually happens. Brandt Asay working with a donation bag beside a labeled house file at a Garden District porch on Drehr Place https://www.brandtasay.com/assets/images/journal/a-camera-bag-packed-the-same-way-every-time/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at a Garden District porch on Drehr Place https://www.brandtasay.com/journal/drawing-tools-in-one-tray/ https://www.brandtasay.com/assets/images/journal/drawing-tools-in-one-tray/establishing.webp The wide frame for this note: drawing tools in one tray, seen as a place rather than a detail. Brandt Asay in a shotgun on Spain Street, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/drawing-tools-in-one-tray/detail.webp The working detail: a timer set for ten minutes and a pegboard, which is where the decision actually happens. Brandt Asay working with a timer set for ten minutes beside a pegboard at a shotgun on Spain Street https://www.brandtasay.com/assets/images/journal/drawing-tools-in-one-tray/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at a shotgun on Spain Street https://www.brandtasay.com/journal/the-garage-that-is-not-a-second-attic/ https://www.brandtasay.com/assets/images/journal/the-garage-that-is-not-a-second-attic/establishing.webp The wide frame for this note: the garage that is not a second attic, seen as a place rather than a detail. Brandt Asay in the levee path above the Mississippi, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/the-garage-that-is-not-a-second-attic/detail.webp The working detail: a pencil inventory and a clear jar, which is where the decision actually happens. Brandt Asay working with a pencil inventory beside a clear jar at the levee path above the Mississippi https://www.brandtasay.com/assets/images/journal/the-garage-that-is-not-a-second-attic/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at the levee path above the Mississippi https://www.brandtasay.com/journal/a-hook-at-the-height-of-your-hand/ https://www.brandtasay.com/assets/images/journal/a-hook-at-the-height-of-your-hand/establishing.webp The wide frame for this note: a hook at the height of your hand, seen as a place rather than a detail. Brandt Asay in a Southdowns kitchen that faces the yard, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/a-hook-at-the-height-of-your-hand/detail.webp The working detail: an empty box broken flat and a canvas donation bag, which is where the decision actually happens. Brandt Asay working with an empty box broken flat beside a canvas donation bag at a Southdowns kitchen that faces the yard https://www.brandtasay.com/assets/images/journal/a-hook-at-the-height-of-your-hand/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at a Southdowns kitchen that faces the yard https://www.brandtasay.com/journal/medicine-in-one-place/ https://www.brandtasay.com/assets/images/journal/medicine-in-one-place/establishing.webp The wide frame for this note: medicine in one place, seen as a place rather than a detail. Brandt Asay in the State Capitol terrace, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/medicine-in-one-place/detail.webp The working detail: a single tray and a maple drawer box, which is where the decision actually happens. Brandt Asay working with a single tray beside a maple drawer box at the State Capitol terrace https://www.brandtasay.com/assets/images/journal/medicine-in-one-place/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at the State Capitol terrace https://www.brandtasay.com/journal/the-shelf-of-things-waiting-to-be-repaired/ https://www.brandtasay.com/assets/images/journal/the-shelf-of-things-waiting-to-be-repaired/establishing.webp The wide frame for this note: the shelf of things waiting to be repaired, seen as a place rather than a detail. Brandt Asay in a raised cottage in Beauregard Town, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/the-shelf-of-things-waiting-to-be-repaired/detail.webp The working detail: a hook at hand height and a steel hook, which is where the decision actually happens. Brandt Asay working with a hook at hand height beside a steel hook at a raised cottage in Beauregard Town https://www.brandtasay.com/assets/images/journal/the-shelf-of-things-waiting-to-be-repaired/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at a raised cottage in Beauregard Town https://www.brandtasay.com/journal/putting-a-room-back-without-a-weekend/ https://www.brandtasay.com/assets/images/journal/putting-a-room-back-without-a-weekend/establishing.webp The wide frame for this note: putting a room back without a weekend, seen as a place rather than a detail. Brandt Asay in a bungalow hall in Ogden Park, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/putting-a-room-back-without-a-weekend/detail.webp The working detail: a donation bag and a linen bin, which is where the decision actually happens. Brandt Asay working with a donation bag beside a linen bin at a bungalow hall in Ogden Park https://www.brandtasay.com/assets/images/journal/putting-a-room-back-without-a-weekend/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at a bungalow hall in Ogden Park https://www.brandtasay.com/journal/where-one-in-one-out-fails/ https://www.brandtasay.com/assets/images/journal/where-one-in-one-out-fails/establishing.webp The wide frame for this note: where one-in-one-out fails, seen as a place rather than a detail. Brandt Asay in the live-oak shade along Highland Road, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/where-one-in-one-out-fails/detail.webp The working detail: a timer set for ten minutes and a shallow tray, which is where the decision actually happens. Brandt Asay working with a timer set for ten minutes beside a shallow tray at the live-oak shade along Highland Road https://www.brandtasay.com/assets/images/journal/where-one-in-one-out-fails/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at the live-oak shade along Highland Road https://www.brandtasay.com/journal/the-car-emptied-on-sunday/ https://www.brandtasay.com/assets/images/journal/the-car-emptied-on-sunday/establishing.webp The wide frame for this note: the car, emptied on Sunday, seen as a place rather than a detail. Brandt Asay in a Mid City side yard, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/the-car-emptied-on-sunday/detail.webp The working detail: a pencil inventory and a labeled house file, which is where the decision actually happens. Brandt Asay working with a pencil inventory beside a labeled house file at a Mid City side yard https://www.brandtasay.com/assets/images/journal/the-car-emptied-on-sunday/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at a Mid City side yard https://www.brandtasay.com/journal/recipes-you-cook-written-on-cards/ https://www.brandtasay.com/assets/images/journal/recipes-you-cook-written-on-cards/establishing.webp The wide frame for this note: recipes you cook, written on cards, seen as a place rather than a detail. Brandt Asay in a Government Street studio above a shop, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/recipes-you-cook-written-on-cards/detail.webp The working detail: an empty box broken flat and a pegboard, which is where the decision actually happens. Brandt Asay working with an empty box broken flat beside a pegboard at a Government Street studio above a shop https://www.brandtasay.com/assets/images/journal/recipes-you-cook-written-on-cards/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at a Government Street studio above a shop https://www.brandtasay.com/journal/a-guest-closet-that-is-actually-empty/ https://www.brandtasay.com/assets/images/journal/a-guest-closet-that-is-actually-empty/establishing.webp The wide frame for this note: a guest closet that is actually empty, seen as a place rather than a detail. Brandt Asay in the lakes at LSU just after a rain, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/a-guest-closet-that-is-actually-empty/detail.webp The working detail: a single tray and a clear jar, which is where the decision actually happens. Brandt Asay working with a single tray beside a clear jar at the lakes at LSU just after a rain https://www.brandtasay.com/assets/images/journal/a-guest-closet-that-is-actually-empty/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at the lakes at LSU just after a rain https://www.brandtasay.com/journal/photographs-printed-not-only-stored/ https://www.brandtasay.com/assets/images/journal/photographs-printed-not-only-stored/establishing.webp The wide frame for this note: photographs printed, not only stored, seen as a place rather than a detail. Brandt Asay in a Spanish Town parlor with the shutters half closed, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/photographs-printed-not-only-stored/detail.webp The working detail: a hook at hand height and a canvas donation bag, which is where the decision actually happens. Brandt Asay working with a hook at hand height beside a canvas donation bag at a Spanish Town parlor with the shutters half closed https://www.brandtasay.com/assets/images/journal/photographs-printed-not-only-stored/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at a Spanish Town parlor with the shutters half closed https://www.brandtasay.com/journal/the-mud-tray-for-a-wet-climate/ https://www.brandtasay.com/assets/images/journal/the-mud-tray-for-a-wet-climate/establishing.webp The wide frame for this note: the mud tray for a wet climate, seen as a place rather than a detail. Brandt Asay in a Bocage addition that still shows the old sill, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/the-mud-tray-for-a-wet-climate/detail.webp The working detail: a donation bag and a maple drawer box, which is where the decision actually happens. Brandt Asay working with a donation bag beside a maple drawer box at a Bocage addition that still shows the old sill https://www.brandtasay.com/assets/images/journal/the-mud-tray-for-a-wet-climate/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at a Bocage addition that still shows the old sill https://www.brandtasay.com/journal/labels-that-help-and-labels-that-nag/ https://www.brandtasay.com/assets/images/journal/labels-that-help-and-labels-that-nag/establishing.webp The wide frame for this note: labels that help, and labels that nag, seen as a place rather than a detail. Brandt Asay in a City Park picnic porch used as a client table, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/labels-that-help-and-labels-that-nag/detail.webp The working detail: a timer set for ten minutes and a steel hook, which is where the decision actually happens. Brandt Asay working with a timer set for ten minutes beside a steel hook at a City Park picnic porch used as a client table https://www.brandtasay.com/assets/images/journal/labels-that-help-and-labels-that-nag/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at a City Park picnic porch used as a client table https://www.brandtasay.com/journal/a-morning-reset-that-takes-ten-minutes/ https://www.brandtasay.com/assets/images/journal/a-morning-reset-that-takes-ten-minutes/establishing.webp The wide frame for this note: a morning reset that takes ten minutes, seen as a place rather than a detail. Brandt Asay in the brick sidewalk on North Boulevard, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/a-morning-reset-that-takes-ten-minutes/detail.webp The working detail: a pencil inventory and a linen bin, which is where the decision actually happens. Brandt Asay working with a pencil inventory beside a linen bin at the brick sidewalk on North Boulevard https://www.brandtasay.com/assets/images/journal/a-morning-reset-that-takes-ten-minutes/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at the brick sidewalk on North Boulevard https://www.brandtasay.com/journal/the-office-of-a-person-who-also-draws/ https://www.brandtasay.com/assets/images/journal/the-office-of-a-person-who-also-draws/establishing.webp The wide frame for this note: the office of a person who also draws, seen as a place rather than a detail. Brandt Asay in a Highland Road carport that wants to be a room, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/the-office-of-a-person-who-also-draws/detail.webp The working detail: an empty box broken flat and a shallow tray, which is where the decision actually happens. Brandt Asay working with an empty box broken flat beside a shallow tray at a Highland Road carport that wants to be a room https://www.brandtasay.com/assets/images/journal/the-office-of-a-person-who-also-draws/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at a Highland Road carport that wants to be a room https://www.brandtasay.com/journal/the-basket-that-is-the-blankets-room/ https://www.brandtasay.com/assets/images/journal/the-basket-that-is-the-blankets-room/establishing.webp The wide frame for this note: the basket that is the blankets' room, seen as a place rather than a detail. Brandt Asay in a Drehr Place dining room at four o'clock, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/the-basket-that-is-the-blankets-room/detail.webp The working detail: a single tray and a labeled house file, which is where the decision actually happens. Brandt Asay working with a single tray beside a labeled house file at a Drehr Place dining room at four o'clock https://www.brandtasay.com/assets/images/journal/the-basket-that-is-the-blankets-room/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at a Drehr Place dining room at four o'clock https://www.brandtasay.com/journal/spice-jars-you-can-see-through/ https://www.brandtasay.com/assets/images/journal/spice-jars-you-can-see-through/establishing.webp The wide frame for this note: spice jars you can see through, seen as a place rather than a detail. Brandt Asay in an Old South Baton Rouge raised house, in a hard stripe through a shutter, with the dining room opening around him https://www.brandtasay.com/assets/images/journal/spice-jars-you-can-see-through/detail.webp The working detail: a hook at hand height and a pegboard, which is where the decision actually happens. Brandt Asay working with a hook at hand height beside a pegboard at an Old South Baton Rouge raised house https://www.brandtasay.com/assets/images/journal/spice-jars-you-can-see-through/closer.webp A nearer frame so the note has a witness: the same afternoon, the same dining room. Brandt Asay looking across the dining room at an Old South Baton Rouge raised house https://www.brandtasay.com/journal/a-workshop-corner-in-a-house-with-no-workshop/ https://www.brandtasay.com/assets/images/journal/a-workshop-corner-in-a-house-with-no-workshop/establishing.webp The wide frame for this note: a workshop corner in a house with no workshop, seen as a place rather than a detail. Brandt Asay in the boardwalk edge at Bluebonnet Swamp, in east light that leaves by nine, with the studio opening around him https://www.brandtasay.com/assets/images/journal/a-workshop-corner-in-a-house-with-no-workshop/detail.webp The working detail: a donation bag and a clear jar, which is where the decision actually happens. Brandt Asay working with a donation bag beside a clear jar at the boardwalk edge at Bluebonnet Swamp https://www.brandtasay.com/assets/images/journal/a-workshop-corner-in-a-house-with-no-workshop/closer.webp A nearer frame so the note has a witness: the same afternoon, the same studio. Brandt Asay looking across the studio at the boardwalk edge at Bluebonnet Swamp https://www.brandtasay.com/journal/the-end-of-a-project-and-the-tools-going-home/ https://www.brandtasay.com/assets/images/journal/the-end-of-a-project-and-the-tools-going-home/establishing.webp The wide frame for this note: the end of a project and the tools going home, seen as a place rather than a detail. Brandt Asay in a Third Street doorway downtown, in late-afternoon side light, with the bedroom opening around him https://www.brandtasay.com/assets/images/journal/the-end-of-a-project-and-the-tools-going-home/detail.webp The working detail: a timer set for ten minutes and a canvas donation bag, which is where the decision actually happens. Brandt Asay working with a timer set for ten minutes beside a canvas donation bag at a Third Street doorway downtown https://www.brandtasay.com/assets/images/journal/the-end-of-a-project-and-the-tools-going-home/closer.webp A nearer frame so the note has a witness: the same afternoon, the same bedroom. Brandt Asay looking across the bedroom at a Third Street doorway downtown https://www.brandtasay.com/journal/digital-files-named-like-prints/ https://www.brandtasay.com/assets/images/journal/digital-files-named-like-prints/establishing.webp The wide frame for this note: digital files named like prints, seen as a place rather than a detail. Brandt Asay in a Magnolia Mound outbuilding used as a test of shade, in a thin morning fog, with the entry opening around him https://www.brandtasay.com/assets/images/journal/digital-files-named-like-prints/detail.webp The working detail: a pencil inventory and a maple drawer box, which is where the decision actually happens. Brandt Asay working with a pencil inventory beside a maple drawer box at a Magnolia Mound outbuilding used as a test of shade https://www.brandtasay.com/assets/images/journal/digital-files-named-like-prints/closer.webp A nearer frame so the note has a witness: the same afternoon, the same entry. Brandt Asay looking across the entry at a Magnolia Mound outbuilding used as a test of shade https://www.brandtasay.com/journal/a-house-manual-for-the-person-who-waters-the-plants/ https://www.brandtasay.com/assets/images/journal/a-house-manual-for-the-person-who-waters-the-plants/establishing.webp The wide frame for this note: a house manual for the person who waters the plants, seen as a place rather than a detail. Brandt Asay in a Perkins Road waiting room with one good window, in north light with no drama, with the parlor opening around him https://www.brandtasay.com/assets/images/journal/a-house-manual-for-the-person-who-waters-the-plants/detail.webp The working detail: an empty box broken flat and a steel hook, which is where the decision actually happens. Brandt Asay working with an empty box broken flat beside a steel hook at a Perkins Road waiting room with one good window https://www.brandtasay.com/assets/images/journal/a-house-manual-for-the-person-who-waters-the-plants/closer.webp A nearer frame so the note has a witness: the same afternoon, the same parlor. Brandt Asay looking across the parlor at a Perkins Road waiting room with one good window https://www.brandtasay.com/journal/the-porch-swept/ https://www.brandtasay.com/assets/images/journal/the-porch-swept/establishing.webp The wide frame for this note: the porch, swept, seen as a place rather than a detail. Brandt Asay in a Garden District stair that turns too early, in sun broken by a live oak, with the kitchen opening around him https://www.brandtasay.com/assets/images/journal/the-porch-swept/detail.webp The working detail: a single tray and a linen bin, which is where the decision actually happens. Brandt Asay working with a single tray beside a linen bin at a Garden District stair that turns too early https://www.brandtasay.com/assets/images/journal/the-porch-swept/closer.webp A nearer frame so the note has a witness: the same afternoon, the same kitchen. Brandt Asay looking across the kitchen at a Garden District stair that turns too early https://www.brandtasay.com/journal/a-closed-door-so-the-rest-of-the-house-can-be-calm/ https://www.brandtasay.com/assets/images/journal/a-closed-door-so-the-rest-of-the-house-can-be-calm/establishing.webp The wide frame for this note: a closed door so the rest of the house can be calm, seen as a place rather than a detail. Brandt Asay in a Southdowns bedroom under a ceiling fan, in the blue half-hour after sunset, with the porch opening around him https://www.brandtasay.com/assets/images/journal/a-closed-door-so-the-rest-of-the-house-can-be-calm/detail.webp The working detail: a hook at hand height and a shallow tray, which is where the decision actually happens. Brandt Asay working with a hook at hand height beside a shallow tray at a Southdowns bedroom under a ceiling fan https://www.brandtasay.com/assets/images/journal/a-closed-door-so-the-rest-of-the-house-can-be-calm/closer.webp A nearer frame so the note has a witness: the same afternoon, the same porch. Brandt Asay looking across the porch at a Southdowns bedroom under a ceiling fan https://www.brandtasay.com/journal/what-to-do-with-the-empty-box/ https://www.brandtasay.com/assets/images/journal/what-to-do-with-the-empty-box/establishing.webp The wide frame for this note: what to do with the empty box, seen as a place rather than a detail. Brandt Asay in the river side of the USS Kidd levee, in rain light with no shadows, with the hall opening around him https://www.brandtasay.com/assets/images/journal/what-to-do-with-the-empty-box/detail.webp The working detail: a donation bag and a labeled house file, which is where the decision actually happens. Brandt Asay working with a donation bag beside a labeled house file at the river side of the USS Kidd levee https://www.brandtasay.com/assets/images/journal/what-to-do-with-the-empty-box/closer.webp A nearer frame so the note has a witness: the same afternoon, the same hall. Brandt Asay looking across the hall at the river side of the USS Kidd levee