Color can come in the form of texture! Instead of drawing on the traditional color wheel, this designer explored her world for textures. Chunky. Craggy. Splintery. Smoothe. Woven. Wrinkled. Translucent. Rusty. Peely……and etcetera. There is so much to take in that I dare say I might fall over in a faint if she had added actual color. By the way, I’ll bet you think this is a dining room. Actually it’s a free standing structure! A dining house, so to speak. Isn’t that brilliant? The interior was designed by Wendy Owen for her family in Sonoma. California. Fieldstone was collected locally for the walls, and the floor is poured concrete. Those unique paper light fixtures were found at local designer Erin Martin‘s St. Helena shop.

The dinnerware from Astier de Villatte is rustic yet curved and feminine providing a nice contrast to the table made of enormous reclaimed Douglas fir boards and flat backed plank chairs.

The theme is Natural-Materials-With-Muted Palette… in a very big way. Owens was rigorous about sticking to her core idea without getting side tracked by anything that does not fit. “I wanted to keep everything oversize and use texture as color.” The circular piece on the mantel is a salvaged well top.

An antique pine island stands in the middle of the kitchen with chunky antique Brazilian wood bar stools. The breakfast area features unexpectedly two crystal chandeliers hanging over an old baker’s table and two stone benches. This designer really pays attention to continuity. “It makes the space look larger when you use the same materials all the way through.” she says. And I would add to that, it createsvisual flow. As I walk through this house I am both inspired by the remarkable selection of furniture and materials and soothed by the repetition of color and materials. Inspired and soothed.

You’ve never seen this bed before, and I guarantee you will never see it again. Chunky railroad ties make up the frame and antique sugar molds make up the headboard. The splash of color amongst the bed linens is a fun statement and can be changed out so easily.

The master bath has a pair of sinks made out of old horse troughs. The mirrors above each sink have been created out of ceiling tin showing off the texture of peeling paint.

This designer has been very much inspired by the work of legendary designer Michael Taylor (1927-1986) who broke new groundwith his California Look by using overscale furnishings  and natural elements. He also championed the idea of making the interior and the exterior interchangeable.

The free standing dining house with its other structures and the surrounding fields.

Designer Wendy Owen. As you can see the chartreuse used in the master bedroom is a color she wears very well. This is always a great way to develop a color palette for your home. Select colors that flatter your complexion and hair color. It works!

Photos courtesy of Western Interiors October/November 2007

Perhaps a little concrete goes a long way. The concrete truss that extends down the center of the room has been covered over with plaster board in a prism shape and painted white. Steel bookcases flank one of Meneguzzo’s large photographic creations. The enormous mustard sectional called ‘Bora Bora’ is by MDF Italia.

A bright red table and chairs from HP Haus plays against a black (possibly steel) floor and white walls of the small entry/office space. I love the collection of Japanese Godzilla figures on the left shelf. Hanging above the table is a net basket which actually functions as a lift for heavy photo equipment and bulky objects that need to go up to the main living space. As you can see, the stairwell is very narrow and steep so….this seems like a workable solution which harkens back to the old basket on a rope.

A clean minimal bedroom continues the theme of mustards and reds found in the other parts of the loft, bringing balance and flow. The bed is covered with a suzani tapestry purchased in Turkey.

A streamlined polished stainless steel sink makes an elegantly simple bathroom. But where does he hide the toothpaste and shaving cream? I think there’s a door on the left to hold the clutter of actual living. When I see places like this I always wonder what they look like on a daily basis. Are there newspapers strewn on the floor? Does this morning’s half eaten bowl of granola destroy the impression made by the sleek kitchen counters in this photo shoot? Is the whole effect ruined? Well….let’s not think about that. I’m crazy about this place and would love to see it in person sometime.

Photos from The World of Interiors May 2009

This Japanese style teahouse is in Hungary, of all places… nestled in the foothills between Hloubetin and Prague. What an beautiful sanctuary for mediation or quiet conversation. Designed by architect David Mastalka of A1 Architects, this little space ?is covered with a circular dome roof and has a tiny sunken hearth in the floor to prepare tea. That’s it. The only furniture is a teapot. The epitome of minimalism. What a relief from our crazy material world!

This next teahouse was designed by well known architect Terunobu Fujimori who includes a tea room in many of his residential designs. This one perches on a tree top. Find more photos of his amazing work in Dwell Magazine.

Photos from Furniture Fashion

I don’t know about you, but I am absolutely enchanted with this tiny art studio situated on the windy coast of Aquitaine in France.

It is the cheerful retreat of painter Richard Texier and measures a mere 12 square meters. This style of architecture is referred to as a carrelet, loosely translated to square net (filet carre’) which were used by fisherman in the 1900′s who lowered their nets from these little huts right into the sea. Texier’s original hut was lost in the big storm of 1999. Determined to continue his artwork in this magical spot, he engaged engineers and high technology to rebuild it in a sturdier fashion. It’s painted black and “ocean blue” with a zinc roof and naturally weathered 100 meter long teak gangway. “It’s always been an enchanted place, between the sea and the sky…” says the artist.

The round gate was inspired by those the artist had seen in China, a place he often visits. When the red light above the gate is lit it signals that the artist is in his studio.

This is a shutter that can be set at various angles as a shield from the wind and curious eyes of tourists. I like the way the round gate repeats the shape of the round port hole windows. Repetition of shapes is a great way to bring conintuity to a interior/exterior design, even one as tiny as this.

The outdoor work table.

The artist uses his blackboard to develop ideas for his paintings and sculptures, such as the bronze lost wax candlesticks on the table. The hanging red lantern can be moved anywhere.

People walk underneath the jetty when the tide is out, and oyster farmers collect their wares. Bird footprints provide inspiration for art and mythical animal shapes.

The artist’s indoor workbench, upholstered chair and stool covered with a sail from an old tuna boat. Is that poetic, or what?

Careful storage is necessary in the tiny galley. On the right is an india ink drawing upon a nautical map. I’d like to get a closer look at that…..

The painter comes here to “fish for ideas and inspiration…and occasionally for shrimp. It’s fertile territory.”

Photos from The World of Interiors August 2008 Thanks to?Catherine de Moltalembert and Jean-Marie del Moral

There is nothing more romantic than the gossamer drape of sheer fabric, a practical style in this part of the world where insects abound and cool breezes are welcome. This is the Boat Room. The base of the bed is formed from a canoe bought from a Swahili fisherman. The graphic tribal batik is from Ivory Coast. Antique kilims bring rich color to the space.

The ?”tree” houses, which have been crafted from indigenous materials, are practically hidden from each other as they nestle in the thorn trees, cactus and acacia. This land at the foot of the Ngong Hills is just adjacent to the 5,000 acre property once owned by Karen Blixen (pen name Isak Dinesen) and it was there that she wrote her story that became Out of Africa.

Continuity occurs organically within these space and it is one of the reasons these interiors have such impact. The running themes that are repeated again and again are wood or woven grass walls, white netting and woven ethnic rugs. Recycled wood was used for the canopy bed. A metal rocking chair was welded by a local artisan.

A canoe lined with fiberglass makes an exotic bath tub. The metal chandelier was welded on site.

A canvas dining tent is hung with velvet draperies. To me, that is the epitome of the safari life and then some. The lodge and houses feature a variety of pan-African artifacts, fabrics and accessories; batiks, pillows of Kuba cloth, bronze wildlife statuary. We are told that the cuisine is highly reputed with its Kenyan chefs who have studied in Belgium. Ngong House is a sanctuary for many travelers on their way to much rougher wilder adventures.

Photos courtesy of Architectural Digest

There is plenty of “color” in this neutral dining room, although we are seeing only beiges and browns. Instead of drawing on the traditional color wheel, this designer explored her world for textures. Chunky. Craggy. Splintery. Smoothe. Woven. Wrinkled. Translucent. Rusty. Peely……and etcetera. There is so much to take in that I dare say I might fall over in a faint if she had added actual color. By the way, I’ll bet you think this is a dining room. Actually it’s a free standing structure! A dining house, so to speak. Isn’t that brilliant? The interior was designed by Wendy Owen for her family in Sonoma. California. Fieldstone was collected locally for the walls, and the floor is poured concrete. Those unique paper light fixtures were found at local designer Erin Martin‘s St. Helena shop.

The dinnerware from Astier de Villatte is rustic yet curved and feminine providing a nice contrast to the table made of enormous reclaimed Douglas fir boards and flat backed plank chairs.

The theme is Natural-Materials-With-Muted Palette… in a very big way. Owens was rigorous about sticking to her core idea without getting side tracked by anything that does not fit. “I wanted to keep everything oversize and use texture as color.” The circular piece on the mantel is a salvaged well top.

An antique pine island stands in the middle of the kitchen with chunky antique Brazilian wood bar stools. The breakfast area features unexpectedly two crystal chandeliers hanging over an old baker’s table and two stone benches. This designer really pays attention to continuity. “It makes the space look larger when you use the same materials all the way through.” she says. And I would add to that, it creates visual flow. As I walk through this house I am both inspired by the remarkable selection of furniture and materials and soothed by the repetition of color and materials.?Inspired and soothed.

You’ve never seen this bed before, and I guarantee you will never see it again. Chunky railroad ties make up the frame and antique sugar molds make up the headboard. The splash of color amongst the bed linens is a fun statement and can be changed out so easily.

The master bath has a pair of sinks made out of old horse troughs. The mirrors above each sink have been created out of ceiling tin showing off the texture of peeling paint.

This designer has been very much inspired by the work of legendary designer Michael Taylor (1927-1986) who broke new groundwith his California Look by using overscale furnishings ?and natural elements. He also championed the idea of making the interior and the exterior interchangeable.

The free standing dining house with its other structures and the surrounding fields.

Designer Wendy Owen. As you can see the chartreuse used in the master bedroom is a color she wears very well. This is always a great way to develop a color palette for your home. Select colors that flatter your complexion and hair color. It works!

Photos courtesy of Western Interiors October/November 2007

Red painted siding with chalky white trim. Brilliant orange maple trees. Is the year 1905 and we’re in a time warp? No indeed, it’s 2009 and this charming old barn is the same as it always was…on the exterior, that is. Its interior, however, has been remodeled into an unpretentious but very classy gathering space for holiday entertaining, board meetings, extra sleeping and gallery for a fabulous art collection. Let’s take a look…

The maple leaves in this part of the world do turn this spectacular in the fall. ?I grew up there and I know. The designers made a beautiful choice by carrying the red and golds into the interior space. Here’s the theme: Leather. Flannel. Velvet. Wood. All placed together in a very unfussy way to reflect the owners simple, down-to-earth yet refined values.

This view through to the kitchen gives us a chance to admire the luscious red and caramel throw pillows.?Behind the sofa is a billiard table with it’s typical English-style billiard hall chandelier custom designed out of plumbing pipes and tin snooker fixtures. Sliding cedar panels divide the seating area from the kitchen displaying enormous works of art. The kitchen features soapstone countertops…durable, dark and handsome. They are usually charcoal greenish gray with scattered veining.

An antique oak table provides a surface for a simple arrangement of exquisite objects. Orrefors vase by Niles Landberg. A fruitwood pitcher and plate. The 1990 painting called “Happy New Year” is by Russian Eric Bulatov.

This painting is by Australian Steven Bush. Madoura 1940′s ceramics. The photo makes a beautiful still life, doesn’t it? One way to accessorize your home is to create a vignette with three or four objects. ?In this example the designer uses three ceramic objects and one organic. The three vessels are all made out of the same material. Two are white and one is green. They “tie together” because their common element is the fact that they are ceramic. The cabbage is not ceramic but….it is green. It is a different material but the same color as one of the ceramic pieces. It’s fun to play with this concept creating arrangements of things that are the same yet different!

The fieldstone fireplace is flanked with a pair of steel drafting lamps, a perfect choice for this kind of eclectic simplicity.?”We captured the essence of this simple, vernacular American building form using authentic, natural materials that blend seamlessly with the original structure and the country landscape.” say architect/designers?Lee Mindel and Peter Shelton.

A collection of framed art pieces surround the perimeter of the ceiling. Without even knowing what they are, the repetitive frames and mats make a fascinating statement…as most collections do. The frames and mats are all exactly the same, but the object inside the frame is slightly different.

A comfortable sleeping loft with it’s sleigh bed and copper lamps, shows off the refinished pine floors, which have been left bare throughout the entire space, emphasizing the sparse “puritan” look so typical of of New England.

An old factory table with benches is a good spot for summer time picnics.

A wild boar sculpture overlooks the creek.

“My objective was to create an eccentric garden in a setting of fantastical Mediterranean antiquity,” says the owner. The columns, though stone in the original Italian villa, were carved out of redwood with resin capitals and fiberglass bases. The finish was aged with a mixture of plaster, lime and spray-painted moss.

The portico features informal red and white striped cotton upholstery. In the center stands a 17th century mantelpiece from Antwerp (this one’s a real antique) above which hangs an aged mirror from Studiolo, Shapiro’s own home furnishings line.

The property was wrapped in 20 foot high ficus trees and giant Japanese timber bamboo to create “complete seclusion and mystery.” The exotic undulating hedge was inspired after a visit to Chateau de Marqueyssac in the Dordogne region of France. Once again, the designer brought his ideas home to Los Angeles. He ripped up the manicured lawn, imported hundreds of mature boxwood plants, and laid out a snakey pattern of rounded hedgerows separated by gravel paths.

Clipping these bushes seems like it would take a team of gardeners, but we are told that Shapiro does most of the work himself in just a few hours every two weeks. Indeed, he never lets anyone else touch the boxwood hedge!

Behind the neo classic portico is an airy 275 square foot space that is used often. A Northern Italian table sits near the windows surrounded by 19th c. rustic chairs.Here is where morning coffee is sipped and newspapers are read. A fire is lit and more creative ideas are dreamed. The Chinese drum coffee table sits atop a Turkish kilim. The gilt wood mirror is antique. The contemporary lettered diptych is by Shapiro.The workbench is the owner’s own design with a pyramid shaped lamp from his Studiolo line. The marble capital is 19th century.

A view back to the main house featuring a pair of 17th century Florentine marble lions and a 10 foot tall Spanish oil pot.

A rusted sculpture by Anthony Caro sits in front of a bench from the Studiolo line.

Here is Mr. Shapiro. ?”I view the garden as a vast abstract canvas.” says this serious artist….with a wink and a grin.

Photos courtesy of Elle Decor May 2009

Their work and the interior of their home have a lot in common. Informal and unrefined, each piece reflects a true passion for color, design and age. There seems to be an overriding respect for the process of making something in stages. Notice cabinet panels that are partially painted leaving a patchwork of earlier layers of paint and no paint at all. Is this a work in progress? or do the artists call it complete because it pleases them to do so?

Not to say that we all would be happy living with this level of unfinishedness…if that’s a word. But there is something to be learned here. Something to reflect upon. The haphazard combinations are eye catching indeed. Perhaps I am a bit too uptight with my design approach. I can learn a thing or two from the Squires. I happen to love the black and white checks thrown in to the mix. And here is the other half of the kitchen…

The tiles that surround the stove were designed and made in their studio. The wall features earthenware plates from around the world.

As with their rustic pottery, their home’s design seems to have its “roots in rural cultures all over the world, from Romania to the Islamic world, from Morocco to Alsace.” Notice the colorful fabric panels hanging in the livingroom… and again, attached to the wall under the pictures like a woven wainscotting. The door features a stained glass panel depicting a wild boar, the animal for which this house is named. Maison des Sangliers.

In the bedroom, plywood was pulled off the cupboard doors revealing panels of vintage wallpaper. The look pleased them so much that they varnished the doors to stop the decay just exactly as it was. The wall were stripped too and given a light wash of pink.

A roll of 1980′s Laura Ashley wallpaper decorates a corner of the bedroom. One gets the feeling the owners like it just as it is…not attached in the traditional wallpaper way but rather, hanging as a piece of art with the slight rounded bend in the paper, casting its shadow upon the wall.

Here is the exterior of the 500 year old house. Maison des Sangliers on the Place du Marche’ au Ble’

and here are Andy and Claire Squire in their garden.

Photos courtesy of The World of Interiors October 2009

Here’s a wonderful little wood building with actual windows like you would install in your house. The optical illusion here is that the windows are made with clear glass panes. But no….actually they are mirrors! Isn’t that clever? Because this little structure is being used as a tool shed, the mirrors hide our view of lawnmowers and tools while creating an artful reflection.

A traditional “summer house” made of trellis which commands a lovely view of the garden.

Here are some helpful hints for creating your own outdoor room: Level Ground You will need a solid, level surface upon which to build your room, preferably with a damp-proof membrane underneath. Permitting Make sure you check with your city planning department before building, especially with a larger structure. Complement the House Your outdoor room does not necessarily have to be the same architectural style as the main dwelling, but it should not “fight” with it. One way to blend two different styles is to use the same colors, or carry at least one color over. Weather Proofing Since many garden rooms are not sheltered under trees, make sure that they are built of weather proofed material, or the maintenance will be high. Here is the Pacific Northwest, concrete is the best floor material and metal is a favorite roofing material. But ofcourse you must consider your climate. Wood is the most flexible material and more different effects can be achieved with wood. Make sure that your soft coverings, such as chair cushions, are mold proof. Be Creative This may be your best opportunity to use quirky shapes and whimsical decorative effects. Consider the View Most…but not all…outdoor rooms are placed to capture a view of the garden, the water or the mountains.

An artful organically designed gazebo by Thomas Heatherwick.

A circular metal structure that will patina nicely as it ages. Canvas roof lining. This provides a spot of shade in an otherwise sunny garden.

A contemporary garden structure designed by Lynne Marcus. The metal frame is painted a greenish-gray to match the house. It has a living roof comprised of a sedum mat planted on a sloping stainless steel base that allows rainwater to drain off.

Something this large would make a good outdoor office or guest house. It should be painted to match your main dwelling. Make sure to check with the local planning commission for something this big.

Two identical garden rooms can create a very lovely balance in order to frame a particular view. Making one of them a tool shed and the other a tea room would be a useful thing. These are a bit too ornate for my taste. They remind me of the nostalgic Victorian band stands found all over the US Midwest.

A little two seater shelter with a view.

This beautiful swing hangs from reinforced metal arches. The swing itself is also metal and makes a stunning garden sculpture. It serves a different purpose than an “outdoor room” but just as important.?Aesthetics. Since I approach almost everything I do as an artist, I would say that creating something because it is beautiful is all the reason you ever need.

Painted wood and very theatrical.

A living willow shelter. Look closely and you will see that those upright branches are actually growing and leafing out. The dried material (perhaps cut willow branches) are woven in to create the architecture. I am imagining that this platform will have large cushions filled with dry fast foam and covered with indoor-outdoor fabric.

A large outdoor room with two open sides and a metal roof. Situated in the far corner of the property, this is a secluded getaway with an comfy lounge for napping.

A little sleek (shatter proof) glass room with a steel frame. There’s an old adage that children should be “seen but not heard”…..maybe this is the place to stick the kids when you are going crazy! (of course you know I’m kidding).

Photos from British Homes & Gardens July 2009

It wasn’t just a little blue. No no no. Not just an accent. It was a major amount of blue! Splashed liberally on big walls, small walls, pool edges and more. And it’s not just blue. It’s turquoise and yellow as well. The color is big and punchy. It provides a bold contrast to the flora and fauna of Morocco.

The Arab Pavilion leads to the Square Lake surrounded by many species of angular cacti of assorted sizes. “It is perhaps water – a key element of Islamic gardens – that makes this place. Sleeping and black, it tinkles joyfully, flows quietly or suddenly springs forth in clouds of fresh spray.” (Marie France-Boyer)

Pointed palms and triangular bladed agaves and yuccas contrast with rounded lush aeoniums, bushy bouganvilleas and gnarled vines. Elaborate wrought iron grills and grates contrast with simple unembellished plaster walls.

Can we apply these design principles to our own garden? Yes, of course we can. This is nothing more than?taking a color that you love and using it BIG. Do you have the courage that Marjorelle did eighty years ago?

Here is a photo of the brilliant orangey-red poppies that grow in my garden every May. While their foliage is green enough, I am imagining placing a bright green glazed urn right next to them at least during the month that they are in blossom. I am choosing bright green because it is the complementary color to red and is directly opposed to it on the color wheel. But bright yellow would do beautifully too.

And while I am into my color fantasy, the yellow orange lilies that come out in late June / early July could certainly use a purple blue piece of trellis placed behind them as a backdrop.

Here’s a fun example that I came across?which demonstrates just what power a colored backdrop can have in a garden. That color green just leaps off the purple fence. Garden eye candy for the neighbors!

Photos from World of Interiors December 2007

The buildings provide an ideal nest for Lopez’ collection of rare 20th century furniture. Bold panels of color, reminiscent of “Constructivist collages,” accent the large space as the original pitch-pine floor weaves a continuous thread throughout the space. Refreshingly, the floor has been left untreated and where floorboards needed replacing the designers tore out the old and installed industrial looking metal panels with no pretense to creating a symmetrical design…only where needed. Romantic images of oak barrels and wine tasting sessions are, no doubt, conjured up by all the old wood which is left bare on the ceiling as well.

A honey colored stone wall is left exposed behind simple furnishings. I am enchanted with the composition of these photos (by Jean-Marc Palisse) as much as with the interior design. However, it is a good reminder that interiors are nothing more than a series of views. Stand at the south door….what do you see? Stand at the north wall…what do you see? Stand at the archway between the hall and the living room..what do you see? Whatever the eye takes in should be balanced and pleasing. A great rule of thumb for interior designers.

A unique table is fabricated out of cross cut rounds of elm and a plank of glass for the top. The curtain is made of chain mail found at the St-Ouen flea market. There is an industrial /art studio feel to this space where intelligent curious people live…don’t you think?

Here’s the second story pool……

and here’s the family car parked beneath the pool’s u-shaped bottom.

Other exterior images give us an idea of how beautifully the inner and outer design blend the old with the new.

Photos from The World of Interiors August 2009