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

This dining room is spacious and simple partly because the polished floors are left rugless. This is often considered “cold” but remember, temperatures are warm in Dallas, Texas. And that wood is so darn beautiful. It’s a luxurious backdrop for all of the furnishings as it….you guessed it….continues throughout the space creating a fabulous flowing design element that “pulls the rooms together.” The lovely curved chairs are from Rose Tarlow – Melrose House. Cane back and leather seat. The contemporary painting is an oil on panel by Jeff Bertoncino. Doesn’t it punctuate the bronze/gold elements beautifully though!

There is a running theme here, and it’s hard to miss. That’s why we feel so good looking at it.?Sleek unembellished design that is uncluttered…..not a pattern on any of the fabrics. Neutral color palette with pops of red and blue. And all underlayed with polished hard wood flooring. I think I’m in love!

Photos from Veranda Magazine September 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

Ruby Beets loves white. She loves antique, used, repurposed and shabby furniture.?And she loves using big graphic shapes within a space. For example, look at the pair of white vases that stand on the left side of mantle. Large for that narrow shelf, their curves are elegantly simple. The urn shaped vase at mantle right and the unembellished curved vase on the coffee table echo this theme.

Look how gracefully curved this white canvas wing backed chaise is. The arm shape seems to repeat the lines of the vases. Its’ uncomplicated design element plays off the busier pattern of pealing painted furniture and smaller objets d’arte (lots of shells from local beaches in Sag Harbor, New York).

The dining room features a reproduction table treated with a whitewash to add character. The 1920′s lyre-back chairs once lived in an old hotel in Maine. The black cabinetry came from a local hardware store that went out of business. The designer turned them dark ebony which is a fabulous backdrop for still more white graphically shaped ironstone and earthenware.

The piano is another big curved shape, this time in black to give extra punch to the black cabinets. When a color is repeated like these dark accents, it emphasizes itself. Using a color just once (I call this a “widow” because it’s all alone) can make us feel out of balance. Repeating the color….even in a small way… makes us feel more peaceful somehow.

I just had to show you the daughters’ charming bedroom with it’s Porthault bed linens and wire chandelier holding shells.

The bathroom slipper chair and upholstered bench are two more lovely examples of the dreamy curved shapes that wind their way through the house, holding it together as they repeat themselves in almost every room.

Photos from House Beautiful July 2006

Often when we meet a “cool and clean” space we feel bored and uninspired.

But not always….and not this time. This minimal sleek space is filled…but not too filled…with character. WON-derful combinations of contemporary and ethnic! Just the right amount of color and contrast to give it a heartbeat, yet keeping it calm and peaceful at the same time. This is exactly what the owner wanted. ?The owner is Hollywood jewelry designer Loree Rodkin and she, her inciteful eye and her ability to travel, pulled this place together with truly a magic touch. Notice the polished limestone floors and macasser ebony bookcase displaying petrified wood pieces.

Neutrals can be so fascinating. How so? This is not simply gray, white and black. This room contains atleast twenty different grays and blacks. And white for contrast. In one glance our eye takes in gold at least four times…the Thai temple fragment leaning against the wall, the distinctly asian mudra hand on the coffee table, warm color elements in the framed photo images and the hanging basket lamps. A good designer will always plan a composition as if looking through a camera lens. ?The repetition of gold and the balance of black, white and gray give this room a tranquil sense of balance.

Isn’t this room beautiful? All pieces are good, but the combination is exquisite. And that’s the key. The carving of the 17th century Chinese daybed brings pattern to the space. The silver silk pillow reflects light. The woven rope stool and large teak Buddha are further reminders of an “artist’s hand.” All floating in a sea of neutral… as the Edward Lentsch contemporary artwork creates continuity by tying all of these colors together.

This is a simple master bedroom. A calm place to wind down. In keeping with the rest of the home, there is nothing too flashy here except for more luscious silver silk pillows set against a luxurious and tactile gray suede headboard. ?The walls are wrapped in striated raw silk. Another fabulous large scale Buddha sits against a pair of inlaid bone Indian mirrors. The huge variety of scale from e-NOR-mous to very very small brings drama to the space and that wow! factor that makes an indelible impression on our minds.

Photos from Elle Decor October 2007

We are gazing through three arches here. Standing outside the office, we look over its’ tile table, through the central courtyard, and into the loggia on the far side. Careful attention was paid to creating the longest possible view. Notice how the painting is centered on the very farthest wall.

Surrounding the border of the library the boldly painted motto “The Eye Sees What the Mind Knows.”?Tile floor, darkened wood, and an drum shaped rustic amber pendant lamp repeat the theme and carries through the finishes with consistency.

The kitchen is a lighter brighter room, featuring a pair of wonderful inverted lampshade fixtures in stitched parchment. I love the oversized cactus in terra cotta pots. Exaggerated scale adds quirky drama to any space. Imagine if the cactus were only half the size…..ho hum, right?

Another great addition to a space is a collection of something…almost anything will work to entertain us. In this case, vintage dishes in bright colors make delicous eye candy.

For the fireplace, a simple arch of bricks with a brick hearth makes a modest historically accurate statement. The sofas are actually vintage Monterey pieces. The painting on the far wall is William Ritschel’s 1912 Desert Wanderers.


It’s always fascinating to see the exterior of a house after viewing the interior rooms. This one looks like a big old Spanish mission at festival time. ?Spanish Colonial Revival is one of the most ubiquitous and charming architectural styles in southern California. ?It is easy to spot because of the trademark red tile roofs with (usually) white stucco walls, arches, wrought iron grates, center courtyards, terra cotta tile floors, cactus and bouganvilea. And if they are lucky houses, they will have an owner who treasures them.

Photographs by Scott Frances from Architectural Digest / November 2008

The 7,900 three-story building is mixed use. The Ann Deemeulmeester boutique occupies the ground floor. Limestone steps lead upstairs to an Indian restaurant, and downstairs to another clothing boutique. The cobblestones provide an attractive contrast to the sleek facade.

The wall to the downstairs space is planted with moss. A network of tiny rubber hoses provides irrigation for the plants 24 hours a day. Although the building is not “green” in the sustainable sense of the word, the blanket of plantings has it’s own ecosystem of insects and frogs, oxygenating the air and insulating the interior to some extent.

Store interior is ex-TREME-ly minimal. Staying consistent with the branding of the Antwerp store, the floors are dark stained oak and the cabinetry and counters are white keeping the focus squarely upon the fashions. The undulating ceiling of earth colored concrete was a tricky engineering feat accomplished by setting the beams in an unusual sideways fashion.

The clothing appears to be mostly unconstructed and loosely draped, appealing to high styled urban women and men. ?”A mixture of rock, punk and military styles.”

Demeulmeester is one of the Antwerp Six, an avantgarde group of designers who are credited for establishing Antwerp as a mecca for cutting edge fashion in the 1980′s.

Photographs courtesy of Interior Design magazine April 2008

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

Now that’s one beautiful sofa. It’s a Biedermeier….which is interesting to some of us but that doesn’t matter. The beautiful shape of the wood frame captivates my imagination! This is the home of the Fabrizio family, creators of Dedar fabrics, some of the most luscious designer fabrics you can ever imagine. Many are featured here in these photos. Funny story about the sofa. The Fabrizios spied it in a Como antiques store but were told that Versace had already bought it at auction. Within a few days a call came saying that the sofa had suddenly become available again. Asking why, they were told that because of it’s extreme width and length, the sofa had not been able to fit through the doors of the Versace villa.

When I saw this home, I knew I liked it but I couldn’t quite identify the reason. In order for me to feel comfortable in a house it must have a sense of order as well as good design elements. There needs to be continuity of color or style. Does this house have it? Yes, for the most part, it does. The purple chair in the living room threw me for a loop at first. It seemed out of place, somehow. But when I saw a second purple chair I felt more at ease. Don’t be surprised that I am talking about feelings. For many of us….perhaps most of us….interior design is about feelings. We ask ourselves “how do I feel in this room?” Our gut gives us the answer. But why? we ask. ?Sometimes it’s difficult to understand why we feel uncomfortable. It’s even more difficult to know what changes will make the room feel better. That’s where visual people have the advantage, particularly trained professionals. They can usually put their finger on what isn’t working and how to fix it. The purple and chartruse colors in this space make a statement. Look at me, they say! Surprised you, didn’t we? they say.

Here’s a beautiful little vignette composed of a French 19th c. painting, a Chinese table and objets d’arte. The yellow walls and dark woods are the overarching theme of this interior design.

The dining room features a very bold brown and white fabric on the drapes. This is a cotton/linen ikat pattern from the Dedar fabric collection. A Murano 1930′s chandelier hangs above the table. The chairs are handmade in Thailand. What a gorgeous window-door design….now that’s one to remember!

A continuation of yellow walls and dark wood in the graciously curved table. An Andy Warhol painting hangs on the wall above an attractive arrangement of books, collectible boxes, figures and small framed pieces.

I was surprised to see the bold fabric pattern brought in to the master bedroom. This repetition actually makes it easier to live with because it is predictable. Human beings need some predictability in order to feel secure. The headboard is generous and beautifully upholstered. The inlaid chair is Moroccan and it’s brown and white color echoes the printed bedspread.

Here’s a terrific use of black and white. The striped curtains have a very bold pattern, while the pillow shams have a very delicate pattern. So handsome together! To that we add the black and white photo (by Man Ray) and the black and tan serigraph (by Arakawa). And of course the black cast iron canopy bed. This is a beautiful, balanced composition. I am not one to always match art to the color scheme, but in this case it really looks wonderful. I am a bit surprised by the red walls in this room. It seems a bit of an abrupt change from the rest of the house. What do you think?

Here’s a corner of the family style kitchen with it’s collection of copper cookware hanging on a wall of locally made tile. The dark ceiling beams are a continuous theme through out this old home.

The patio of the gray vine covered home stone home in Fino Mornasco is part of a 17th c. villa where peasants raised silk worms and spun yarn for the silk industry in nearby Como. Lush wisteria grows in profusion.

Dedar is a family run business. Here they are in the textile studio amidst their latest luxurious fabric and wallpaper collections.

Photos courtesy of Veranda September 2009

Here is the beautiful couple with their equally beautiful children. As a running theme throughout the apartment, the rich dark wood floors are played against brilliant jewel toned fabrics and extremely gutsy yellow walls. Fabrics are lavish. The couple very much admires the orientalist interiors of French decorator Jacques Garcia and so we see his influences in their choices of furnishings from India, Turkey and the Middle East. We also see a large black-and-white photography collection featuring works by Bert Stern, Mario Testino, Ellen von Unwerth and Thierry Le Goues in addition to Mel Hennessy’s own professional work.

This view of the living room features a Syrian game table in front of a clock which Atlas hoists on his shoulders. The fireplace and mirror are Indian. A pair of chairs by the windows are upholstered in tiger fabric which beautifully echoes the yellow walls and continues the theme of rich exoticism. I appreciate the naked floors. Though I am a big fan of beautiful area rugs, the expanse of “negative space” gives the eye a chance to rest.

More exotica in the dining room: Moroccan cabinets, antique Murano vases, Napoleon III candelabra, and a 19th century painting by Jules Tornai. This is more ornate than I could live with…but what I do very much appreciate is the continuity from room to room. Each space carries the theme into the next space. As we walk through we say “yes, this feels right.” Many people have difficulty making a consistent design statement within a home. Each room is different and the over all effect is hodge podge. The key to great interior design is continuity.

Here is a detail of the other side of the dining room. Did you know red walls are good for the appetite?

Now….here is a sexy bedroom. Wrapped in violet. The wall color is intense, but not much of it shows because of the enormously generous purple silk draperies and the oversized painting (by Gustav Wertheimer). A Chinese cabinet sits by the bed and a Murano chandelier hangs above. We are told this was a gift from Kilian Hennessy’s godmother, the legendary Barbara Hutton. An Indian textile lays across the bed.

The bathroom is sexy too with it’s deep brown painted walls and indirect lighting. The collection of boxes inlaid with bone add so much to the room. Anytime a collection can be displayed it becomes a point of fascination for everyone. Collections are a delightful and entertaining way to accessorize.

Images courtesy of ?Elle Decor October 2008

“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

The dining room features red glazed walls. The paint is applied by hand in layers that allow the white undercoat to glow through. It makes a dramatic dinner setting with candlelight.

The livingroom is softer with a predominance of tan and black for grounding. A sophisticated mixture of Asian cabinets and tables, and a pair of French chairs were included in the room.

This sun room turns out to be everyone’s favorite. The effect of the bright walls is softened in two ways. 1) The extensive use of white. 2) It’s a monochromatic room with green being the only color.

I notice that these colors are not quite true on my computer screen. And ofcourse I don’t have a clue what it looks like on yours but hopefully you can see how delightful this bedroom is. Again, a monochromatic room of green and white that is grounded with the dark bed and nightstands. The walls are painted in Benjamin Moore “Mesquite.” The loveseat and shams are Cowtan & Tout’s “Trailing Leaf.” The framed botanical prints are brighter than many that I have seen and for good reason. They have to stand up against this bold color scheme.

Skillfully used in every room, the white paint is a relief. It is used liberally around the house so that we can enjoy the colors rather than get agitated by them.

The raspberry walls in the daughter’s bedroom appear softer because they are glazed (in a cross hatched pattern) allowing the undercoat to show through. I adore the oversized ‘flumpy’ throw pillows. There is nothing like an oversized down and feather filled pillow that keeps a dent when you punch it (rather than bouncing back at you).

Here is the outdoor loggia with it’s sensational view out to the ocean. This gives us an idea of the quality of light in this home. It is a very brilliant light so close to the equator… and it could ever so easily wash away the palest of colors. But the bright reds, lush greens and strong blacks in this home stand up to the sun and seem to thrive in it.

Images courtesy of House Beautiful

Stylish. Masculine. Bold. This is the library of Moon Stone Farm, a 15 acre estate deep in the heart of Kentucky horse country. This timeless interior was created by its owners, Mark Badgely and James Mischka, whose other life revolves around New York’s glamourous fashion couture industry. The 1920′s stone home’s interior has been done almost entirely in black and white, with bare wood floors and no window treatments. But it is rich with tradition and it’s luxurious finishes invite comfort.

Leather sofas and barrel backed chairs are from?Restoration Hardware.

Here is the kitchen with its mismatched cabinets. While it is important for designers to be aware of current trends, and mismatched cabinets are indeed something that homeowners are asking for now….the purpose of this blog is to take a look at classic, timeless design and what makes it last and last over centuries and over continents. There are certain fundamental design principles that, when used, always end up with a fabulous result. The most important one is continuity. Carrying a theme throughout a home, from room to room. This kitchen uses white carrara marble atop dark wood cabinetry. Across from that we see polished black granite counters on top of white cabinetry. The retro subway tile backsplash surrounds the room and reaches almost to the ceiling line. Mismatched cabinets are charming because they seem to say “we used to have that look, but we like this better now…so we put it all together in one room.” It feels more “vintage”…as if the kitchen has been around for awhile and has seen a thing or two.

I love this corner of the kitchen. Isn’t it charming the way the cookbooks are arranged by color?

The master bedroom continues the running theme of classic black and white, with leather and dark woods. The pillow shams are from Leontine Linens. Although monogrammed linens are very much in keeping with this strongly traditional look….I would have had it done in a paler shade, like carmel lettering on a white field to pick up the color of the leather chaise. What do you think?

The bathroom tiles are floor to ceiling carrara marble. Extremely traditional and lovely. The pair of huge antique roof finials are a great touch. I try to use a couple of way way oversized pieces in every interior I do. That unexpected size is a jolt and adds energy to a room.

This photo reminds me of my childhood. I could look at it for hours. It’s my desk top photo right now. The blanket is vintage Ralph Lauren Home.

Just to give you a feeling of the magnificent property, here’s the black painted stable, riding ring and tack room.

Photos from Elle Decor September 2009

Loft spaces intrigue many of us. One of the biggest reasons is that people have made a dwelling out of a space that once had an entirely different purpose. Was it a leather shoe factory? Did blacksmiths hammer metal into railings there? Did ladies sit at sewing machines stitch up army jackets and then leave at 5 pm and take the bus home to make dinner for their hungry families? This loft is in the historic LoDo District of Denver, Colorado. Built in 1905 it was the former warehouse for the Spratlen & Anderson grocery company. This particular 2,200 square foot space was redesigned by David Hintgen and John Moinzad with “texture rather than color… and a bit of urban sparkle.”

The overall theme of this interior is the existing architecture. Gigantic steel posts rise 16 feet or more to support monstrous wood beams. Brick walls are everywhere. Metal duct work and raw concrete have been left exposed. These elements appear in every room creating a continuity throughout. It’s a monumental space! Those handsome dining chairs are from Bernhardt. Hanging above are Schonbeck pendants made with Swarovski crystals.

Placed within that space are over scaled upholstered furniture pieces in solid neutral tones (as opposed to pattern). The designers chose to use texture alone to complement the architectural container. I agree with this choice. Patterned fabric would have competed with the brick. The eye needs a place to rest, and a solid beige sofa is a good place to do it. Large upholstered chairs and sofas provide much needed sound proofing for loud loft echoes. The high backed Suzy Wong chairs above are by Kenneth Cobonpue.

The spiral staircase came with the territory. Notice how rough this doorway to the wine cellar is. There has been no attempt to smoothe over the transitions…and it has great character!

The sliding metal door between the bedrooms was custom made. It’s a great blend with the rest of the industrial style. The hide rug and leather ottomans make a luxurious statement set against the painted brick walls and exposed beam ceiling.

The bathroom is floor to ceiling mosaic glass tiles. No one cut corners here and there is nothing skimpy about these finishes. It sends a message of stylish high end living. The sink is a custom designed 9-foot concrete trough with contemporary hardware. Very sleek and stunning. A wonderful complement to the other design elements.

The kitchen is also very clean and sleek, with pickled wood slab front cabinetry and leather pulls. Concrete countertops. Barstools also from Kenneth Corbonpue.

The red brick exterior of this 1905 building complete with original signage painted on.

Photos from Western Interiors February-March 2009

You can call it eclecticism. Or you can call it mixing but not matching. Or you can call it crazy. But whatever you call it, Vicente Wolf does this thing with the eye of a master. As many of you may know, Vicente Wolf is a Cuban born New York dwelling interior designer / photographer and renaissance man. The seating arrangement above is in his Hell’s Kitchen loft. It’s a bold combination of very diverse styles and…it works! The 19th century gilded Russian chair sits across from a mid (20th) century acrylic chair, which is in turn, having a conversation with the contemporary custom designed sofa. “You try to have a dialogue without words,” says Wolf. “A visual dialogue between pieces…It is a thinking process, not just a decorative selection. These pieces have real personalities.” And to that I would add this explanation. This combination of diverse objects works well because of a continuity of color. The taupe leather which covers the gilded chair matches the wool fabric on the sofa. The yellow gold of the chair frame is echoed in the leopard cushion of the acrylic chair. And the arrrangement is set against an expansive white floor, with white walls almost like an art gallery.

The loft space is designed to show case Wolf’s extensive photography collection, some of which are propped upon his vintage chair collection. It’s a whimsical way to show off and enjoy both things. In a sense, the white and the photos are running themes throughout the apartment. The seating arrangement above features one of the designer’s favorite things, the antique Monk’s bench from Thailand. It holds an interesting beaded neckpiece from South Africa. The metal daybed was custom designed.

Large photo on wall is by Michael Rovner, Chairs hold photos by artists such as Alexander Rodchenko and Man Ray. Ones on the ledges include Weegee, Harry Callahan, Richard Avedon.

Featured in this little nook is a 19th century loveseat and an Italian 18th century chair around a unique flea market table with a twisted base. Charming, I think. The designer often sells his own things to clients, but he is very attached to this little table and declares that it’s a “keeper” along with the Monk’s bench and his bed. The eye catching color photo above is by Damien Hirst.

Ah….the bed. “It’s like a boat, perhaps a gondola, that takes you on travels while you’re asleep. A bed should feel protective. Cradling you.” The upholstery is a mohair blend by VW Home. The soft blue gray color echoes thoughout the space in throw pillows and cushions.

Here is another fascinating juxtaposition that works well. The gilded ornate french table sits next to a classic 1960′s Hans Wegner chair. Sometimes it’s all about color. Certainly the repetition of black details within the framed photos helps to tie in the black chair.

More white. More taupe. More gray blue. More photos. And more of that wonderful “negative space” that makes us feel so peaceful. Empty space is one of the most important design elements of all.
More about that in future posts.

Ethiopian chairs. Art by Georges Hugnet, Edward Weston and Franz Kline. Buddhist ceremonial shells.

Vicente Wolf with his camera.

Photos by Vicente Wolf for Veranda Magazine July-August 2009

Notice how the dark ceramic floors / irregular white washed walls / red ethnic rugs spill over from space to space. A continuous theme flows everywhere and we love it. When I look closer at the elements within the rooms I am delighted and entertained by the local folk art and brilliant colors . This is the colonial home (called a finca) of architect Carlos Gronda. It was once a church set amongst tobacco and sugar fields. The sanctuary became today’s livingroom, the owner’s bedroom was the chapel, and the exterior gallery was the cemetery.

This area of the world was inhabited since at least 1200 BC by Indian people who lived and worked the land and worshipped their gods. When the Spanish conquistadors came they brought with them the culture of Europe. The designer is descended from those Spanish peoples though, it appears, derives vast inspiration from the indigenous pre-Spanish aesthetic and spiritual beliefs. The kitchen pictured above houses a whimsically hand painted italian chest which displays a collection of ekekos, Bolivian dolls believed to bring prosperity and good luck. To the right there appears to be a colorful collection of Madonnas and other Christian figures.

The “Tin-Cu” table was designed by Carlos Gronda and Arturo de Tezanos Pinto, partners in Usos, a furniture design studio which creates and “reinterprets” historical design in new and delightful ways. We are told that the table’s name refers to a Bolivian dance and that the colored spheres are a take off on pom poms that lamas wear. ?It’s fun, isn’t it?

This outdoor bedroom has a fascinating combination of fabrics. A Bolivian rug covers the floor. A 1970′s throw lays upon the bed. And a toile de jouy panel hangs on the wall. I love using all different reds together….it’s unexpected. Although I don’t know if I would have combined these particular ones. What do you think?

Turquoise shows it’s bright little face here and there throughout the house. It makes me smile.

I was surprised to see the design of this exterior dining room. It appears to be Swedish inspired, although that is not likely. By the way, if you like Swedish design, don’t miss this post on one of my favorite design blogs, Cote de Texas. Following is a photo of the exterior of this Spanish colonial church turned house. It’s always interesting to see how it all fits together.

Photos from The World of Interiors March 2009

This home is located in New York state’s romantic Hudson River Valley, and was created by Juan Montoya, well known architect/designer originally from Columbia. The iron canopy bed and book towers are Montoya originals. The laquered table at the foot of the bed is 18th century Chinese. The floors are polished ebonized wood. Everything ?fits within the virtual design container called “white and dark.”

What a spectacular chandelier. Perhaps some of you design junkies have seen it before, but in case you haven’t, it’s a vintage piece made of goatskin, and can be obtained through Blackman Cruz or your favorite interior designer.

The contemporary print on the wall is called Milky Way by William T. Hillman. Its large black field provides a dramatic background for the crisp silhouette of ?white porcelain lamps.

This room really takes “texture” to a museum like extreme. I am drawn into it, though…I find myself wanting to examine each unique object. The window arrangement is quite wonderful. The 19th century South Indian waterwheel forms a backdrop for two large art glass plates.

It’s always fascinating to see how a designer makes a transition from interior to exterior and visa versa. This outdoor fireplace patio is created out of granite found on the property. The pool tiles are patterned after a ballroom floor from the Royal Palace in Stockholm. Inspiration can come from anywhere!

Photos from Elle Decor June/July 2004

The wide color palette for this house was inspired by the homeowner’s collection of 19th century American landscape?paintings. The designer has taken pure straightforward colors from those paintings, put them on steroids, and spread them liberally around the house.The entry above was painted a “triumphant” blue from Benjamin Moore (Van Deusen). The pair of golden yellow chairs with rams horn arms pop out like sunflowers against a stormy blue sky. Interior curtains (called portieres) drape stylishly but, in the 18th century Europe, they provided practical warmth in old mansions.

Here is eggplant and kumquat in the livingroom. Always a phenomenal color combination! You will notice the handpainted floor medallions throughout which are hex sign images commonly found in Pennsylvania Dutch country. This bold use of folk art sets us back a couple of centuries and gives this interior more historical significance.

One of the dining chairs covered in Donghia’s Suzani Jacquard sits in front of another heavy fringed portiere. In the family room below the palette takes a turn to grass green which covers the tufted chaise. A veritable “wall of stone” ?houses the fireplace and wood niche.

The other side of the room echoes the green in its wallcoverings, sofa and chair.

It’s always interesting to see the master bedroom. Here’s a gun metal canopy bed from Hollyhock. An English chintz is framed at the head of the bed.

Photos from House Beautiful March 2009

When this still life first caught my eye, I was enchanted! What an interesting collection of exotic pieces! Ancient Chinese (Han Dynasty) porcelains and bronzes. Impressionist drawings as a backdrop. How artfully arranged! I immediately wanted to know more about the rest of the house, and the person who created the arrangement.

It turned out to be a townhouse situated on the Upper East Side of the island of Manhattan, New York. The Big Apple….but I would have sworn it to be in one of the classier arrondissements of Paris. ?”Architecture speaks to you and can tell you what it needs,” says West Palm Beach interior designer Jack Fhillips. “This place was not an English cottage or a contemporary space.” This duplex apartment just begged to be decorated as a European pied a terre. With handsome woodwork, a limestone exterior and a walk in garden entrance it had all the classic energy of Europe.

We are already seeing a consistent color scheme here. Warm white walls, contrasting deep brown wood treads, guilded picture frames. The art within the frames does not have a lot of color either. It is mostly a collection of 18th-20th c. etchings, drawings and architectural renderings.

That’s a wild bed, is it not? It’s a 19th c. piece and my hunch is it’s from France. It sits on a Savonnerie rug, which is a french weaving technique.

These are formal rooms, and not everyone’s choice of lifestyle. However, it is a beautiful example of how to create “flow” and “continuity” within a space. This is one of the basic principles of great design. Pick a theme and stick to it. This does not mean we can’t be eclectic. But eclecticism is not simply random….there’s usually some reason that an oddball choice works well. It could be about scale. It could be about color or texture. That’s a big subject and I will write more in future blog posts about how to pull off an eclectic interior.

Here we see more of the same color scheme, with liberal use of deep caramel. We are told that one of the designer’s “signature touches” is to place a desk in every room. Desks are great places for staging arrangements of things and…

this designer has a wonderful eye for doing just that. There are interesting vignettes on many surfaces combining art, books and flowers amd more. It’s a bit of eye candy to stimulate the imagination.

Photos from Veranda magazine March 2008