Living and Dining Room Concept Board

Designing a client's house is challenging, but designing one's own space is even more so. All of usual the constraints a client gives - the time frame, the budget, and the functional requirements, are up to oneself to set. Perhaps most challenging for me is narrowing down the possible directions in the presence of so many design schemes brewing in my head. As for the functional requirements of this space, it needs to serve as both a living room and a dining room. It will be used to entertain guests for soirées as well as relax by oneself on the increasingly infrequent quiet Sunday afternoon.

So here's a little peek into my design process:

Finding a Starting Point

I lived with the space for a bit to find its spirit and discover the kinds of feelings I want the space to evoke. I found its light enchanting and couldn't help but design a room that capitalized on this strength. Yet I wanted the room to feel engaging and grounded through both its pieces and palette.

The Backdrop and Palette

The chosen backdrop is a luminous but sophisticated pale pink, Setting Plaster by Farrow and Ball, reminiscent of the sun-drenched villas of Italy. Against it, I'll use a largely harmonious palette of blush, cream, taupe, brown, and some unique colors in between. Spaces that are too harmonious can feel dull and ungrounded, so I'll punctuate the design with black and parcel gilt pieces such as the Chinese screen and Regency chairs. This combination will create an elegant and bright room that will both glow during the day and make me and my guests look wonderful during the evening.

In addition to the paintwork, I'll be installing period-inspired mouldings and trim throughout to bring interest and presence to the space. Underfoot I'll place rush matting. Its olfactory attributes will enliven guests' senses upon entering while its strong textural properties will sharply contrast with the delicacy of the painted and polished furniture.

The Pieces

The living area will be composed of the Howard-style sofa, behind which I'll place the Chinese lacquer screen. Since these are the most substantial pieces, I'll place them at the end opposite where one enters, thereby diminishing their proportions.

To complete the seating group, I'll place the two Maison Bagues tables in front of the sofa and flank the sides with the pair of Louis XVI chairs, upholstered in the Rose-colored Pierre Frey velvet. To keep the room from getting too leggy, I'll use a skirted table (yes, I am bringing these back!) on one end of the sofa.

The dining space will use the Regency table and chairs, which link to the Chinese screen. The corresponding wall will take 18th C. French engravings, enlivening what could be a somewhat severe composition.

The Roman statue (I'll have to use a later piece due to budgetary considerations) will soften and bring interest to the most needy corner of the room. The Swedish consoles will line either side of the to-be installed mantle to create a pleasingly symmetric arrangement while adding dimensionality to a very long wall.

I chose a colorless George III-style chandelier to bring an ethereal quality to the space and reflect as much light as possible.

Now I'm on to sourcing pieces and refining the concept while I simultaneously start my next room.

Stay tuned.

Sources:

1. 18th C. French hand-colored etchings by Louis François Cassas

2. George III-style chandelier

3. Irish George III Carved Giltwood Mirror

4. Pair of Louis XVI fauteuils

5. Chinese Parcel-Gilt Black Lacquer Screen, Early 20th C.

6. George II Burled Walnut Chest of Drawers

7. Pair of Late 18th C. Swedish Consoles

8. Stratford by Kingcome Sofas

9. Skirted Table in Brunschwig & Fils Fabric

10. Maison Bagues Pair of Gilt Brass Side Tables

11. A Roman Over Life-Size Marble Statue of a Draped Woman, 1st C. AD

12. An English Regency Mahogany Breakfast Table, Circa 1810

13. A Set of English Regency Dining Chairs

14. Rush Matting Available in custom and larger sizes at Rush Matters.

15/16. Pierre Frey Linen Velvets

17. Scalamandré Sam Ikat

18. Kravet Velvet

19. Pierre Frey Silk Moiré

20. Brunschwig & Fils Les Touches

Projects

Every project starts somewhere...An inexcusable dangling bare bulb where a chandelier will soon hang

If the work I've been posting recently feels overly lofty, you'll be happy to hear about my new feature, simply titled Projects. I'll be chronicling my own design projects, from their very earliest inklings to full realization. You'll get a glimpse of what goes into conceptualizing a truly beautiful space, the refinement of a design, sourcing of furniture and supplies, and the process of installation. If you can't be bothered with the nuts and bolts, worry not as I'll still be posting beautiful spaces.

So we'll start with something nearly hopeless: my own rental apartment. I just moved into this place and as clichéd as it may sound, it really is a blank canvas. Its strengths are excellent light, a terasse with views of some lovely 19th C. buildings, good room volumes, tall ceilings, and a few bits and pieces of the original late 19th C. finishes. On the downside, the parquet floors vary in design and color from room to room, most of the original mouldings have been removed, and all of the rooms have just a single, dreadful modern window.

Significant construction, such as replacing the windows or staining the floors, is out-of-scope as this is a rental. So I am working with the apartment's fundamentals and am looking forward to a glorious and challenging project.

A Piece of Hambleden

If you want to take a look at or possibly even own a a small piece of a seminal designer's work, this is your week to do so.

More than any other project, this drawing room at Hambleden Manor shows the influence of Italy on John Fowler's work. In the 1950s Fowler went to Italy and toured several of Palladio's villas. After returning to England, John was able to pair his inspiration with a new client's heritage. John gained his first Italian client, Maria Carmela, Viscountess Hambleden in 1956. Together with Lady Hambleden, John created an Italian atmosphere in this Buckinghamshire manor.

Although not totally apparent from this photo, the room was initially painted quite a bright pink. Lady Hambleden found the color too strong and asked John to revise the scheme. Yet John refused, saying "If you start with such a pale shade it will fade to a terrible yellow." Lady Hambleden acquiesced and the room eventually faded to a lovely apricot as seen here.

Sadly, the room has now been dismantled and the contents will be sold. Colefax and Fowler, Then and Now is happening this coming Wednesday at Christie's in South Kensington and nearly all of the contents of this room are coming up on the auction block, including:

A set of three Italian giltwood armchairs, third quarter 18th C. Est. £5,000 – £8,000.

A Murano glass chandelier designed by John Fowler in 1955. Est. £10,000 – £20,000. Notice the faded apricot walls?

A pair of Regency giltwood, ebonised and bronzed large convex girandoles, circa 1810. Est. £20,000 – £40,000.

A near pair of green velvet banquettes. Est. £300 – £500. Sure, the upholstery is tired, but they're still wonderful. Images above from Christie's. 

Top image from John Fowler: Prince of Decorators by Martin Wood. 

Easton Gray House

This drawing room at Easton Gray House in Wiltshire is one of my favorite rooms by Tom Parr. There's a lot of subtlety and detail from the layered blues used on the walls to the stenciled floor. The black and white engravings of Rome look particularly striking against the wall color. Their frames are tied to the three black Japanned tables and fire screen without being too obviously coordinated. The vases above the pedimented door are a nice touch, adding dimensionality and interest.

Parr, who passed away last year, initially worked with David Hicks and later became a partner in Colefax and Fowler in 1960. He is largely credited with turning around the company's finances and he remained involved until his retirement in 1996. I hadn't seen a lot of his work previously as he has been somewhat overshadowed by his legendary predecessors. However, Parr struck his own tone and in his time contributed some truly impeccable rooms to the Colefax and Fowler portfolio.

Images from The House & Garden Book of Classic Rooms.

Small Space Big Impact

Perhaps because I live in a rather small rental, I was particularly intrigued by this West London drawing room, whose designer is unknown. The space is compact yet the scale of the pieces is anything but. A large portrait, substantial Asian porcelain pieces, and massive gilt candle sconces, all vie for attention. However, the result somehow feels balanced and proportioned. The blues throughout the room make the space feel thoughtful and designed rather than haphazard. For all of those who struggle with how to make a rental great, this space inspires: notice the plain wall color and simple window treatments, the former often off-limits to renters and the latter hard to invest in for a temporary stay. Great pieces and a sense of balance complete this room without the need for additional elements.

Image from Interiors by Min Hogg.