Work-in-Progress

A different sort of post today…

Most of what we want to see are endpoints. We like conclusions and clear results. Nobody watches the making-of film before seeing the actual film and similarly, most designers only share when a room or home is complete. With several in-progress multi-year projects, I’ve found it challenging to get even a single one out there. To make matters worse, my perfectionist tendencies immediately cast shadows over my in-progress designs. 

There’s nothing unique about this struggle; nearly every creative person has struggled with getting in the ring. Even putting work out there after years of success can be daunting. When one puts work out there you expose yourself. You are vulnerable. Creative work inevitably has a personal element that’s a reflection of one’s values, beliefs, and point-of-view.

But putting your work out there, even in a work-in-progress state, opens up the possibility of a conversation. The conversation enables us to connect. And connecting with people makes your work matter. 

Murmurs from the Workroom

While the installation for this project is still several months away, I'm sharing a sneak peek of some pieces I've been bringing together for an upcoming project.

The first is an Edwardian-era Howard and Sons type armchair that's been refreshed and reupholstered in Dutch Stripe, from Jasper's Michael S. Smith collection. I couldn't be happier the way it turned out. It's headed to storage for the time being but I look forward to its arrival soon. 

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.