I recently installed this sofa into a loft in San Francisco.  The loft was your typical, super-funky, wide-open space with towering concrete walls and odd angles (see below).  I felt I needed to use big color and bold forms for the furniture to take command of the place.  This Donghia sofa from the Bond Street line with accent pillows in a royal Clarence House fabric did the trick.  More about this project coming soon.

© shane for Shane’s Studio, 2009.

One of my favorites, the Bowtie Table by Altura, retail starts at about $1375. I have selected this table a couple of times for clients. The variety in woods and veneer designs keep it fresh.  After months of buying pieces $6,000 and up, this little treasure will seems like great value.

(…)
Read the rest of Side Tables To Wrap Up Your ‘08 Projects on ‘09 Budgets

Written by Donna Sapolin

Few would take issue with the notion that an interior designer should develop a deep familiarity with the space he or she is hired to design for a client. One could even make the point that the more familiar the designer is with the space, the more readily he or she can develop ideas that can maximize its functionality and appearance. How much better then if the designer had the opportunity to visit the project site and consider its limitations and its unique strengths over many years, time‑long before ever being asked to take on its decorative transformation.

Such is the case with New York-based designer, Kathryn Scott and the 10,000 square-foot Hillsboro Beach, Florida oceanfront house that she outfitted for a Chicago couple and their two visiting sons to use as a recreational haven. Scott had quite a remarkable personal history with the site. Her grandparents had once owned a 1950s beach house there and she had spent many of her childhood holidays in it. “At one point, my mother and I even lived with my grandparents for a year,” says Scott.

When the grandparents were ready to move on, Scott’s mother dedicated herself to making a home for herself on the spectacular site. Rather than knock down the by-now aged and problem-riddled structure, she opted to rebuild it in a Santa Fe modern style and enlisted an architect to guide what ended up being an arduous, decade-long process. During that time, she would occasionally ask Scott for advice. After living in the house for 10 more years but never quite finishing it, the mother decided to sell it to a developer who then turned to Scott to create an interiors scheme. Considering her legacy of connection and involvement, no one could have been better equipped for the task.

“A designer may not ever really know the little disruptions in a house unless someone tells him or her,” says Scott. “From the new owners’ point of view, I knew all the issues.”

Kathryn’s Favorite Products on Decorati
Textile by Chelsea Editions	Fire Screen by Philip Nimmo Iron Works	Chair by Mattaliano	Labyrinth by Clarence House
Wall Covering by Paul Montgomery Studio	Daybed by Donghia	Textile by Studio E	Rug by Kyle Bunting Rugs
Vase by Otium	Mirror Frame by WP Sullivan Inc.	Writing Table by Maxine Snider	Textile by Fadini Borghi

“They didn’t want the Italian Palazzo look that prevails down here these days,” says Scott. “They were very respectful of the home’s style and the direction in which I wanted to go.” The designer took her cues from the southwest-inspired look her mother had created, which held attributes in common with the classical southern Florida architectural style characterized by Vizcaya. “Both have hand-done color-infused walls in which the tone is inherent in the material,” says Scott. At my suggestion, my mother hired the Vizcaya curator to direct the work on the plaster-like Structolite walls.” This backdrop set her on a path of selecting color-rich furnishings and the beach locale suggested a scheme that would also be casual and tolerant of the sorts of assaults that a waterside location inflicts on rooms. “This needed to be a relaxed and comfortable environment where nothing could be ruined easily,” she says.

In the living room, where the goal was to create an artful yet unpretentious setting, Scott positioned two identical Doreen sofas back-to-back, each covered in a mohair fabric composed of red threads atop yellow ones that convey a three-dimensional quality. Four Roman Thomas iron floor lamps flank the sofas, casting an even glow throughout the room. A cut velvet-covered chair, also from Doreen, echoes the pink-brown hue of the fireplace surround, located at its rear. The armchair shapes the television-facing seating area in tandem with one of the sofas, Holly Hunt’s iron- and-bleached wood coffee table, and an Astuguevieille-designed chair made of tree branches and a textured hemp seat. “This chair is an example of furniture behaving as art,” says Scott. In the far right corner, a Dessin Fournir card table with an uneven, worn-looking inlaid marble top adds a sense of age to the room.

In the media area of the living room, a Rose Tarlow bench from Holly Hunt covered in a Donghia fabric provides another seating perch while injecting additional jolts of color into the space. The antique Boussac rug, selected with the aid of carpet consultant Fred Blair, harmonizes the rooms’ many warm tones. A ceramic stool cum side table in the shape of a tree trunk epitomizes a setting in which nothing matches in any overt way,  yet all the elements work together to shape a captivating and balanced look. During the home’s construction, Scott advised her mother to commission Zeluck to create mahogany window frames to hold up to the corrosive forces at work in “a backyard that is the beach.”

The living room’s fireplace-facing seating area is anchored by one of a pair of sofas from Doreen. Alongside, Scott placed a round table from Holly Hunt between a pair of Roman Thomas chairs covered in a pumice-toned chenille. The large custom ottoman from Doreen sports a sumptuous leather dress that highlights the pink hue of the fireplace surround and the Mexican Saltillo terra cotta tile floor.

Occupying the bottom-most level of the three-story residence, this bedroom’s windows are below-grade and do not offer views of the water.

“I had to play up the room’s natural qualities of coziness and privacy to face the design challenge presented by its location in one of the home’s least desirable spots,” Scott explains.

She delicately enhanced the sense of enclosure and intimacy with the four-poster bed, a custom design derived from a discontinued Christian Liagre model and crafted by a New England furniture maker. Coral lamps that rest atop British Khaki side tables reference the ocean and extend the red palette. Warm burnt umber walls and colorful Rose Tarlow floral drapes from Doreen are counterbalanced by a quiet blue-green Macchalean wool rug. “The adjacent bathroom suggested the rug color, which is similar rather than matching,” says the designer.

Scott’s design objective was to calm the visual chaos in the dining room-a narrow space that is open to the kitchen, has views of the ocean and the pool area, is punctuated by a door at each end of a built-in serving niche, and contains a variety of colors. To that end, she kept things very simple and filled the space with a substantial Holly Hunt dining table made of a thick slab of rich walnut set atop a black steel base.

The ribbed upholstery on the Victoria Hagan dining chairs from Holly Hunt emphasize the pink tones in the hand-painted cypress ceiling planks and the diamond-shaped coral floor inserts. “When my mother moved out, she took the original Holly Hunt chandelier that hung here with her. But my client liked it so much, he bought another.”

In the upper-level master bedroom, Scott focused on achieving an airy atmosphere that would counteract the room’s narrow dimensions. In a niche located opposite a fireplace, she placed a Donghia bed with a raffia headboard and side rails and covered it with a cashmere-lined custom bedspread/blanket made of Great Plains fabric from Holly Hunt. A pair of Roman Thomas cabinets with a custom configuration flanks the bed; a Holly Hunt bench upholstered in golden suede rests at its foot. “I wanted draperies that would afford privacy without totally obscuring the view or blocking the light,” says Scott. “These are made with a double layer of herringbone-weave linen by Great Plains, so they are beautiful on both sides.” A Rose Tarlow chaise from Melrose House invites relaxation and reading.

An ideal breakfast spot, the patio located off the kitchen is but steps away from the ocean. All that lies between is a row of indigenous sea grape trees that look out onto the sand dunes and water. “When I was growing up and would visit here,” says Scott, “the plants were low and the glare was unbearable. Given the size of the sea grapes now, the light is filtered and delicate, and one can sit here quite comfortably.” Scott positioned an octagonal limestone table from Michael Taylor in the now shaded area and surrounded it with four bronze chairs that wear cushions wrapped in weather-resistant fabric from Holly Hunt Perennials.

.

Resource List

Living Room and Fireside Seating: Roman Thomas  Blair chairs, Fabric for Blair Chairs by Holly Hunt Great Plains “Thick as Thieves”,  Roman Thomas Gueridon Table, Cloudband Rug by Antique Oushak, Jerry Pair Ming Coffee Table and Zitan Low Table, Doreen Hyde Park Sofas, Fabric for Hyde Park Sofas by Holly Hunt “Cocktails Anyone in Bloody Mary”, Roman Thomas Giravada Lamps, Doreen Round Ottoman, Fabric for Custom Ottoman by Holly Hunt, ” Mandarin Red Cabria” and Nancy Corzine “ Soie Savage Bordeaux,” Doreen French Club Chair, Fabric for Club Chair by Holly Hunt “Dolce Vita in Terracotta,” Doreen Spencer Sofa, Fabric for Spencer Sofa  by Rogers & Goffigon “Cervo.”

Medea Room: Holly Hunt Rose Tarlow Chippendale Bench, Fabric for Chippendale Bench by Metaphores Arc En Ciel Striped Fabric, Holly Hunt Formations Tavolino Wood & Iron Coffee Table, Holly Hunt Saufo Chair by Christian Astuguevieille, Knollwood c1920’s Chinese Garden Stools, Doreen French Club Chair, Fabric for Club Chair by Holly Hunt “Dolce Vita in Terracotta,” Cloudban Rug by Antique Oushak.

Guest Bedroom: C. Robert Huggins Estuaire Bed, Knollwood Italianate Coral Table Lamps, British Khaki Night Tables, Cloudband Tibetan Rug by Antique Oushak, Doreen Drapery Fabric Holly Hunt “Bloomsbury Merlot,” Bedding by Marie Savettiere, Coverlet Fabric by Holly Hunt “Bouillie Ivorie,” Lining Fabric by Rogers & Goffigon “Bechamel/Cardiinal.”

Dining Room: Holly Hunt Principe Dining Table, Holly Hunt Dining Chairs by Victoria Hagan, Fabric for Dining Chairs by Stroheim & Roman “Heather Texture Cinnamon Red,” Holly Hunt Dennis & Leon Gothic Chandelier, Swordfish Candlesticks by Burden & Izett, Ltd.

Master Bedroom: Donghia Merbau Bed, Cactus Lamps by Duane, Roman Thomas Bedside Tables , Custom Red Oak Cabinet, Jerry Pair Julien Bench, Fabric for Julien Bench by Niermann Weeks “Nubuk baby Camel,” Rose Tarlow Chelsea Chaise, Fabric for Chaise by Holly Hunt “Fast Track,” Trim by Holly Hunt “Melrose House in Green Tea,” Tui Pranich Ironies Bard’s Side Table, Bedding: King Size Bolsters by Sandringham, Fabric for Bolsters by Holly Hunt “Secret Garden in Marble,” Coverlet by Marie Savettiere, Fabric for Coverlet by Holly Hunt “Secret Garden in Marble, Lining Fabric by Holly Hunt “Cashmere Camelot.”

Oceanside Patio: Michael Taylor Octagonal Table, Michael Taylor Klismos Chairs, Fabric for Klismos Chair Seats by Holly Hunt “Perennials Chameleon.”

Don’t have time to handle a custom order? Designers and homeowners alike - contact Decorati and we’ll do it for you (orders@decorati.com or 415-227-4558).

Warm wishes this holiday season,

Shane
Decorati Founder
Contact me

Kyle Bunting Rugs	Hable Construction	Michael Devine Home
Yoma Textiles	Galbraith & Paul	Sina Pearson Textiles
Holland & Sherry	Michelle Pereira Textiles	Peter Fasano
Peter Dunham	Hable Construction	De Gournay
Twill Textiles	Elizabeth Dow	Pollack
Madison Leathers	Windochine	Donghia
Peter Fasano	Allen Knight	Alpha Workshops
Jacques Bouvet et Cie	Jerry Pair	Cortina Leathers

This electric and chic hue will add interest and style to any design .

Today’s Decorati Pantone Pick…Palace Blue 18-4043.

Photograph above courtesy of Decorati Partner Peter Fasano.

Decorati’s Palace Blue Picks
Fire Screen by Philip Nimmo Iron Works	Print by Winter Works on Paper	Chandelier by Donghia
Sconce by Boyd Lighting	Wall Covering by Rinekwall	Sofa by Ironies

.

.Photograph above courtesy of Designer Melanie Coddington.

]]> http://access.decorati.com/2008/12/27/decorati-pantone-pick-3-palace-blue/feed/ http://access.decorati.com/2008/12/27/decorati-pantone-pick-3-palace-blue/ http://feeds.feedburner.com/~r/decorati/CTEO/~3/492743328/ http://access.decorati.com/2008/12/22/decorati-style-file-all-that-glitters/#comments Tue, 23 Dec 2008 02:09:07 +0000 Sian Ballen http://access.decorati.com/?p=2525

More All That Glitters picks
Artifacts International	Girard-Emilia Custom Woodcarvers	Krieger-Ricks	Shine Home
Chista	Jiun Ho	Bronzework by Cecil Humphreys	Salgado Saucier
Belvedere	Friedman Brothers Decorative Arts	2nd Ave Lighting	Robert Crowder & Company

Special Advertising Section

A well-known interior designer shuffles through a box of Joseph Noble samples-high-tech and woven fabrics that catch the light in a way that exposes titillating color combinations and nuanced patterns. An expression of pure pleasure washes over the designer’s face: “I always know what I’m going to get here, what the quality and colors will be,” he says as he flips through the layered swatches. A sense of consistency is hard to come by when the output includes 70 separate collections and close to 1000 units, yet all the Joseph Noble fabrics reflect a singular high- grade attitude and, together, capture the modern penchant for beauty juxtaposed with wearability.

NEW JOSEPH NOBLE PRODUCTS ON DECORATI
Grotesque by Joseph Noble	Iconic by Joseph Noble

“To sell my line you have to be comfortable selling both beautiful wovens and tech fabrics,” says Noble. “You have to grasp the aesthetic sensibility expressed through daring fashion mixes like a Chanel bag with blue jeans or a bracelet bought at the beach with $2000 shoes. Here at Noble, we see that tech leathers mix beautifully with mohairs and jacquards woven in Switzerland.”

Beyond their air of unpretentious elegance, there is another common thread linking the Joseph Noble items, one that reads more subtly, but wields an impact no less critical to the company’s success-the concerted way in which the fabrics cater to consumers’ ever evolving lifestyle needs and tastes. Recently, Joseph Noble veered from the all-natural fibers that were long his calling card and began incorporating revolutionary man-made fibers into his collections. “They were anathema to me when I first started and for a long time after,” says Noble, “but I opened my eyes to the non-precious manner in which people were living and recognized that I could develop new products outside of my comfort zone that could meet the criteria of a contemporary marketplace and also be fun.”

If attunement to the needs of the time is the foundation of any successful business leader, an acute editorial eye is perhaps the trait that best enables him or her to cater to those needs. By applying a high degree of discernment and selectivity to his enterprise throughout its development, Noble has been able to weather inevitable ups and downs and keep the New York City-based operation going and growing for 28 years. His Technology Leathers line the walls of Chanel’s corporate headquarters; his custom-woven chenille draperies hang at the Getty Villa; and a golden shimmering mohair is featured in Chicago’s Playboy Club. Noble continues to stock his tool box with the sort of relevant goods that give rise to beautiful and practical environments and allow designers to shape inventive spaces.

Born and raised in Arizona, design didn’t appear to be on his radar or in his blood during his youth. But an irreverent dynamic streak was, and so when he reached 21 and his friends began moving west, he headed east to New York where he landed a job with Innovations. “I was a hayseed,” says Noble. “I didn’t know that I should go to Cranbrook or RISD. But the décor arena turned out to be a great match for my soul and I had a great boss, Rudy Mayer. I worked under someone who was patient, knowledgeable, and willing to answer my questions; when that happens it becomes possible to consider launching something of your own.”

It wasn’t long before Noble was pounding the pavements of the garment district with an eponymous line of fabrics made of 100% cotton chenille, cotton velvet, and cotton duck. “My 23-year-old mindset was invincible. I was determined to create fun and useful products,” he says. “And I knew I wouldn’t fail because I was tenacious and optimistic and fast on my feet. Gradually, I learned how to listen to “no” from the businessmen in the garment district; I even got used to being thrown out of places. But so many people along the way were generous with their knowledge and, fortunately, I was mindful enough to take advantage of their support.”

MORE JOSEPH NOBLE PRODUCTS ON DECORATI
Brilliant by Joseph Noble	Pure Linen by Joseph Noble
Juxtapose by Joseph Noble	Salon by Joseph Noble

The raucous city, too, provided an ongoing spur to creativity. “I’d be walking in different areas of New York at different times of year,” says Noble. “I’d see the clothing in Soho in summer, Bergdorf’s windows at Christmastime, Central Park in spring. I found myself translating the inspiration of the colors and architecture into functional products.” From the cottons, Noble progressed to woven wools, silks, and mohairs. “Developing the business was tricky,” he recalls. “I was a small firm for a very long time. One of the reasons for this was that I had to figure it all out. I had to be in both my left and right brain at the same time, making sure that the balance sheets worked while introducing products that would challenge people and flex their sensibilities.” Using his keen editor’s eye, Noble brought forth goods that others at first found disquieting but which, soon after, “elicited an ‘AHA’”.

His innovations included a thick, ropey chenille that he piece-dyed to achieve laminate-like colors. “These were a real hit but I couldn’t get the manufacturer to deliver things on time nor get the color right on a consistent basis,” says Noble. “This was a classic example of creating something profoundly beautiful but also very difficult to maintain.” He proceeded to develop a directional soft mohair that garnered significant market support. “When you upholstered with it, it shimmered,” he says. “The colors were absolutely delicious.” Noble set his sights on growth and it occurred almost without him knowing. “I had always wanted to be a line of substance. It happened very slowly but it did happen,” he continues. “I believe one day I turned around and saw that the line had achieved the heft I was after.”

Some of that critical evolution came about with the inclusion of synthetic fibers. “Slowly over the years, I added synthetic yarns,” Noble says. “Sometimes it would be in the fill yarns and sometimes I would use the synthetics on the warp. I started out as this natural fibers snob but then became caught up in innovations with fully man-made fibers. My Technology Leathers, which are not faux leathers but rather based on microfibers, nylon, polyurethanes and new vinyls, exploded on the scene about four years ago and sold like gangbusters. With these, I chose to do something that was accessible, affordable and cool.”

9 New Collections from Joseph Noble

Noble relished the process of working with manufacturers and discussing new textures, feels and weights. With the resultant additions he could keep pace with his maturing industry without becoming trendy and disposable. Though the Joseph Noble decorative mix surely presents a challenge to the many independent reps and showrooms that represent it, things are going quite well. Today, Joseph Noble develops and manufactures both domestically and abroad and his lines are also represented internationally. With the editing instincts that Noble describes as a combination of the “visceral and immediate”, he’s likely to continue to fuel the spirit of innovation that has marked the last 28 years. But when asked to talk about the future he says:

My crystal ball doesn’t work. I just remain open. While I was growing upI never thought that I’d end up in such a cool place. I thought I’d have a dry goods store. Hmmm, wait,” he catches himself. “I guess I do have a dry goods store-the New York version of one.”

Images Coutesey of Joseph Noble Design Studio.

Lawanna of Lawanna Cathleen Design is in high demand this holiday season. As a designer with an eye for the unique and chic, Lawanna is called upon by her devoted clients to transform their homes into edgy, entertaining, winter wonderlands.

“We styled a client’s home that we designed for the holidays.  The home is classic contemporary and we wanted to add a little sophistication, drama, and edge to his home for the Winter Holidays.  We added organic- Tim Burtonesque sconces and candelabras; gold leaf wallpaper, textured walls, bold, contemporary art, faux rattlesnake and velvet, and a mirrored buffet just to name a few.”

To top off ”the look,” place a black boa, a black crow, and a gold skull among a vignette of candles, garland, and pomegranates.”

Want to know how to get Lawanna’s Look? Find it here on Decorati!

Lawanna’s Holiday Finds on Decorati
Candelabra by Gilbert Design	Chair by VW Home by Vicente Wolf	Table by Matthews & Parker Ltd.	Rattlesnake by Valtekz
Cashmere Velvet by Donghia	Sconce by Jean de Merry	Mirror by Marian Jamieson Furniture & Lighting	Wallpaper by Maya Romanoff/a>
Console Base by Ironies	Mary Pinto by Winter Works on Paper	Chandelier by Boyd Lighting	Table by Altura Furniture
Buffet by Ironies	Chair by Dakota Jackson	Artwork by Designlush	Lamp by Gulassa & Co. Inc.

Decorati just launched this cool new feature, where all our member manufacturers, showrooms, and designers can add a link to their web sites and blogs that automatically links back to their page on Decorati.  Neat!  Now you can easily see what I have for sale on my Decorati designer showcase page.  Most of my products are new, never-been-used extra fabric yardage from past projects.  Others are furniture pieces I am helping my clients sell because we replaced them.  All are top quality.  Click below.

To set up your own store on Decorati, simply go to Decorati.com, register, click on “Sell an Item” to upload products, and then in the My Account tab click on “Seller Tools” to get a button for your web site like the one above.  We offer a number of different designs.  You earn advertising credits on Decorati, too.

See the button I added to my web site too:  www.shanereilly.com

Good luck.  Kaching!

© shane for Shane’s Studio, 2008.

SILENT EXCHANGE

Video Still: archival pigment print, resin, mixed media on wood panel, Edition of 4, 30 X 40, 2005

By Stacey Donovan

230,000 years ago, the form of a woman was found to be carved into a 1.4 inch volcanic red pebble, arguably representing the world’s first work of art.

Perhaps more familiar to many of us than this Stone Age image are Edgar Degas’ female bathers, painted in oils on canvas in the late 1800s.

Degas’ exquisite images remain ever memorable, yet the paintings seem almost one-dimensional in comparison to what 21^st Century technology offers, which has allowed multi-media artist Jane Martin the opportunity to create a series of masterful and unique works that place the nude female form in the midst of nature.

SHELTER-SKY

Video Still: archival pigment print, resin, mixed media on wood panel, Edition of 7, 30 X 30, 2005

*Winner of the the 68^th Annual Guild Hall Museum Artist Members Exhibition, East Hampton, New York

ON WINGS, LIFTED II

Video Still: archival pigment print, resin, mixed media on wood panel, Edition of 7, 30 X 40, 2008

The result is a mysterious interplay between form, content, and medium. Martin’s use of a resin coating over her video stills gives them an evocative, enticing glow, inviting the viewer in and making them wonder: Is it a painting? A photograph?

NO CLEAR LIGHT, NO CLEAR SHADOW

Video Still: archival pigment print, resin, mixed media on wood panel, Edition of 4, 30 x 30, 2008

RECKONING II

Digital C-Print, Gallery Mount on Dibond, Edition of 5, 42 x 63,2008

The video stills embody 1/30^th of a second of video footage culled from countless frames, what Martin calls “the moment between moments,” and what the viewer recognizes as a decidedly original art form in a world of often recognizable art.

CLOSER FAR AWAY I

Video Still: archival pigment print, resin, mixed media on wood panel, Edition of 4, 42 x 55,2005

Jane Martin’s Solo Exhibition, ‘Reckoning and Rapture’, at Guild Hall Museum in East Hampton, NY, can be viewed through January18, 2009.