I have a loft-like space (a large living/bedroom above the garage) near the Chesapeake Bay. The room has high vaulted ceilings (about 10 feet, though of course the peak is higher), lots of windows, and board and batten extending to 7 feet on the walls. The space has windows on all sides, so gets plenty of light. There is a desk/bookcase unit that divides the space into living and sleeping areas. The furnishings are going to be low and modern.

The space, under construction

In terms of color, I was thinking of a soft grey/blue for the 7ft board & batten section of the walls (something along the lines of Boothbay Gray from Benjamin Moore) and a deeper color above that extending up across the ceiling (perhaps Benjamin Moore's Hale Navy). The color would extend throughout the space (only the bathroom will be different). I will also need an accent color for the central bookcase/desk and the trim.

Alternatively, if we decide not to paint the ceiling, perhaps the Hale Navy for the central bookcase/desk. I would love some more color options for the walls, trim, and central architectural component.

Is this a workable scheme? Or would a dark ceiling feel too oppressive? Do you have any color suggestions? -Sarah

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For a nautical theme that isn't too cheesy, she could pair blue gray walls with crisp white trim and cheery red accents.

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From Julie:

Houseguests, anyone? We love this idea, spotted on Apartment Therapy: Artisan Shepherd’s Huts. Paulus Smith has been a specialist joiner for over 25 years, working on listed and historic buildings. He now spends his time creating meticulously crafted shepherd’s huts from his medieval barn workshop in Sussex; wheels are cast from molten iron using original patterns, floors are solid oak, and all fittings such as door handles and window fastenings are high-quality reproductions. Can be used as garden retreat, spare room, studio, or office. Prices start at about £11,000; go to Artisan Shepherd’s Huts for more information.

Back in January 2006, we wrote a post entitled Eight Questions to Ask Before Hiring an Interior Designer. The eight questions were part of an article in Home magazine and we linked to the magazine.

We like to link to an article and highlight several questions in our post, rather
than list all the questions. That way people go to the linked site and we both benefit from the traffic. One of our frustrations looking back at some of our posts is that not all articles are archived. If you click on the link above, you land on the magazine’s website, but it’s the June 2008 issue and the “Eight Questions…are gone!

It’s been awhile, so, because of inflation, we’ve come up with our own eleven questions:

1. Do I like the designer? Can I spend a lot of time with him/her? Good communication is a must. Working with an interior designer involves some give and take. You will share ideas, and the designer will contribute insights and advice based on his or her talents, knowledge and experience. Depending on the scope of the project, you could be working with your designer a couple of weeks to many, many months.

2. Do I get that he/she is trying to understand me by asking a lot of questions? The key to success is really getting to know you in the early stages and how you and your family use your home and your interests.

3. Does the scale of my project really warrant an interior designer? Even if you think you could accomplish the redesign, do you have the time and inclination? You need to be realistic about how much money you are willing to spend. Include in this estimate the cost of all raw materials, new furniture, labor for installations, and possibly a designer.

4. How do you charge for your time? Designers may charge by the hour, which can be anywhere from $35 to $300, and these costs can quickly mount up. Others may offer a free first consultation, and then quote you a flat fee on the basis of your discussions. Some may charge for the first meeting in advance and then a fee for the whole project based on the estimated hours. Some may bill you for hours used each month. Some may bill each month a level amount. Some may get a designer discount and pass some or all the savings on to you. Whatever the basis on which your interior decorator is paid, make sure you both agree on the budget.

5. Can we accomplish the redesign and stay within my budget?

6. I can’t decide if I like the design. Do I still have to pay for it? “Yes! When you decide to hire an interior design firm, you have decided to trust the design recommendations of that firm.�

7. Are you available for conversation about changes and fine tuning? A good designer knowing you may present you with several options and give you the choice of one or the other. ASID recommends: “Minimize changes to your plan. Each part of the design will affect the whole. Changes or special requests can require any number of adjustments that will add time and expenses to your project.

8. My friend doesn’t like your ideas. Why shouldn’t I listen to her/him? If you have to ask this question you should probably have hired your friend.

9. Can I go to the local Design Center? With or without you? Of course, just let them know that you are working with a designer and his/her name.

10. What if a piece of furniture comes damaged? The furniture store should inspect the furniture when it arrives. The designer should also inspect the furniture before it goes to the client. If something is missed or it breaks when it is used, the designer and the furniture store will work together with the vendor to resolve any problem.

11. How long does it take to receive things, once they are ordered? Here’s a guideline (though individual vendors may vary):
Upholstered Furniture: 10-16 weeks depending on vendor.
Casegoods – Chests, bookcases, tables, hutches, etc.: 8-12 weeks depending on vendor.
Window Treatments: 6-8 weeks depending on size of job
Accessories, Lamps, Art Prints, Silk Flowers/Plants: 4-6 weeks or less.
Rugs: If machine made, 2-4 weeks. If hand knotted, 3-4 months
Wallpaper/Fabrics: 3-5 days.

Several websites contributed to this list of questions and their answers:

Apartment Therapy LA Good Questions: Hiring an Interior Designer
ASID Working with a Designer
Nancy Werneken Interior Design Frequently Asked Questions
Lynle Ellis Designs Before You Hire an Interior Designer
NWSID Why Hire an Interior Designer?
CCIDC Frequently Asked Questions About Certified Interior Designers
Directory M articles Interior Decorator

Bev & Mike
Landfair Furniture + Design Gallery

I really went gaga over legendary magazine editor Mary Jane Pool's apartment that was featured in the March Domino. I thought it was such a beautiful mix of graceful antiques, 20th century pieces, and gorgeous fabrics and wallpaper. So, while I was reading Tiffany Taste(aka Table Settings of the Rich and Famous) the other day, I came across a chapter on Ms. Pool and her style of entertaining.

According to the book, Ms. Pool has a fondness for all things Venetian (this is confirmed by the Domino article, which notes that Pool has a decent sized collection of 18th and 19th c. painted Venetian antiques). For a summer lunch, Ms. Pool would likely start with a salad of shredded celery, mushrooms, Gruyère, white truffles, and a vinaigrette of olive oil and balsamic vinegar. The main course might be a pasta gratinée of green tagliarini, béchamel, prosciutto, and tomato. For dessert? Chocolate twigs or truffles, grapes, or strawberries accompanied by mandarin orange tea. Oh, and no wine- "nothing dangerous"- with lunch, only San Pellegrino. After all, when you're an editor of a magazine, you have to stay on your toes!

What I enjoyed most were the photos of Pool's Sutton Place apartment circa 1986. Author John Loring wrote that Pool "knows as much as anyone about the domestic pleasures that make life sweet." I wholeheartedly agree.


What a sumptuous mix of yellow satin curtains, yellow walls, and red satin(?) chairs. In fact, those chairs appear to be the same ones that were featured in Pool's Olympic Tower apartment, although at that time they were covered in orange cotton pique. The mirror is 18th c. Venetian. And notice the pedestal table, which Pool still owns today (see image of Pool at top). According to Tiffany Taste, the base is in the shape of a neoclassic Italian urn.


Another Venetian piece- this time an 18th c. painted commode. The tea service is Royal Berlin, and the silver Tiffany basket is filled with chocolate twigs.


Tiffany's classic "Chrysanthemum" flatware and "Nymphalidae" dessert plates adorn the table. Strawberries are nestled in a Tiffany sterling basket.

(Image at top of Pool- photographer Annie Schlechter)

Photo by Scott Francis

Michael Schaible's stunning retreat on the North Shore of Mexico's Lake Chapala. Amazing.

Photo by Durston Saylor

The very glamorous New York apartment of the very glamorous Geoffrey Bradfield. It is worth a look just to see Mr. Bradfield in his pastel pink suit!

Photo by Mario Ciampi

The flat in Venetian Palazzo owned by Belgian designer Axel Vervoordt. There is so much in this article, I can't even begin! It is a breathtaking masterpiece, and this piece alone is worth the full cover price.

Photo by Scott Francis

The Mid century Yacht design of Mitchell Turnbough. This is a nice break from the unreachable over the top luxury yachts you typically might see. It is so well done in a more understated way, and something that takes me back to my "sailing" days. There is something reminiscent here of the yachting days of the early 20th.

Photo by Derry Moore

The Spanish country house of Jaime Parlade at Alcuzcuz in Andalusia. There were so many beautiful photos here, it was very difficult to just choose one "teaser". I thought this bedroom was a very personal space that let Mr. Parlade's personality shine through. It is a smile producer.

Photo by Leigh Brown

The Sonoma County Craftsman Hillside Farmhouse of Jacques Saint Dizier. The interiors keep to the Craftsman roots without becoming expected. Loved it!

Photo by Durston Saylor

The Manhattan apartment Of Francine Coffey. A decidedly different look from the other choices for this issue, it is a very boldly colored Neoclassical design she refers to as "nouveau Federal". Hmm. There is alot of plaid. In this particular photo I could be sold. I would love your thoughts on the rest of the apartment!

Photo by Mary E. Nichols

The Pacific Heights home of Banana Republic President, Jack Calhoun. I thought many of you would be very curious to see this home!

And if this weren't enough, there are several captivating hotels from around the world...each very different and unique:

Photo by Tim Beddow

The Taj Mahal Palace and Tower. The Ceiling!

Photo by Scott Francis

Huntley Santa Monica Beach. So very cool.

Photo by Erhard Pfeiffer

The Ritz-Carlton, Bahrain Hotel & Spa. Ready to go?

There are, of course, all of the extras that you would normally expect from AD.

On top of that you can see the first four homes of the Open Auditions which AD began in October of 2007. Over the next seven months, the AD panelists saw over 1000 projects and have narrowed the field to 50 that have been chosen for publication.

I may be taken in by the quantity of very good stuff in this issue, but it also seems that the photography is fresher, brighter. Scott Francis, I have been informed, has been shooting for AD for many years and has a number of projects photographed for this issue. Very beautiful photos all around.

I just know I was very pleasantly swept off my feet by this issue. I think you will be too. Let me know what you think!

Known for his spare interiors as well as his use of humble, natural materials, Jean-Michel Frank is one of those designers who is often credited by contemporary designers as being a major influence, yet he has remained a bit of an enigma. Perhaps this was due to his all-too brief career and life, having committed suicide in 1941. Or maybe it was because some critics labeled Frank a society decorator. Whatever the reason, critical study of Frank's career did not begin in earnest until the 1980s with a monograph written by Leopold Diego Sanchez. Unfortunately, this book is a bit scarce as well as cost-prohibitive. There is, however, a new work on the design legend that is not only quite comprehensive and informative but will probably prove to be yet another authoritative work on Frank.

Jean-Michel Frank: The Strange and Subtle Luxury of the Parisian Haute-Monde in the Art Deco Period (Rizzoli) initially took shape as the doctoral thesis of Pierre-Emmanuel Martin-Vivier, a historian and authority on twentieth-century applied arts. The book provides the reader with a biographical account of both Frank's life as well as an in-depth look at his career as a designer of both spaces and furniture. While Frank's success was certainly guided by his talent, it was also nudged along by Frank's fortuitous friendships with the French and European beau monde, something which is explored in the book.

But Frank certainly developed a style that was all his own, and this is really the heart of this book. Much attention is given to Frank interiors, including his work for Jean-Pierre Guerlain, Andre Meyer, Templeton Crocker, Cole Porter, and of course Charles and Marie-Laure de Noailles. Today, Frank seems to be recognized more for his furniture designs than his interiors, so the text and photographic record of Frank's tables, lamps, and chairs are a major asset of Jean-Michel Frank. Also, Frank's career was characterized by collaborations with other gifted designers and artists, most notably Adolphe Chanaux, Alberto Giacometti, Christian Berard, and Emilio Terry, and this work is given due diligence in the book.

I'll admit that I have not yet finished this book; I'm taking my time reading the text, and I find myself getting lost in the gorgeous black and white photos chronicling Frank's work. But so far, I do feel that I better understand the genius and the style of this sad artist, and for this alone I highly recommend this book.



The Sitting Room in the penthouse of Templeton Crocker, San Francisco, 1929. The walls and ceiling were covered in squares of parchment, while the armchairs were upholstered in white leather. One of the Parsons-style cocktail tables was covered in brown shagreen, while the other was sheathed in patina bronze.


The Music Room in Cole Porter's Paris apartment. Although Armand-Albert Rateau was responsible for the paneling (silver lacquer at that), Frank designed the furniture.


Image at top: A Fire Screen covered in straw marquetry, c. 1924. The cabinet at bottom was covered in parchment, c. 1931.


A set of parchment nesting tables and an X lamp made from terra cotta.

There has been much talk lately about the fate of Brooke Astor's apartment. I think many of us are on pins and needles waiting to see if the new owners (whoever they might be) will destroy the famous interiors, preserve them in all of their glory, or simply refresh them. But closer to my home there is another prominent house I'm worried about: the Goodrum House located on West Paces Ferry Road in Atlanta.

Built in 1929 by famed architect Philip Shutze, the house is considered to be a prime example of English Regency architecture. Before it housed its current tenant, the Southern Center for International Studies, the house was a private home. While growing up, I always heard it referred to as the "Peacock Mansion" because the homeowner kept peacocks on the estate. (In fact, I remember on a few occasions going to school and seeing traffic held up because a peacock had gotten loose and was wandering the streets!) There were many other wild stories associated with the house which I won't print on my blog, but needless to say they only added to the home's allure- at least to this wide-eyed gal.

And now the Southern Center is selling the home. My biggest fear is that whoever buys the Goodrum House will rip it asunder and remove anything original and unique to the home. Believe me, Atlanta is losing its beautiful old homes at an alarming rate. The whole thing upsets me, so perhaps I should put my money where my mouth is and join the Preservation Center. In the meantime, I wanted to show you a few photos of this beautiful home. They certainly don't make them like they used to. I just hope whoever buys this home realizes it.





A few shots of the entryway. Is that a banister or what! Wouldn't you be thrilled to have that in your home?




The dining room is famous for its glorious Chinoiserie mural painted by Allyn Cox.


The ceiling of this octagonal breakfast room was painted by Athos Menaboni. The effect is like being inside of a bird-cage. Menaboni also painted the niches as well. Can you imagine a better way to start your day than by having a cup of coffee in this room?



The living room. Although it's sparsely furnished today, the room has real potential. Just look at the molding and carvings.

I've recently become enamored with a designer whose work is no longer featured on the pages of shelter magazines. I read or hear very little about him these days, which probably adds to the mystique. I'm sure many of you are familiar with this designer, although to me his work is quite new. (Back in his heyday in the 1980s and 90s, I was preoccupied with homework and school activities, preventing me from focusing too terribly much on the design world.) Of course, the fact that he died almost 13 years ago is part of the reason why this designer's work is no longer at the forefront of our design consciousness, and it's really a shame because this designer- Richard Lowell Neas- created rooms that were stylish, sophisticated, beautiful, elegant, and timeless.

I first became familiar with Neas' name when I found out that he was responsible for Brunschwig & Fils' "Bibliothèque" wallpaper- one of my all-time favorite wallpaper designs. As Neas was an accomplished muralist and trompe l'oeil artist, it's no surprise that he would design such a charming print. Then I learned that Neas gradually made his way into a career as a decorator. And what decorating he did!

I've tried to collect a few images of his work, and in some ways it surprises me that I'm so taken with these very traditional rooms. While I am a traditionalist at heart, I do like to mix in some modern pieces- it's a bit like a design checks and balances system. I think that what has drawn me to his work is the fact that Neas created rooms that were completely livable. His New York projects seem to capture the spark that is so evocative of that city: urbane, sophisticated, and cosmopolitan. Yet there's nothing cold or stiff about these rooms. Neas imbued his projects with a softness and warmth that was so inviting. Perhaps it was the collection of unique and striking furniture and objets. Or maybe it was the mix of prints and patterns that was so pleasing to the eye. I actually believe it was a combination of all of the above.

I think Neas described the success of his rooms perfectly when he quoted his friend Annette de la Renta, "some of the most wonderful rooms are ones that seem as though all the objects were inherited from relatives with different styles and tastes- yet everything fits together magically." And this, to me, is the magic formula- and one that makes Neas' work so appealing.


An image of Neas' tiny Manhattan apartment. Note the trompe l'oeil swagged curtain at the top of the mirror. I just love this room.




Two photos of a Manhattan apartment that Neas designed around 1990.




I believe this dining room and bedroom were part of Neas' home in Charente, France. Neas certainly created environments that were appropriate for their surroundings.


A close-up shot of the "Bibliothèque" wallpaper.


Nina Campbell used "Bibliothèque" in her home.

Image at top: Richard Lowell Neas with a chicken at his home in France. (This image and those of his French home courtesy of House Beautiful, 2001. Images of the Manhattan project from HG, September 1990.)

Neas/de la Renta quote from the New York Times, "Home Design; Objects of Much Affection" by Carol Vogel, October 21, 1984.