Measuring Up to the Job

by Shannon Kirby

It seems in every one of our projects we are asked many questions about the "right" height or placement of lighting and art.  There really isn't one specific answer but I do follow guidelines so things are comfortable and pleasing to the eye.  Please use these as a starting point not just the hard and fast rules.

Chandeliers look best 33-36" above the table no matter the ceiling height.

The formula to begin to know what minimum size of fixture is best for your space is to take the width of the room in feet times 2 and convert this number to inches.


Wall sconces should be no less than 68" off the floor.  If they are in a hallway and have shades be sure they are high enough so the light doesn't shine directly in someones eyes.

Fireplace mantels vary widely as do the recommendations of where to add sconces.  The 68" above the floor is a good place to start.  If your fireplace is very wide they should be hung over both ends not in the wall spaces beyond the mantel.


Bedrooms pose their own set of issues.  The height of the swing arm light in the photograph is a good starting point.  The headboard height will really determine where it should be hung.  You will have to sit on the bed too to make sure it isn't shining in your eyes.


The base of the wall lamp should be a minimum of 8" from the headboard.

If you want to place fragile things above your bed be sure to use museum glue or even a glue gun so there is no  chance of something falling on your head.

If you hang art or a mirror above your bed be sure to use earthquake hangers which securely hold the wire through an "s" channel.

Hanging art is very personal and what is best to remember is the overall shape of a group of art.  In a living room if your sofa is low and long I would suggest you hang them low and in a row horizontally.  Hang 10" above a sofa so elbows and heads don't hit.  Sit in your room and look at the placement and height of the art- it should be easy to see without stretching your neck.  Hallways are where people walk so they should be at eye level but not hung by someone 6 ft 6 inches tall!

Mirrors above a fireplace are popular but can be tricky.  They should begin 8" above the mantel.  If you cannot see yourself in the mirror and only see the ceiling when standing in front of the fireplace I would suggest hanging something else.  If it looks too small over the fireplace it is!  Now it is possible to angle the mirror down into the room by increasing the length of the wire to the desired pitch but don't angle too much or you will see everyone's feet.

If you want to do a group it is best to lay it out on the floor first.  Once you have an arrangement you like you can use sheets of wrapping paper or other long paper on a roll to outline each piece and where to hanger should be.  Then just  tape the paper on the wall, hammer in the hangers where you marked, remove the paper and hang your art!



photos from House Beautiful 11/2001

2010 Art Exhibits in San Francisco...Richard Diebenkorn

By innerspace
Two San Francisco art galleries are presenting landmark exhibitions of paintings by Richard Diebenkorn and Helen Frankenthaler during April, May, and June 2010.


Richard Diebenkorn | Paintings and Drawings from the Collection of Christopher Diebenkorn at the Paul Thiebaud Gallery opens on April 20, 2010 and runs until June 26, 2010.


Instead of the gestural techniques of the Abstract Expressionist and Color Field painting movements of the 1950's, Richard Diebenkorn (1922-1993) developed a more controlled style, where the geometric lines accumulated during the drawing and painting process remain visible.


In addition to other modern artists and his academic colleagues, Diebenkorn's residential location influenced his work. Here are some highlights from the show, which not only features abstract works from Diebenkorn's earlier Sausalito (1947-1949), Albuquerque (1950-1952), Urbana (1952-1953), and Berkeley (1953-1966) periods, but also from his later Santa Monica (1966-1988), and Healdsburg (1988-1993) periods. 

Sausalito...

Richard Diebenkorn | Untitled | 1948 | Watercolor, Ink and Paper Tape on Paper | 20 1/4 x 14 7/8 Inches

photo Paul Thiebaud Gallery


Albuquerque...

Richard Diebenkorn | Untitled | 1951 | Gouache on Paper | 40 5/8 x 36 Inches

photo Paul Thiebaud Gallery
 

Urbana...

Richard Diebenkorn | Untitled (Urbana) | 1952 | Ink and Gouache on Paper | 13 1/2 x 11 1/2 Inches

photo Paul Thiebaud Gallery

Berkeley...

Richard Diebenkorn | Cityscape #4 | 1963 | Oil on Canvas | 47 x 53 3/4 Inches

photo Paul Thiebaud Gallery

Santa Monica...

Richard Diebenkorn | Invented Landscape | 1977 | Gouache and Crayon on Paper | 16 3/4 x 13 7/8 Inches

photo Paul Thiebaud Gallery

Healdsburg...

Richard Diebenkorn | Untitled #10 | 1991 | Crayon, Graphite, Synthetic Polymer, and Pasted Paper on Paper | 22 x 39 5/8 Inches

photo Paul Thiebaud Gallery

The exhibition also features representational figural drawings, still life drawings, landscapes, and cityscapes from the different phases of Diebenkorn's career. 

Which style and 'location' do you prefer? 

2010 Art Exhibits in San Francisco...Helen Frankenthaler

By innerspace
Two San Francisco art galleries are presenting landmark exhibitions of paintings by Helen Frankenthaler and Richard Diebenkorn during April, May, and June 2010.

Helen Frankenthaler | Paintings 1961-1973 at the John Berggruen Gallery opened on April 1, 2010 and runs through May 22, 2010.

Helen Frankenthaler (b.1928), who was influenced by the techniques of Abstract Expressionist painters such as Jackson Pollock, Willem de Kooning, and Mark Rothko, led the Color Field painting movement in New York during the 1950's.  She developed a gestural painting technique that, by pouring paint over an unprimed instead of a primed canvas, allowed the paint to penetrate and stain the surface.

Here are some highlights from the show, which features rarely exhibited paintings from the collections of the artist and other private collectors. 

Helen Frankenthaler | Provincetown l | 1961 | Oil on Canvas | 92x101 Inches

Photo John Berggruen Gallery | San Francisco CA 

Helen Frankenthaler | Pivitol Square | 1962 | Oil on Canvas | 56x62 Inches 
Photo John Berggruen Gallery | San Francisco CA 
Some of the earliest paintings in the exhibition include Provincetown l from 1961 and Pivitol Square from 1962.

Helen Frankenthaler | Gulf Stream | 1963 | Oil and Acrylic on Canvas | 86x65 Inches

Photo John Berggruen Gallery | San Francisco CA

Helen Frankenthaler | Mountain Pool | 1963 | Acrylic on Canvas | 48x78 Inches

Photo John Berggruen Ballery | San Francisco CA

Helen Frankenthaler | Orange Underline | 1963 | Acrylic on Canvas | 55x71 Inches
Photo John Berggruen Gallery | San Francisco CA

 Helen Frankenthaler | Interior Landscape | 1964 | Acrylic on Canvas | 104x92 Inches
Photo John Berggruen Gallery | San Francisco CA  

The San Francisco Museum of Modern Art loaned Interior Landscape from 1964 to the Berggruen Gallery for the exhibition.

 Helen Frankenthaler | Coalition | 1968 | Acrylic on Canvas | 83x75 Inches

Photo John Berggruen Gallery | San Francisco CA
According to art scholar, Barbara Rose, Coalition from 1968 is 'Among the finest paintings produced anywhere in the late sixties'.
 

Helen Frankenthaler | Moveable Blue | 1973 | Acrylic on Canvas | 70x243 Inches

Photo John Berggruen Gallery | San Francisco CA 
But,  Harold Rosenberg, a New York art critic and proponent of the Abstract Expressionist movement, described Frankenthaler's post-1960's work as 'Mere interior decoration'.

What do you think?

Choosing Natural Stone

How to choose the correct natural stone for your project

by Jan Gunn

Granite Slab Counter Top

Jan Gunn Designs / photo by D. Moore

This is a question that is often asked by homeowners when starting a renovation project. Here is my advice on how to choose the perfect counter top for your project.

The right choice of counter top material depends on whether we're talking about an often-used kitchen or a bathroom. In general, granite is the hardest and most impervious product to choose.  Marble and limestone are softer and more porous than granite and will scratch and stain more easily than granite. However, the range of colors and veining of granite is considerably more limited than in a marble slab. Much granite is very uniform and can have the tendency to look like some of the synthetic products on the market today.  Beautiful granites are now being quarried in Brazil, so with some perseverance it is possible to achieve beauty, diversity and durability. If you want your counter tops to look brand new, marble or limestone is not for you; stick to granite.  But take note that granite should be sealed. (More to come on this later.)

People tend to prefer marble for bathrooms because it comes in a much greater variety of colors and styles. Veining is random and shows the sedimentary formation that occurred millions of years ago.  No synthetic product comes close to the exquisite beauty of a unique slab of marble.


Limestone is a classic.  It comes in subtle varieties of off-white to cream to beige.  Some pieces look like a sandy beach while others have veining.  Some limestone tiles are cut so that they are actually three dimensional.  This is called "pillowed" limestone; the crown or center is higher than the edges.


                      Pillowed Limestone Tiles with                                  Rojo Alecante Marble 
                           Marble Mosaic Tiles                                                  Counter Top

                   

                  Jan Gunn Designs / photo by M. Bruk                               Jan Gunn Designs / photo by M. Bruk  

If you really want marble or limestone in your kitchen, here are some hints to prevent undesirable markings. Some chemical cleaning products and acids found in foods and drinks (lemons, oranges, coffee, etc.) can etch limestone and marble surfaces. Etching is the erosion of the polished surface. The best way to combat this problem is to hone (pre-etch) the surface and use a good penetrating sealer for stain protection. The proper sealers will help protect the honed surface as well as enhance the natural color and veining in the material, leaving a beautiful surface patina.

 .

 

Beauharnais Limestone Counter Top

 Jan Gunn Designs / photo by DFB

In conclusion, natural stone is a wonderful material to use in your home. Knowing the right application for functionality and proper maintenance will ensure a surface material that will deliver a lifetime of beauty.


For more information: Creative Stoneworks, Import Tile, Italics

Balance is Key to Good Design

By Lisa Jasper



Have you ever walked into a room and felt a little uncomfortable, like something is out of place or not quite right?  I've found that, as a professional interior designer, one element in a space that is most often missed is a sense of balance.

There are several ways to achieve balance, and all of them are fairly simple.  Start by beginning where the professionals begin and measure the dimensions of the room.  Be sure to include the ceiling height as well as length and width. These dimensions will help you determine how to plan the room for its function.  Even small rooms can be disguised to appear larger.

Next, take a good look at the room and note its focal point.  This might include a fireplace, a wonderful view window or some architectural detailing.  There may be more than one focal point and any of these provide a good starting point for redesigning the space.

Now rearrange your furniture, starting at the focal point.  One mistake many people make is in the size of the pieces of furniture filling your room.  At one time there was a trend towards big, overstuffed sofas and lounge chairs.  Most look comfortable, and some of them are.  But placed in a small sized room, large pieces visually and practically take up too much space, leaving one with a feeling of being confined. To achieve a sense of balance with furniture, purchase very comfortable smaller pieces with smaller arms.  Look for tables and storage pieces that work for you and also are better scaled for your room size. You'll be amazed at how much space you really have without changing  the actual dimensions of the room.

Other ways to bring balance to a space include the use of color, lighting and especially using architectural moldings. We'll discuss these ideas in future postings.  "Stay tuned", and in the meantime please feel free to ask questions about achieving balance in your home. 

Motion sensors save energy and $$$$$$$!

by Darlene Jurow

Did you know that wasted lighting can account for 50% of a home’s total energy usage? Lights left on when rooms are unoccupied are an expensive energy drain. Fortunately, Lutron has come to the rescue. No more shouting at family members,”turn off the lights”! Lutron’s Maestro wireless occupancy sensors automate the switching and dimming and are wireless. They will turn off the lights automatically at a pre-set length of time (say…3 minutes). And, if you are in the shower and decide to shampoo twice and the sensor flips off, don’t panic. Simply change the location of the sensor or the length of the pre-set timer (after you dry off!) No wires…. No construction….no hassle. What a convenience. No need to break into walls to install wires in a bathroom, kitchen, laundry or even a walk-in closet. By the way, the Lutron sensors help you comply with the most current building codes. Lutron’s gotcha covered!

 Here are the components for the Maestro wireless occupancy sensor.
photo: Lutron.com

What to Look For In An Interior Designer

By Shannon Kirby

We are often asked what we think you should look for in selecting someone to restyle your home.  We have been on many interviews and this is what we have gleaned from them.

Do Your Research 
The nine of us recommend that you check the designer thoroughly from their website, their references, and/or from friends' recommendations. Verify their credentials and talk to the references. Find out their talents and consider their strengths and weaknesses.

Understand the Difference Between a Designer and a Decorator
There is a difference between a designer and a decorator.  A decorator may have a "flair" for design but does not have the formal training and is not versed on the standards and norms of remodeling a space.  They are not aware of the codes that need to be followed for the safety of everyone. A designer, on the other hand, is trained in all areas of construction, building codes and working with the trades.  A professional membership in an organization such as the American Society of Interior Designers (ASID) insures you are hiring someone with the credentials, knowledge, resources, experience and creativity to make your house into a dream home.  We, as professional interior designers, have those credentials.

Are You In Sync?
A designer's portfolio is a good tool to identify their talent and start a conversation about your design tastes and your project. The portfolio should reflect your tastes, not just the designer's own personal style.  The only style that really counts is yours.

We are strong believers that the personalities of the client and designer should be in sync.  This is the person you are trusting to design your space and they will be a part of your life for a period of time.  You must feel you can talk to them about your wants, concerns and desires openly.

Clearly Know Your Budget

Make sure you have a realistic view of how much the project will cost. Ask about fees, markups, and any other hidden costs such as sales tax and freight. If you don't know what things cost, discuss this up front with the designer, who will have a wide range of experience with different types of  budgets and projects and can help you determine the cost of the project. It is also important to share the goals for the project in terms of the scope of the work.

Ask For a Contract
The contract should clearly define who is involved, the scope of the work, how services are priced,  when payments are due and the responsibilities of all parties.  The scope is important because we often come in to interview for one job and it moves to other areas without finishing the first. And, as for responsibilities, you as the client are responsible for hiring all labor.

Team Work
You and your designer are a team in the process and it is a process that doesn't happen overnight.  Open communication, clearly defined goals and knowing your budget will ensure a glorious outcome.  We want you to be thrilled when we close the door at the end of the project.