PART TWO of Three: “The Revolutionary Design Vision of Warren Sheets” by Susan Kime

Part II:  ….

The second is our Italian Family. Serefino Menzietti, is a gentleman I have worked with now for more than twenty years. He was a comptroller of a design client of mine, who eventually came to work for us. It was he who introduced both me and my partner Sharon, to a family that he knew that lived in the northeastern part of Italy in a small town near Verona. They were exceptional carvers, stone cutters, and sculptors. They were extraordinary, and in all senses, authentic.

We began to import much of their work, which eventuated with our having imported more than ten million dollars in stone, fabricated in Italy from that four generation Veronese family. In fact, it this family — the great-grandfather, grandfather, father and son, and their small group of junior apprentices that made each and every stone element — the carved arches, stone fireplaces and inlays, carved medallions and more for The Grand Del Mar Resort. In addition, they provided all of the stone slab and stone tile materials for both the interior of the public areas, guest rooms, Villas and Addison Restaurant

Hand Carved Marble Column

And most amazing? First, each column in the Resort (more than seventy) is a one complete vertical piece; they are not two halves that have been put together, and second, the medallions in the Lobby, Rotunda, Capella and the inlaid tiles at the Chapel are all hand carved and assembled. They were not created by computer. By hand, yes, by hand! Cut one piece at a time, by this four generation family. They and our design staff worked together to create objects that represented authenticity, grace, and most importantly, permanence.

And third, are our Hand-painted designs. While working on this project, I made a personal commitment to use artistic details and techniques that represent what is seen in architecture and buildings throughout Europe. One of those techniques incorporated hand painted designs on the walls and ceilings throughout the Public Areas, and in each of the Guest Rooms and Suites. However, the thought of using the over-popularized hand painted stencil designs on the walls and ceilings, was a concern. I wanted the work to be genuine, not look like a dime-a-dozen.

To this end, I did an extensive amount of research to locate authentic European hand painted designs that represented much of the wonderful hand painting seen in well known landmarks like the Chapel of Saint Theresa in Venice; or ceilings in the buildings found at the Palazzo Vecchio in Florence.I was more than fortunate, to locate a company that had access and the rights to a motif library that contained many of the designs I was looking for. And karmically, the company was less than fifty miles away from The Grand Del Mar! Throughout the three year project, ultimately we used more than thirty-eight different designs from their collection — for each of which I painstakingly created a custom color palette. Toward the end of the project, I had created more than fifty-five different colors that were used in the many hand painted borders on the walls and ceilings.

JL: Do you think that the hand painting at The Grand Del Mar, in addition to all else, perfectly symbolized your commitment to permanence and authenticity?

WS: Yes. I was determined that the hand painting at The Grand Del Mar be authentic and honest. But for all my design work at The Grand del Mar and elsewhere, I have adhered to the “measure twice, cut once” idea.

Hand Stenciling over Venetian Plaster

What this means for me is that I must conceptualize it, measure it, and see it in my head, knowing it fits, long before I ever suggest the idea to the client. To design with permanence and authenticity as goals, I work at creating design paths, and from those, the overall design identity of the project. My discipline is more of a calling than a job. I orchestrate the unheard, yet still deeply felt, design melodies as I go.

END OF ARTICLE:  

 

 

 

NEXT WEEK….See some additional follow-on comments I had, following speaking with noted Journalist,  Susan Kime in her interview with me recently (Kime’s article above)


The Revolutionary Design Vision of Warren Sheets – PART ONE of Three

Susan Kime from JustLuxe.com writes:

Photo Courtesy of Warren Sheets Collection

Warren Sheets is an awards-winning architectural and interior designer whose creative processes move in multiple areas. One of his most significant projects to date combines many of the exterior architectural features and all of the interior designs of The Grand Del Mar Resortin Del Mar, California. As a corollary to this project, he also designed its award-winning restaurant, Addison, and the Villas — wholly owned and fractional residences — at The Grand Del Mar.

Grand Del Mar Resort

His company, Warren Sheets Design is well known both nationally and internationally, as he has designed many other hotels, private estates, country clubs, an antique car salon and museum in Florida, urban townhomes, and recently a 57-million-dollar mansion on 13 acres above The Pelican Hill Resort in Newport Beach, California.

With a luxury pedigree like this, one would assume his design vision and identity might be of extreme over-the-top conspicuous opulence and largesse. But rather, his vision combines threads of authenticity and legacy, creating a tapestry of deeply considered ideas that have translated well into the overall life design goals of his clients.

I recently spoke with Mr. Sheets about his very different vision and mission in the world of contemporary design.

JustLuxe: What are the components of your design vision, especially your feeling about permanence?

Warren Sheets:Well, I think we live in a culture of consumption, of instant gratification, eating, living and doing in the fast lane, of quantity over quality, of multi-tasking, doing many things all quickly, doing few things well. We don’t take time anymore, and usually, time takes us. So, there are many who believe that slowness in this peculiar cultural moment is revolutionary.

Stained Glass Quatrefoil Window as seen in Italy

The slow food movement is one of its dimensions, defining a revolutionary culinary stance. But it can also be said that the idea of design permanence, of heirloom, and of authenticity, may also be the result of slowness. Taking time, and caring to find the right design element, the perfect fit, color, that will enhance permanence and legacy while diminishing the transitory.

JL: How did these ideas coalesce when you were asked to do the design work for The Grand Del Mar?

WS: I was given a magnificent blank slate to work from. When I came onto the project, I was allowed an amazing amount of design freedom, and I knew from the outset, a resort of this magnitude is singular, unusual, and a visionary project that had the ability to create a profound experience of elegant European authenticity for the guest, through the permanence of its design components.

JL: Let me know which design components at The Grand Del Mar you see defining your design vision, and are most compelling and complex, authentic, permanent and beautiful!

WS: Well, there are three details I love most, and all of them have stories.

First are our Interior Doors.

It was important to me and my partner, Sharon Regan, as both designers and artists, to be able to give back much of what we absorbed through our nearly 30-year education in European Art history. So, inasmuch as The Grand Del Mar is open to the public, I wanted to make certain that the guest experience — whomever walked through the Entry, Galleries and Public Spaces of The Grand Del Mar, would receive a sensory feel of being in a fine European hotel, and a fine European design gallery, also. With both these ideas, I wanted to carry out my commitment to both authenticity and permanence, by showcasing the decorative arts of Europe. This became one of my most important objectives I gave to this project.

Detail, Rosette on Door

To that end, I purposefully instilled many distinct decorative elements throughout the project, that are genuine reflections of Western cultural history. Two of these elements are seen in the design of the interior doors I designed that are specific to this project, the first being three different wood finishes: Aged Walnut, Antique Rosewood and Butternut.

The second interior door element was to use the Rosette in each of the ten antique rosewood door panels — the Rosette is a historic European motif borne out of French architecture. Spending a great deal of time in Italy and France, I have been intrigued by the Rosette and its integration into classical architecture. I remember seeing the Rosette design used in the magnificent domed ceilings of the Pazzi Chapel inside the monastery courtyard of Santa Croce, in Florence, Italy.

Because of its recurrence in and around European gardens, architectural structures, interior detailing, furniture, fabrics, clothing, emblems, graphics, food decoration, and so much more, it was unquestionably important that that the Rosette form, be firmly entrenched into the design of this resort. And, 5,648 rosettes, 1,230 gallons of painting materials later and more than 8,300 man hours later, we had our doors.

Continued – Part II Next Week….

 

THE THREE THAT BUILT THE WORLD: No more?

What happened to the days when professional architects, interior designers and landscape architects provided “complete” services on behalf of their clients?

Today, it seems as though the design and construction industry has increasing numbers of consultants and contractors – from color experts to lighting specialists – who ostensibly can help improve your project.

Are there too many design consultants?  I certainly think so.

Kootenai Estates on Swan Lake in Montana - Designed by Sharon Regan - Warren Sheets Design

As an example, when we embarked on a simple deck extension, we were told that we needed a structural engineer and a waterproof consultant, as well as fountain, grading, drainage and landscape consultants.

In a more extreme example, when a client recently remodeled their master bedroom suite, their design team included the architect and the structural, electrical, energy consumption and lighting consultants; along with a closet consultant, a life safety consultant, a handicap consultant and a feng shui consultant. In addition, someone needed to take on the interests of the owner: the owner’s representative (another consultant).  Stop the madness I say!

Indeed, the consultant mania of today is a dangerous and slippery slope. It is not only exceedingly expensive to hire multiple contractors, but can also generate a host of thorny problems. If every contractor and consultant is not on the same page, aware of what the other is doing and/or up to date at all times, the chances for loss of control and/or error are extraordinarily high.

Because of the potential for chaos, we always advise against using multiple consultants for architectural and design tasks that were once otherwise performed by the basic three professional entities.

:andscape Architecture by Jeffery Gamboni and Warren Sheets

In fact, well-trained architects, interior designers and landscape professionals can and should work together as a team – and the use of outside consultants is, in most cases, unnecessary.

So if you find yourself hiring one consultant after another – think twice! Whether your project is large or small – and regardless of who suggests using multiple consultants – the core three should be able to aptly complete the task!

 

 

Key to Good Interior Design: Advance Planning and Create a Budget

"Even professionals such as myself, will often take time to contemplate and plan out each and every detail of a project. In the end, it is time well spent.".

“I want to redecorate, but I don’t know where to begin. I’ve watched the design shows on TV, and it all looks so easy, but it’s not as simple as it looks. Help!”

Does this sound familiar to you? If so, then read on…

Anyone attempting to embark on a home design project should be aware that interior design is a complex, multi-faceted process. Every aspect is connected, and one decision has an impact on another. Making a simple change in a fabric or accessory can easily affect the entire project, and often can wreak havoc on the overall design scheme and on the budget.

"Its all in the details. A project needs to be thought out from the beginning, so that each aspect of the design works with another".

Even more disruptive is when not all of the decisions have been made in advance – at least in concept. Whether you plan to redo one room or an entire residence, knowing the “what and where and how much” before you begin is essential to saving money, time and frustration.

Following are four basic rules to consider before embarking on any interior design project:

Rule #1: Plan in advance. Prior to purchasing anything, plan your project from beginning to end. Adhering to this principal will save you thousands of dollars, as well as free you up to make the best possible choices.

Rule #2: Make a budget. Once you have planned your project in concept, create a detailed construction scope of work, as well as a listing of the furnishings/accessories that will be needed. This way, a budget can be established. Ignoring the creation of a budget will cause problems later on.

Case in point: I once worked with a client who informed me that “budget” was not a problem. He said that he didn’t really care what the job would cost. After the fact, he told his friends, “I gave my designer an unlimited budget, and now he’s exceeded it.”Easy to do, when the costs are not carefully calculated in advance!

Rule #3: Make sure your budget is itemized. Get comfortable with a line-by-line itemized budget, prior to purchasing anything. Creating an itemized budget will aid significantly in detailing all the parts and pieces that need to be figured out – and help mitigate big budget surprises!

Rule #4: Consider hiring an interior designer. Thorough and well thought-out interiors take time and are very involved. An interior designer can advise you on how to coordinate all efforts and which processes to follow.

"Simple clean lines, really can make a statement".

We recently had a client come to us who wanted to take on the role of designer, and only needed us as a “sounding board.” We had done several projects together over the years, and cordially agreed. But not surprising, early in the project, I received a telephone call from the client’s wife, who pleaded with me to step in and take over. She was overwhelmed with the number of decisions and the amount of work required to keep all of the details straight. When the burden becomes too heavy, remember that designers are there to help carry the load. Often creative tasks look much easier than they really are!

These basic rules should help you plan your design project and execute it within your budget.

Good luck, and let me know how it goes!

Hot Colors on the Horizon

I am frequently asked, “What are the new colors for next year?” It’s a great question, and one I always enjoy answering. So this week, we focus on the new colors for the coming year.

It is important to understand that the world we live in – including politics and the economy – has always had a significant influence on color. Issues such as the housing crisis, foreign turmoil and the economic downturn have a decided impact on the color tastes of Americans.

Color Added to This Wood Paneled Room Adds a New Dimension

Both our country and the world have been in a state of relative uncertainty for the past three plus years, and this is evidenced by the prevalent color schemes. The country as a whole has gravitated towards a muted color scheme in homes and work places – displacing real color.

Bland – and safe – monochromatic grays, browns and whites have essentially set the tone. This, to me, is unfortunate. Color palettes that consist of varying shades of only one family of color (in particular when there is no definitive color that stands out) are very one-dimensional and lack depth of any kind.

The Color Of This Bowl Helps Electrify The Room

Grays and muddy brown shades should be considered “bridge” colors – and are ideal when they are used as secondary tones. These – along with other more muted colors such as pewter, dove and taupe – are wonderful when used as a counterpart to color itself, and work best when linking two or more colors.

Recently though, many trendsetters have tired of the overall lack of color, as was evidenced on the fashion runways this past spring. Black and beige tones were replaced with an explosion of color in every possible combination, which bodes well for the interior design industry.

Bright pinks and shocking coral, juxtaposed with intense peacock blue, will see us through 2012. Brown will continue to hang on, as it has become the new “black.” Gold has been replaced by a more lively limoncello. Blues will continue to be popular and emerge in even more intense shades. White still works, but only when used with bold splashes of color.

Beige has taken a back seat to crisper, creamier off-whites, and will not make a strong come back, except in small doses – and when they do, they will be more golden vs. rosier as was the trend in the past.  Greens will be used, but will be yellow-based, in lieu of the ‘hunter green of yesterday’s decade.

Gold leaf has been on hiatus for a while, replaced by platinum and silver leaf; soon emerge with a bronze wash.

The Bright Green Throw on This Buttery Yellow Chair, Embrace The Beauty Of The Adjacent Garden

Why the sudden resurgence of color? Perhaps consumers are tired of the drab monotony of grays and browns. Despite the fact that the economy remains stubbornly stagnate, people are recognizing that their lives are passing them by very quickly – and so are yearning for good times, happiness, fun and laughter again.

I think the juxtaposition of bold colors – as opposed to color schemes with matched and muted shades – will stay with us for many years to come.

Color is a wonderful thing! Vibrant pops of it stimulate the senses, inspire creativity — and signal hope.

 

 


 

 

It All Begins at The Front Door

While we typically focus on interiors, a home’s exterior should never be neglected.
In fact, whenever possible one should complement – even enhance – the
other. And this frequently entails starting at the front door.

Often either the exterior or interior of a home is inherited, and there may
be limited opportunity to create cohesiveness. Yet regardless of the
scope of work, an interior design project should still be approached
holistically – with the exterior under careful consideration. If you are
fortunate enough to custom create a home from the ground up, you have a
unique opportunity to ensure that both the exterior and interior work
together.

An Italian Villa on Linda Island in Newport Beach, California

Many of our clients, friends and followers are familiar with our work as
interior designers. However we create “conceptual design” home exteriors
as well, and are often called upon to act as a consultant to our
client’s chosen architects.

Kootenai Estates in Big Fork, Montana - Exterior Rear View from Lake

When we do act as both the conceptual and
interior designer for a project, we prepare the exterior elevations,
exterior finish specifications and roof plans, and then either work with
our longtime architect, John Kunz, A.I.A., or align with a local
architect.

Exterior Column Details

In such cases, we typically start at the front door – for total
continuity. At present, 50% of our projects are those in which we design
the complete project from outside in, or conversely from inside out.
This method certainly has its advantages, as we can work to seamlessly
integrate the interior and exterior – and make sure they enhance one
another.

Looking from the Inside of a Home, to the Outside

The concept of embracing the exterior as part of a home’s interior design
also holds true to the landscaping. An interior design plan should not
be restricted to what is inside the home, but should also take into
consideration what is seen through its windows.

Kootenai Estates Russell in Big Fork, Montana - Look Towards the Front Door

Pictured here are examples of exterior design projects we have completed – in
all cases the interiors and exteriors were created to work together.

The Rear Terrace of a Traditional Home in Northern California

So the next time you embark on a major home renovation, begin your project at the front door – you won’t regret it!

Conscious Redecoration Spending: How A Design Pro Can Help

 
While recovering from a slowed-down economy, it appears that many of us may be staying in our existing houses awhile.  But how bad is that?  We liked our home at one time or another.  So why not take another look at it, and make some conscious decisions about what items can be re-integrated into our existing home from a brand new perspective?
 
Redecorating can be easy, fast and infinitely rewarding.  If done correctly, it is certainly less expensive than gutting or starting over with ground-up construction.  While it may sound like a fairly simple process, making sound, smart decisions is key.

Timeless Transitional Furnishings Set Against Warm White Walls in a Loft Space
 To this end, I strongly advise that you consider retaining the services of an interior design professional when updating your home, no matter to what degree.  A design professional can examine your interior with a qualified, fresh perspective, as well as evaluate and assess your home to determine what changes should be made in order to bring your home into today’s “new world”. 
 
Whether you prefer traditional, contemporary or transitional design, qualified interior designers who also maintain a background in architectural interiors, will adeptly evaluate your home’s existing architecture together with a redecorating concepts, to bring new life into your home.  A good designer is also an expert at helping assess your lifestyle – and designing a home that meets your day-to-day needs.
 
Most importantly, your designer will bring a “discerning eye”, and effectively assist you in making important decisions about flooring, wall coverings, window treatments, furnishings, artwork and accessories.  With the insight of a talented professional, you can tastefully incorporate cherished keepsakes, develop an appealing color scheme, purchase quality items that will stand the test of time – and avoid succumbing to today’s latest trends!
 
The common mindset, is that interior designers are expensive.  But if you carefully consider the overall process, it becomes evident that interior designers who charge a reasonable mark-up ultimately end up savingtheir clients money; not costing them additional dollars.  Typically, a designer’s mark-up is substantially less than the significant discounts they are able to pass on to their client. 

A Mix of Contemporary and Transitional Furnishings Pieces Set Against a Backdrop of Warm Grey Painted Walls
 There are many sources that sell only to the trade – so a designer can help unearth unique, hard-to-find items at reasonable prices.  In addition, a skilled interior designer helps clients avoid costly, time-consuming mistakes.  They also help direct their clients through the correct ‘order’ of when, and how to get things done, to avoid additional freight costs and unecessary rush fees.
 
There isn’t a better time than right now to reinvent our homes.  Time is passing us by, which is why I am a strong advocate of enjoying  our homes with family and friends in a new and “re-invented” way. 
 
Take the step to redecorate. Exercise conscious spending. Buy quality items that can be used and enjoyed for many years to come.  And, work with the very best designer you can find, even if they happen to be from out of town.  You’ll find it to be the best decision yet, in a long-awaited project!  

Which “White” is Right?

I’m often asked and I also ask myself what color of white is the best choice when painting your kitchen cabinets and the wood trim?

Traditionally, we have opted to paint trim or cabinetry Dunn Edwards’ “Swiss Coffee” – that is as about as white as you can get besides pure white (which we all know really doesn’t exist).

Painted White French Doors

It is important to note, however, that selecting the “right white” is never easy, and is dependent on several factors:

The first consideration: the amount of both ambient and non-ambient light that is filtered into your home, along with the amount of daylight or artificial light. The lighter the room, the whiter the shade of white that you have chosen will appear.

Secondly, white is highly dependent on what color(s) it is adjacent to, as it readily absorbs itself into nearby colors. To fully understand how color affects other colors, note that all hues of whites contain a certain color cast. For example, a specific color has a yellowish tone, or a green cast. Or, we may say that one color is warmer or cooler than another.

Therefore, if you want to achieve a perfect color balance, and are intent on achieving the “whitest” of whites for a specific room, then carefully consider the surrounding color(s). For instance, several years ago I repainted the entry hall of our flat in San Francisco. I began by having the painter paint all of the wood trim in the entry Dunn Edwards’ “Early Snow,” what I thought to be, a “white” white.

This Contemporary Sitting Room Demonstrates the Effectiveness of Using Painted White Trim.....Here, We Used a 'Cool White' for the Color of White

However, when selecting the color of white for the trim, I had not taken into consideration that I would be hanging one of  Schumacher’s new block print wall coverings with a solid tone-on-tone, bright red background. After the wall covering had been hung, I was disappointed because the freshly painted white wood trim appeared to have a pale-pale pink color – not white! This was due to the red wall covering being absorbed and reflected into the white moldings.

In this particular case, had I thought it through more carefully, I would nothave used a white that contained a color base similar to the hues in the wall covering (or adjacent walls). From my experience as a scenic designer and having studied theatrical scenic design at UCLA, I knew exactly how to resolve the problem! To neutralize the pink cast, I needed to de-arm the color cast associated with the white I had selected.

As it turned out, that original white that I used had a warm cast, and in fact, contained both yellow and red hues. For white to appear “white,” I needed to make sure that its color cast came from the green side of the color spectrum, (the opposite of red), and that it neutralized the red hue. So I repainted the trim Benjamin Moore, Decorator’s White, and all was good.

In any event, knowing a white’s color cast is a great advantage.

 

A sampling of my favorite whites…..

For a WHITE – WHITE, use:

Dunn Edwards – Swiss Coffee

 

For a WARM WHITE,

where COOL Colors are adjacent, try:

Benjamin Moore Paint – Snow on the Mountain No. 1513

 

For a COOL WHITE,

where WARM Colors are adjacent, you may consider:

Benjamin Moore Paint – Decorator’s White

 

For a CREAMY WHITE,

with just a hint of Peach,

where the adjacent Colors are very light, I like:

Pratt and Lambert Paint – Half and Half No. 1844

 

For a Very Pale GREY WHITE,

where the adjacent Colors are not a “White – White”, try:

Benjamin Moore Paint – French Canvas No. 1514

 

Best of luck with your “right white” selection……When in doubt, remember to always purchase a sample pot of the color you have chosen (which most paint brands make available).  Try the color against the other hues in the room, as well as in actual daylight and also in artificial light.

 

And let me know how it goes!

 

Shall I Recover My Furniture, Or Add “New”?

A ‘New’ Upholstered Chair, by Legendary Upholsterer, A. Rudin Furniture, Los Angeles

When thinking about redecorating or renovating your home, the question often
arises, “Which is more cost effective – to recover my furniture or buy new?”

Before making that decision, it is important to understand if any actual
cost savings might be gained by reupholstering. You can start by creating a slipcover for your recliners.

First and foremost, whether you buy furniture new or you recover existing
upholstered pieces, the cost of the fabric is a part of the overall cost of
the furniture. When buying a new piece of upholstered furniture, in addition
to the cost of the fabric, there is the other cost: the cost of the piece
itself. If you plan on buying new furniture but you want something more unique
and something that is high quality then check out Mckinley Leather Furniture.

When you recover upholstered furniture, you must pay to have the piece
picked up from your home and taken to the upholsterer’s workroom. (Sometimes
this is represented as being free, but know that this is a hidden cost,
which is included in the reupholstering fee itself.)

A more Contemporary Chair Style, created by F. Schumacher & Co. Available through the Interior Design Trade.

In addition, there is the cost to reupholster the piece of furniture itself,
plus the cost to re-stuff the seat and back cushions, as well as any
decorative pillows that may be a part of the piece. This can be become quite
costly depending on whether you prefer a foam fill, a spring core with a
down wrap (which consists of 25% down and 75% feathers or 50% down and 50%
feathers), or a foam fill with a down wrap.

Also, if your frame is hand-tied spring construction, there is a good chance
that some or all of the springs may need to be re-tied, which of course
cannot be determined until the piece of furniture is sent to the workroom,
and the piece has been torn apart.

Not including the pick-up of the upholstered piece(s) of furniture from your
home, the cost of the fabric (which is the same in either case), and the
cost to re-tie any of your springs; the total expense to recover an
upholstered piece of furniture is about one-third less than the price of
buying new.

A Simple Sofa Style With An Elegant Fabric and Colorful Decorative Pillows

When you consider the cost of the fabric as part of the total cost, the
savings drops to approximately 10% to 20% – depending on the cost of the
fabric. Keep in mind there could be no savings at all (and very easily an
additional cost) if your springs have to be re-tied, or if you start making
modifications such as fattening an arm, raising the height of the back,
adding or deleting a skirt, or adding trim or braid to the skirt or back
cushions, etc.

So, unless you are reupholstering a family heirloom, or a piece of furniture
that it is especially dear to you, it makes more sense to buy new.

In addition to being more cost effective, buying new provides you with a
piece of furniture that has a new frame, new stuffing and fill, and alsoprovides the opportunity to update or change the style of your furniture and of the room where it is placed.

Why a Furniture Plan Makes Good Sense

Redesigning a room is not just about pretty colors – dimensions, scale, space planning and much more all need to be taken into careful consideration when contemplating any remodeling or refurbishment project.

Whether it’s one room or the entire house, start by creating a furniture plan drawn to scale. This should be done for each and every room that you plan to redecorate.

In some cases, you may be able to obtain a copy of the original plans used to construct your home, which can be helpful. However, be forewarned that these may not be accurate, so it is wise to double check all the measurements on the original plans.

A Master Bedroom in a San Francisco Flat

 

When creating a furniture plan, not only is it important to verify the dimensions of each room and every wall or other architectural elements (such as fireplaces, columns, niches, etc.), but it is also critical to accurately identify the size of each piece of furniture you intend to use. Also, note all electrical outlets and switches. Knowing precisely where your plugs and switches are allows you to plan the best possible place for lamps and other electrical fixtures.

A few inches here or there can make a huge difference in how a room appears and feels. If you don’t have enough room to navigate around the furniture, you may live with that mistake for years, so precise calculating should take high priority in the planning and design of a space.

Often times people furnish a room with pieces that are much too large in scale, so the furniture dominates the room in a less-than-desirable way. It took me several years to know what size furniture for a room is ideal, and to understand what we refer to in our industry as “scale.” In fact, I learned that “scale” in itself is a real art! It is something that needs to be identified prior to designing and even before procuring the first piece of furniture.

These are some basic dimensions that we work with and have proven to be helpful in our day-to-day work:

– The space between a sofa and coffee table: 16″ to 18″

– The space behind dining room chairs to allow enough ‘back-out’ space: 36″ minimum

– The space that you should allow around furniture, if the pieces are floating in the center of the room: 48″ minimum (54″ is better)

– The space between a sofa and fireplace: 60″ minimum

– Passage space: 54″ minimum

Hopefully, these will help guide you in planning the design of the rooms in your home. Whether you are doing it yourself or working with an interior designer, make sure that you continue to carefully update your furniture plan as various pieces are ordered and/or procured.

Remember, understanding and analyzing your space, and its advantages and disadvantages, is the very first step toward creating a room that is functional – and beautiful.