John Toya of Ike Kligerman Barkley Architects
Last week I took a trip to San Francisco to do some shopping for my latest project in the Design Center and decided to make the most of the day by attending a Lunch and Learn. The event was part of San Francisco Design Center’s Designers’ Wednesday series and was sponsored by ASID and the Institute of Classical Architecture & Art, both of which I am a member. The wonderful speaker of the day was John Toya of Ike Kligerman Barkley Architects and his topic was Houses: An Art of Collaboration.
John Toya began the lecture with a poetic synopsis of how his firm tackles design projects. Mr. Toya described how architects must act as conductors to make their projects sing. I find this also applies to my job as an interior designer. Constant communication with your client, vendors, contractors, installers, and architect are essential. The first project John Toya talked about was one of the first his firm completed in San Francisco. Mr. Toya actually started the Ike Kligerman Barkley Architect firm in San Francisco because of his great love for the city. The project designed by the firm was an apartment in San Francisco. The clients requested a design that would showcase the antiques of various styles that they had collected over the years. Each room was to have a style and to be adorned with pieces that matched that styling. The apartment features actual antique remnants from Paris that are incorporated into the architectural detailing. The artisans who installed and finished the rooms were also brought over from Paris. The result is room after room of gorgeous details all personalized per the customers request.
John Toya described many projects and the design process utilized in each. I found his project done on Martha’s Vineyard particularly interesting because of the challenges they faced with the home owners having opposite styles and approaches to design. The wife wanted a bare bones modern design that incorporated sustainable design while the husband wanted a traditional Cape Cod style home. John Toya and his team at Ike Klingerman Barkley Architects designed a space that was an amazing compromise of two very different styles. The interior seamlessly blends the plank materials of the traditional Cape Cod style in a modern rectilinear form as seen in the dramatic entry space.
John Toya concluded by saying how grateful he is to work in a firm that is not confined by style and ego, but instead empowered by classical architectural concepts and propelled by accommodations for their clients. Ike Kligerman Barkley Architects’ attention to detail and focus on personalization for their clients has resulted in an inspiring assortment of beautiful architecture. To see more of their work visit: http://ikba.com
With iconic period inspired movies like the Great Gatsby opening in theaters today it’s easy to find 1920’s style in modern day interior furnishings and finishes. Abstract, ethnic and geometric patterns calling back to the motifs of Art Deco and modernism have become a renewed focus in our time. Simple black, white, ivory, and metallic finishes are being worked into Interior Design as it once was in the 1920’s.
Ann Sacks Andy Fleishman Diamond in Camel
This Andy Fleishman tile by Ann Sacks clearly displays the way 1920’s motif are being reworked into modern and even green design. This tile is part of Ann Sack’s Eco-Thinking line. The Andy Fleishman tile is made of concrete, the materials for which are sourced within 500 miles of where the tile is manufactured in Durham, North Carolina. The tile comes in 17 different patterns and two different shapes. Pictured here is the diamond pattern in camel with a suede like finish gives the tile the opulent characteristic of the 1920’s.
Colefax and Fowler Veryan Collection Lasalle in Leaf drapery installation
Colefax and Fowler Veryan Collection Lasalle in Leaf
This luxurious silk fabric from Colefax and Fowler’s new Veryan collection called Lasalle brings the floral motifs and geometric patterning that was characteristic to the 1920’s. The history of Colefax and Fowler which dates back to the early 20th century cements their expertise in 1920 design. This silk and viscose fabric is to be used on draperies which are sure to bring the glamour of the 1920’s to any interior.
Urban Electric Co. 10th Anniversary Carnegie
This strikingly Art Deco Inspired pendant from Urban Electric Co.’s 10 year anniversary collection has the insightful name of Carnegie. This piece designed by Amanda Nisbet has an almost unlimited variety of finishes for each aspect of the piece. The glass alone can be finished in nine colors including etched and antique mirrored glass. The geometric pattern on the glass enclosed by the simple metal structure gives the piece a true 1920’s feeling.
I hope these products show you the beauty in 1920’s design and inspiration and encourage you to place some 1920’s style into your home!
As an emerging Interior Design professional, I find myself constantly seeking inspiration for design projects. Looking to designers like Barbara Barry helps me to figure out how other designers find inspiration throughout their iconic careers. Barbara Barry’s latest book “Around Beauty” has led me to realize that nature can be a source of eternal inspiration. In Ms. Barry’s book she walks us through her daily life as a designer and how she finds inspiration everywhere she goes. She states that many times her color palette for a room can be influenced by something as simple as a pistachio. Ms. Barry says, “crack it open and discover the impeccable pairings of lavender and lime, ivory and tusk. Looking closely, you will see a pistachio’s influence in my work: beached oak floors, pale green walls, and hints of lavender in pillows and trims.”
Nature offers us dynamic color combinations, all we must do is go outside and absorb. I am overjoyed as I read Ms. Barry’s passionate words about the colors that inspire her work. Citrine, a color that I recently grew to love especially when paired with a rich emerald purple, is also one of Barbara Barry’s favorite colors. Ms. Barry says, “Citrine is liquid light, and this jewel of a color pops up throughout my day in the thin smear of olive oil on an all-white plate…”
Barbara Barry’s favorite color in nature is the color of a fig. “There’s something delicious about a fig’s powdery surface conjuring up dark velvets and luscious silks–it’s deep color can be an exclamation mark of dark in a pale room.” It is so intriguing to me to read Ms. Barry’s words and to see how she see’s the world, so pure yet abstract.
I recommend Barbara Barry’s book “Around Beauty” to any designer or non-designer in need of inspiration. Indeed inspiration is the greatest feeling someone can have and as Ms. Barry reveals, “I feel my most alive on the edge of an idea…my heart beats fast and I feel my most confident.” In closing, go outside and get INSPIRED!
On my most recent trip to San Francisco, I was able to take some time to walk through the Galleria in search of materials for a returning client. I always make a stop at Wroolie and Company who are known for their high end furniture and lighting which range from custom reproductions, original designs, to contemporary. I was delighted to see several cerused oak side tables near the front window of the showroom. I’ve been fond of this finish for years and am very pleased to see that it is being used in new and interesting ways. These pieces by Mario Grimaldi International were in a variety of rich stains and finished with a high gloss finish.
With my interest piqued, I did a bit of research on cerused oak and learned a few interesting facts. The technique of cerused oak, known as limed oak in Britain, began back in the 16th century. Carpenters rubbed a material containing lime into the grain of the wood to fill it, then the wood was stained and finished giving you a two toned effect. Cerused oak became popular again in the age of Art Deco and is having a comeback in our decade as well.
Mario Grimaldi International London Dining Table
Perhaps it is the light that makes this room my favorite. It filters through the grass woven shades to soften the cocoa and cream textures and brings healing to my soul like a warm frothy latte. My Francophile persuation is played to with the antique over mantle as a headboard, framed on either side by striped ombred silk. Here is where I grab my current read and snug under covers or on top of the forgiving matlesse bedcover.
I can indulge myself in the sentimentality of photos of the ones I love surrounded with fresh flowers sharing their happy colors and faces to my “altar of endearment.”
The pale blue ceiling gives my space a magical sky effect, to enhance the quiet solitude and beauty of my very own cocoon-like retreat. Here I can thank God for all He has provided in home and love while enjoying the rhythm of my restful breathing.
The luxury of a crystal chandelier sparkles with reflection and candlelight to add the element of romance. It’s beauty greets me in the morning light as I awaken in my bed below.
Small cherished artifacts add to the happiness my bedroom brings me. Like the small tatted bookmark cross handmade by a favorite great aunt.
This is where I like to be no matter the altitude of my moods. It is where I can let the rest of the world go by!
Julia Morgan has been an inspirational talent in my design career since I was given the amazing opportunity to work on a project at the one and only Julia Morgan design house in Sacramento in 2000. The gorgeous historic home designed in 1918 breathes nostalgia back into Sacramento, has been owned by Sacramento State University since the 1960’s. Through research I knew the pioneering spirit of Julia Morgan. She was the first female licensed architect in California and she achieved this by receiving a degree from Ecole Nationale Superieure des Beaux-Arts in Paris, where she was the first female admitted as well. I thought it only fitting to pay homage to this remarkable woman by making a pilgrimage through the streets of Paris to see the school she attended and the places she lived.
During Julia’s five years in Paris she inhabited three apartments throughout the 6th androssiment. The first apartment was located at 4 Rue de la Chevereuse. The crisp white of the facade is contrasted by the large black paneled doors of the entry. Today the building is used as a satellite of Columbia University and works to establish partnerships between America and European scholars. During Julia Morgan’s time the building housed American students pursuing their degrees in Paris.
Julia’s second apartment was located at 7 Rue Honore Chevalier. This building which was constructed in 1891 would have been less than a decade old when Julia Morgan lived in it. The rustic brick mixed with iron work exemplifies classic French architecture.
The third apartment Julia lived in was 15 Rue Guenegaud. The high gloss rich emerald green doors are flanked by tiny boutiques on the street level with apartments on the three floors above. This apartment is the closest to the school of the three and is within close proximity to La Siene river. I imagine this was Julia’s most treasured apartment during her stay in Paris.
After leaving Julia’s third apartment I journeyed to Ecole Nationale Superieure des Beaux-Arts where Julia received her degree in Architecture. Just beyond the gates to the school you are greeted by ancient architectural ruins displayed in the courtyard.
The grand courtyard transitions students and guests from the street and into the glass ceiling space of an interior courtyard.
The colors and motifs of this space are inspired by Pompeian architecture.
As I was walking up to the front gate of the school I was delighted to see three architecture students, two of which female, with projects in tow. I talked briefly with these students and was truly inspired to see young and eager designers pursuing their passions.
My adventurous spirit was stimulated as I followed in the footsteps of the inspirational talent, Julia Morgan. With Julia Morgan’s legacy of over 700 designed buildings in California and her treasured design located on our T St. here in Sacramento, her designs will be forever remembered as harmoniously classic architecture.
“My buildings will speak for themselves” Julia Morgan
On my first trip to Paris I traveled with a group gathered from our many friends from Sacramento and Los Angeles who were interior designers and architects. One of our private audiences was at the studio of Andree Putman. The year was 1995.
How impressed I was by her individual style and presence as we reveled in a designer of her stature and global influence taking time to meet with our group! She was an emissary of Parisian chic culture and rediscovered forgotten 1930’s French Modernist furniture found in the flea market chic which she then marketed through her own Ecart International. Ms. Putman’s designs favored simple lines and a few good pieces that enhanced an otherwise hushed, monochromatic environment. “Good design is pure and simple, and I am interested in the kinds of things that will never date.”
Guest room at Morgans Hotel (Wmagazine.com)
Her career changing commission came in the early 1980’s when the NYC hotelier Ian Schrager hired her to design the interiors for his new Morgans Hotel. This became the prototype of the new boutique hotel, a small artistically designed answer to standardized mass-market hotels.
Andree Putman and daughter Olivia (nestle-nespresso.com)
Now, as I celebrated my own milestone birthday in Paris this past January, I was saddened to read that this legend in interior design had passed away. I immediately went online to read more about her firm and how her daughter Olivia had become the artistic director at her expressed wishes in 2009.
The notice of her death gave the time and location of her service at St. Germain des Pres. Arriving as the church bells rang, I watched as her simple wooden casket was received by the classic black hearse. Andree’s stunningly attractive daughter, Olivia, with her three sons received condolences from a cluster of black cloaked friends and colleagues. Multiple flower memorials were coordinated in white flowers only. The mourners walked a few steps across the street to Café Flores upstairs for the reception. It was as simple and elegant as the designer herself. I was gratified to have witnessed and whispered my own goodbye. Her influence on my profession was profound.
To learn more about the amazing Andree Putman visit her website: www.StudioPutman.com