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Home Design & Decor Magazine Austin-San Antonio is published by Big City Publications, . owner provided the interior design and greatly influenced the. Featured projects, walk-throughs, products, news, and more from the issues of Interior Design magazine. Workshop Mark R. Sullenberger, Richard B. Radcliffe. Custom Design Concepts Architecture + Interiors. Merle Thorpe. Merle Thorpe Architects.
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Yet, while training at a New York firm, she found herself more drawn to fabrics and furniture than criminals and court cases. Quitting the bar, she started her own decorating firm, before falling for a Brooklyn brownstone with peeling ceilings and the perfect pantry. Here she tells Augusta Pownall how she found her calling.
She custom-designed the small side tables beside the sofas. She found it on a downloading trip to Atlanta with a client. The newel post was specially made to replace a chunky Arts and Crafts one. Italians than Brits.
They take a while to relax. And yet the photographer and I — both British — were quickly charmed by her Southern openness and wit.
Dive Into a Trio of Cool Blue Pool Retreats
One gets the impression that this hard-grafter has little truck with the faddy food issues of her adopted city, as she blithely carves out a career as one of its promising new interior decorators.
Michelle first moved to the city to study law and was soon practising at a corporate firm. While working long hours on cases, she did it up and helped friends do the same. Initially she thought interior decorating might be a second career, but a partner at the firm saw pictures of her place and commissioned Michelle to renovate his own apartment in her refined but comfortable style.
Spotting that her talents lay in trimmings rather than tribunals, he pushed her to take up decorating professionally. As luck would have it, this first client was able to help her secure an internship at Daniel Romualdez Architects, so she quit law and never looked back.
Two years training was enough to give her the confidence to branch out on her own. Daniel Romualdez had been a well-oiled machine, with project managers and an architecture arm.
A cool palette and precise pleats in quietly luxurious fabrics crop up across her work. This approach would come in handy for her own home. She bought the Brooklyn house in and renovated for a year while installing a huge project in Albany and planning schemes in Chelsea and New Jersey. Michelle has reupholstered these slipper chairs, now in a corner of her room, three times.
The lamp between them, which has a crochet shade, came from a flea market in Florence. Michelle likes the rich terracotta tone of Rojo Alicante marble. The tub came from Hastings Tile and Bath.
Michelle replaced the existing outside walls with screens to bring a little bit of bayou country to Brooklyn. Most properties in the neighbourhood are gutted and flipped. But there were good omens too: Michelle even kept her boyfriend in the dark. He must have said: Something about those fixtures is really complicated to fit, but I always use them. The peeling plaster on the kitchen ceiling has stayed, for a deliberate shift in tone.
Otherwise I get tired of things. Mother and daughter renovated houses as they went to stave off boredom, making curtains with rings and clips, and driving for miles for a superior doorknob. Smith Jr experimented with borders and purple walls straight out of the sitcom Friends. The kernel of her future business was undoubtedly there. Ring , or visit studiomrs. Queen Anne Revival In Jeremy Le Grice and his family returned to the Cornish coast and later a flat in the early 18th-century manor house of his childhood, inspiring him to resume painting after 14 landlocked and creatively blocked years.
His widow, Lyn, who gained renown for leading the s stencilling trend, lives on in the elegant L-shaped suite of rooms. Huntley Hedworth. In the hall room, once a flower loft, the panelled room divider designed by Lyn incorporates china cupboards. A head of the Madonna, bought by Jeremy after a painting sale in Cork Street, is mounted on one side of the right-hand door. On the other, black silk brocade curtains too beautiful to cut down hang doubled over a pole.
This page, clockwise from top: Jeremy, who died in , was a painter from a local gentry family whose marriage to fellow Slade student Mary Stork had just ended. The pair married and took their six children to live in the Cotswolds, but after 14 years, during which Jeremy felt landlocked and unable to paint, they came back.
As a youth, the budding artist had attended the local painting school run by Peter Lanyon. This was something Lyn perfectly understood. After studying design at Hornsey School of Art she had established a career as a designer, leading the s trend for pattern and stencil work with a series of books on the technique.
About 20 years ago, with their children grown up, the Le Grices moved into a suite of rooms at the garden end of Trereife, the glorious Queen Anne house near Penzance belonging to his cousin where Jeremy had spent much of his childhood. The older Elizabethan farmhouse had been largely rebuilt early in the 18th century by a successful Chancery barrister, John Nicholls.
Using blocky Cornish granite, he copied the style of the fine four-square houses just then going up in London, and Italian journeymen working in Cornwall crafted the fine plasterwork ceilings. He stayed on and married his widowed employer Mrs Nicholls; the premature death of his stepson meant that the property passed instead to his heirs.
Now their great-great-grandson Timothy Le Grice lives in the main house.
When they moved in, Jeremy took a studio nearby in Newlyn, where his career as a painter had first begun, and reconnected with the daily life of boat and harbour and fishing there. The apartment is L-shaped and level with This page: The earthenware crocks are typically Cornish and were once used for preserving eggs in waterglass. The classically proportioned early rooms with their shallow panelling, chimney pieces and plasterwork have a cool formal grace of their own.
The large drawing room, bathroom and bedroom all overlook the garden front and a parterre of box and vivid blue Ceanothus that Lyn designed to mark the new millennium. Paintings by her talented children are mixed up with others by Roger Hilton, Bryan Pearce, Karl Weschke and assorted St Ives artists, whether gifts or studio downloads. In the bedroom corridor hangs the precociously gifted self-portrait with which Jeremy Le Grice won the art prize as an Eton schoolboy, the work that confirmed him in his vocation.
The other half of this suite of rooms — the former flower loft, where early daffodils were once bunched and boxed — was long and raw when they came here, subdivided by flimsy partitions with limewashed walls, ancient bleached floorboards and a high pitched roof spanned by exposed trusses.
Lyn recast this as an enfilade, with a large kitchen and dining space giving onto a book room and two guest bedrooms, a washroom and a utility room at the farthest, more private end.
Publications & Media Featuring The Design Work of Kariouk Associates (Viewable)
Salvaged materials — a section of linenfold wainscoting, a pair of outsized panelled doors truffled from a local scrapyard where I have never found anything more exotic than a Belfast sink form the room dividers; printed Indian-cotton panels or bedspreads hang across windows or curtain alcoves. The jumble of good furniture, rugs and paintings throughout has a casual informality, but the overall result is sumptuous to look at and luxuriously comfortable. The wooden horse was bought in boyhood.
As she explains to Grace McCloud: Christopher Simon Sykes. On warmer days Kitty will paint here, or wheel out her easel on to the village green.
The stone garden statue, which the owner calls Mary Magdalene, was here when she moved in. This page: An oil landscape hangs on the left, but the brighter canvases stacked against the wall are from her latest exhibition, Daring to Dream, which was completed entirely in acrylic.
The glass-topped table was made specially by Terry Makin. Born in a house on the green, she has spent nine decades observing the comings and goings in Arncliffe, this small settlement deep in the Yorkshire Dales. One gets the sense that Kitty, given the opportunity, would happily do the same. It is, by her own account, a remarkable place. And Kitty, an artist, is in good company with such a thought.
In Turner toured Yorkshire and stopped off in the Dales, his eye for drama falling on nearby Kilnsey Crag three miles down the road. And just over the way is Malham Cove. Kitty has been painting this wild country as a full-time artist for 28 years.
She was born in Kirkby Lonsdale, not far away on the edge of the national park. At 13, having made her first landscape of the Ingleborough peak from her bedroom win-. The retired Robinson had lived in this house from the late s until his death in , after which his wife had stayed until hers.
Now, very little remains of the old and rather dated interior.
The finished house is a picture of cool, calm comfort. Colour is, for the most part, either muted the loudest walls a pearly blue or contained — a mustard-yellow trunk here, an Edwardian chair covered in mossy velvet there. So what made her max it up? Because really as an artist what you want is nice white spaces to hang work on.
At least one of her canvases hangs in every room, ranging from swirled abstracts to huge stormy landscapes with oil as thick as an Auerbach. The latter look particularly sensational — and all the more poetic if you manage to simultaneously glimpse an echo in the imposing landscape behind the windowpane. Canvases here are hitched up on makeshift rails, and the table is so caked with years of paint you feel a cross-section might reveal an undiscovered Yorkshire fossil.
Her latest show, Daring to Dream, celebrating nearby Salts Mill — a Victorian textile factory built by Sir Titus Salt — was completed entirely in acrylic. One wonders if her other studio, a long low oak-andglass pavilion running along one side of the lawn, looking towards the brooding brow of a hill, might have something to do with embracing a more manageable medium.
The remit was brief but stringent — make it warm. I really do. For opening times, ring , or visit saltsmill. To contact Kitty North, ring , or visit kittynorth. The solution was non-reflective lighting above her worktables custom-designed by Terry Makin , and track lighting under which to display finished work both by Erco.
Aliette Boshier investigates the artifice of disrepair. Ricardo Labougle. Ancient marble statues occupy niches in the gently curving walls of the cryptoporticus, as if urging the visitor on to what lies just out of sight. This page, clockwise from top left: To Count Carlo Castone della Torre di Rezzonico, the quiet Arcadian corner of the newly created English Garden at Caserta seen here entranced the senses when he visited it in Though the scene was not yet graced by its statue of Venus, he described with breathless delight a hidden pool along whose banks thronged weeping willows, holm oaks, maidenhair ferns, succulents, peonies and dog roses.
As if to complete the enchantment, here too was the ruin of an ancient nymphaeum, its fractured roof letting light and the elements onto the carved statues in its walls. Campania felix was the Roman epithet for the region of Naples, a land warmed by the sun from above and the caldera below. If ever a garden were to flourish, it would be here.
On surveying the endless grounds at Caserta, some 30km away from the tumult of the city, he understood what it was that it lacked.
Through the far-reaching vision of architect Luigi Vanvitelli and, later, his son Carlo, the Reggia di Caserta became the dazzling swansong of the Italian Baroque: That her sister Marie Antoinette had remodelled the gardens of the Petit Trianon in the English style exemplified its growing popularity in Europe.
It was a question of good taste as much as sibling rivalry. Hamilton wasted little time in petitioning Sir Joseph Banks for advice and by April of the following year, , the brilliant Anglo-German botanist John Andrew Graefer had arrived from London.
Situated at the northeastern extremity of the vast site, its dense woodland, rolling meadows, hidden ruins and rock-hewn paths were the magical synthesis of sublime, unfettered nature and a yearning for the picturesque. This was a vale of delights, a place for the king to disport with the dame di corte, and the queen to imagine herself the discoverer of lost civilisations. Deep at the heart of the garden, concealed from view by banks of Monterey cypress, laurel and cedar, in the basin of an old tuff quarry, Vanvitelli built the queen a semicircular structure of ancient bearing imbued with an air of mystery and cult.
It is a painted capriccio come to life. At each end of the barrel-vaulted ceiling and throughout are artificial fissures hung with vines, with strawberry trees, Jerusalem thorn and amarella beyond. Three openings along the inside of the curve throw light onto columned aedicule recesses in the back wall; the central one holds a Roman bath. This picture of classical harmony is complemented by the presence of 11 statues arranged in the niches along its walls.
A partial inheritance from the Farnese collection, their subjects include a Venus Pudica and the Emperor Augustus. Here, in this small pantheon of gods and rulers, one senses the existence of another, more intangible legacy: While some scholars have advocated an esoteric reading of its iconology, the cryptoporticus is better understood in the context of the wider garden as a place of rich and varied sensory experience.
Just beyond its walls is perhaps the greatest wonder of all, the solitary statue of Venus that gives its name to this part of the garden — il Bagno di Venere.
Carved in by Tommaso Solari, she was placed here by Vanvitelli in the early 19th century, close to the site of a great yew from whose roots appears to bubble the source of the pool and lake beyond. As though surprised in the moment of emerging from her ritual bath, the goddess adopts a crouching, fugitive pose. The vicissitudes of man have played their part as well, with the heyday of the 19th century giving way to a steady decline in its fortunes, until a complete restructuring by the Soprintendenza di Caserta in restored the English Garden to its former glory.
Nevertheless, time and the elements have only served to heighten its air of quiet inscrutability. The creeping damp of the cryptoporticus and the broken hands of Venus signal a decline inherent in its creation. For opening times, ring 00 39 , or visit reggiadicaserta. Inside is a heap of feathers. Against the back wall, two beehives are perched upon piles of boxes. Between them is a 2. His studio in a Hausmannian building in Paris is similarly surreal: Deidi von Schaewen.
Displayed upon it is a gypsy accordion. A Surrealist face, with a seed and a shell for eyes, a stick nose and a model of a Peruvian boat from Lake Titicaca standing in for a smile, has been composed on the seat. The backrest appears to hover. The pink object in the foreground is a s Cameroonian hat made of flamingo feathers. He sometimes even sleeps here, curling up on a chaise longue. Aged 35 and with a stylish hippy-chic look, he sports a mane of long, artfully straggly hair that frames a luxuriant beard and eyes that twinkle as he explains: I love that feeling.
Whether tiny or monumental, all his goddesses feature a vertical silhouette topped by a circle. It is the shape of an Egyptian cross of life, his favourite symbol, which he also wears as a ring. According to the artist: He does this by assembling disparate items — an old piece of jewellery from Zaire, for instance, with a billiard ball on top of an Art Deco plinth.
The result is a new object that looks like it has always existed — and something that will no doubt drive ethnologists of the future crazy. It is not enough to merely turn something upside-down; you have to put it together with objects from another culture.
Of the rooms he inhabits in the attic, half are used as storage space for raw materials — hundreds, possibly thousands, of objects for future assemblages. A list of them reads like a simple yet surreal poem: You might think you were in the storerooms of a colonial museum, or in the home of a particularly tidy dealer of stolen goods, so neat and diverse is the array.
One can easily imagine their disappointment on discovering that the treasures here are the vertebrae of a whale and some rusty spears. The room in which Nicolas transforms these items into artworks has a tiny balcony with just enough room for a tub chair so he can sit in the sunshine. Covered with objects, the wall facing his workbench is a masterpiece in itself: Further down the corridor, a room with s wallpaper houses pieces awaiting assembly, while a larger one serves as a showroom for imposing totems that surround a Louis-Philippe dressing table decorated with shells.
He uses another, entirely unfurnished, space to look at pieces with a bit of perspective. For the last few months, Nicolas has been feeling inspired by obelisks. Perhaps there will be children?
Japan Jewellery. Leisure time Lifestyle. UK USA. Interiores — Nuevo Estilo — marzo admin March 8, Wallpaper The World of Interiors The World of Interiors - Full Year Collection - 01The World of Interiors is the most influential and wide-ranging design and decoration magazine you can bu The World of Interiors - Full Year Collection - 02 The World of Interiors is the most influential and wide-ranging design and decoration magazine you can bJust beyond its walls is perhaps the greatest wonder of all, the solitary statue of Venus that gives its name to this part of the garden — il Bagno di Venere.
Women cast off their hobble skirts, bobbed their hair and climbed into fringed frocks that exposed parts of the body that had been hidden away for centuries. Ring , or visit georgesmith.
According to the artist: Because Carrington moved out in such a hurry, she left many of her possessions behind, and most of them remain. Offer closes 9 February
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