2012 Decorators' Show House & Gardens

Photographer: 
Erica George Dines
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dining room
Carole Weaks
C. Weaks Interiors, Inc.

The dining room is big—what are its dimensions? The room is 19x25 and the ceiling is 12 feet high. Why did you choose two tables instead of one? Two tables gave a modern feel to a very traditional space without insulting its integrity. The room could be used for both large and more intimate groups. And we loved the idea of being able to dress up or dress down a space that so often goes unused because it’s too formal. You choose a wallcovering over paint. Why? For the room’s color, we were working off an antique gray-blue Swedish piece in our office, and the easiest way to get the feel of the patina was to use a wall covering that had some variation. Oddly enough, as the painter prepped the room, he found the almost identical shade under several coats of paint. Did you choose the banquettes for their form or function? Both. They added an interesting dimension to the room with their perpendicular placement to the fireplace rather than the typical front to back arrangement. People love the intimacy and comfort of a banquette. cweaksint.com

DINING TABLES Holland & Company/MacRae Designs CUSTOM BANQUETTES Tecnosedia DRAPERY & BANQUETTE FABRIC Zimmer + Rhode through Ainsworth-Noah CHANDELIER, WOOD CARVED CHAIRS, SIDEBOARD, COMMODES, SCONCES Parc Monceau ART Tew Galleries OUSHAK RUG Sullivan Fine Rugs PLACE SETTINGS & STEMWARE Neiman Marcus

 

 

living room
Stan Topol
Stan Topol & Associates, Inc.

This large room features two seating areas. What are your rules for creating spaces conducive to conversation? The secret of a great room is, one, to give your clients the ability to have a conversation and hear each other without shouting from across the room and, two, to make sure you always have a small table near a chair and at the end of your sofa. Most people don’t appreciate that an 18-inch-tall coffee table is only for decoration and not really functional. What styles of artwork are featured in the room’s collection? We mixed 18th-century paintings, modern pieces and traditional coromandel panels. The painting over the fireplace was commissioned to be slightly unfinished. The backs of the chairs feature a contrasting fabric. The Louis XVI chairs are at their best when one splits the fabrics. Putting a pattern on the back enhances the chair and gives it more visual interest. Where is the rug from? The antique Mohtasham Kashan rug is from Iran and was chosen for its size and marvelous coloring. It fits the room perfectly and all the fabrics in the room were based off the colors in the rug. The Tree of Life design offers a repetitive pattern that allows flexibility with furniture placement. stantopol.com

FURNISHINGS & ACCESSORIES AmericasMart SOFA Century through Charles Ray & Associates FAUTEUILS Tritter Feefer, upholstered by Craig Swenson  RUG  Harounian Rugs International CHANDELIERS Currey & Company PORCELAIN LAMPS Avala International through Steve Werts SILK DRAPERY FABRIC Cowtan & Tout through Travis & Co.

 

 

kitchen
Matthew Quinn, Mary Kathryn Timoney, Laurie Lehrich, Patricia Danzig & Kelly Carlisle
Design Galleria Kitchen & Bath Studio

The kitchen was a total transformation. What was your starting point? Our challenge was to create a contemporary kitchen while honoring the home’s original architecture. The original island orientation really split the room in half, so we started by breaking the island in two and reorienting the pieces so they engaged the family dining room. It was also important to maintain the integrity of the original architecture and finishes of the home. Therefore, it made sense to use white Vermont marble as the countertops, painted perimeter cabinetry and unlacquered brass hardware. What lessons did you want people take away from this room? The most important lessons in this space involve proportion and scale. The space is large, so we needed larger objects and elements to visually “fit” the space. We made short windows appear taller and more proportional by extending the casing up to create mirrored transoms. How do you incorporate so many design elements without it becoming overwhelming? Mixing multiple materials and finishes will always make a space feel more intimate. We wanted that additional warmth, so we mixed unlacquered brass and stainless steel, stained and painted woods, and marble and tile surfaces. To successfully mix finishes, it is important to allow one finish to be more dominant than the others. Texture can also completely change how similar finishes relate to each other, hence our combination of honed countertops with glossy tiles. designgalleria.net

COUNTERTOPS Marmi RANGE HOOD Matthew Quinn Collection for Francois &  Co. PLUMBING Rohl by Ferguson Plumbing CHANDELIERS Urban Electric Co. SCONCES Circa Lighting APPLIANCES Guy Gunter & Associates STOOLS Womack Interiors CUSTOM FLOATING SHELVES Design Galleria

 

 

family dining room
Cheryl Womack & Alison Womack Jowers
Womack Interiors

How did you select the light fixture and the dining table? Both are elegant and unique. We saw the dining table and immediately fell in love! It’s so chic and sophisticated. We also adore the chandelier; it’s one of those pieces that looks great in any setting. We felt the accents of black capiz shell in the fixture complemented the black lacquer tabletop. We also doubled the fixture chain to create a jewelry-like effect. You used banquettes in an unexpected way—they’re usually at the sides of tables, but you put them at the ends. The space dictated this furniture arrangement. The family dining room is very long and narrow, so banquettes on each side of the table would have been too large and bulky. Using the smaller scale banquettes with slightly curved backs gave movement, fullness and softness to the room. It also felt intimate and warm! How did you choose the style of window treatment for the French doors, as well as the fabric color? The simple window treatment style was used to complement the wall of French doors. We added a small fabric banding in a soft white for a lift of color to the taupe decorative banding. The citrine drapery color connects the room to nature. womackinteriors.com

DINING TABLE Maison Jansen through Parc Monceau DINING CHAIRS Bungalow Classic BANQUETTES Kravet with Victoria Hagan Home fabric CUSTOM RUG Underfoot Design & Flooring CHANDELIER Ironies through Ainsworth-Noah LAMP Parc Moceau DRAPERY FABRIC Robert Allen DRAPERY TRIM F. Schumacher

 

 

solarium 
John Oetgen
Oetgen Design, Inc.

What was your vision for the solarium’s furniture arrangement? The room was so large that I wanted the versatility of a large round table in the middle to use for parties, dining, entertaining, art projects, books, flowers, etc. Then, above it—since there is such a quantity of chandeliers in the house—I wanted something different in the space. An Alexander Calder mobile I bought in Paris about five years ago seemed to call for a natural surrounding, like a garden room; so many of Calder’s large monument pieces were designed for gardens or light, air-filled spaces in private places and museums. That left areas for music in one corner, games in another, lounge seating on each side and long, Irish Georgian-style consoles for plants by the terrace door. This also evoked a feeling of symmetry, balance and style. Why did you forgo window treatments? We put nothing on the windows to maintain the big, original Palladian style as conceived by Mr. Shutze. The only lighting in the room is from the lamps that I added. The room is full of fun accents. The game table was English Chinoiserie. The plants were also such an enjoyable part of the room for me, since I helped pick them out with Planters, Inc. We love your large-scale prints that seem to keep a watchful eye over the space. “Pepi” and “Consuelo” were taken by me as part of my photography collection that will be on display through October at Hagedorn Foundation Gallery. These two particular photographs seemed so appropriate for the garden-and-flower room fit for a party. oetgendesign.com

FURNISHINGS Parc Monceau, Redefined Home Boutique, Baker Knapp & Tubbs, Dearing Antiques, Mandarin Antiques FABRICS Dedar through Jerry Pair & Associates GARDEN SEATS Smith Grubbs & Associates RUGS Stark Carpet PLANTERS Kolo Collection PLANTS Planters Inc. SLIPCOVERS Burns Upholstery MIRROR Travis & Co. LARGE PHOTOGRAPH by John Oetgen through Hagedorn Foundation Gallery

 

library
William S. Murphy
Essary & Murphy, Inc.

You painted everything in the library the same color. Can you do that in every room or did this room lend itself to that? The woodwork, walls and trim are one color while the ceiling is a few shades lighter. This helps get rid of the white contrast. I love painting any room in the European style of all one color because—without contrasting trim colors and white ceilings—the space seems more serene and the room appears larger. The ceiling height kind of disappears when it is not white. It is a design trend we use a lot in homes and showhouses because it’s easy on the eye and so pleasing. The glass desk and the mirror over the fireplace have very sculptural qualities. I wanted the glass desk to “disappear” and not be heavy in the space, thus making the French armchairs stand out more. And the wonderful mirror is a take on antique bullseye mirrors. It gave the room a more artful interest and served as the focal point as you walked into the library. jessary.com

SOFA, LOUNGE CHAIRS & FRENCH ARMCHAIRS Smith Grubbs & Associates GLASS TABLE, & TWIG MIRROR Smith Grubbs ALABASTER CHANDELIER Myran Allan through Smith Grubbs ANDIRONS La Forge through Smith Grubbs FLOOR LAMP Essary & Murphy Inc.  COFFEE & BARBARA BARRY END TABLES Essary & Murphy RUG Designer Carpets CUSTOM PAINTING Jason Kopydlowski ALL FABRICS Kravet  WALL COLOR Benjamin Moore’s Greenbrier Beige

 

 

gentleman’s powder room
John Fernandez & Jennifer True
Fernandez & True Interiors

How does the rich, dark color palette complement a gentleman’s space? The inspiration was “formal attire.” We started with the premise that a gentleman looks his best in a tuxedo, paired with a fine watch and great cuff links. We then relaxed the concept by taking the “ebony” idea to a deep mink. This deep but neutral palette was a perfect complement for the horn chandelier, the dominant throne chair and the sparkle of platinum trays and accessories. The result was an updated version of the quintessential gentleman’s paneled library. What does the charmingly unexpected bunny painting add to the powder room? When we saw the large, orange bunny in its ancient, heavily distressed gold frame, we didn’t know whether to laugh or take it seriously. We did both. One cannot help but smile. After all, it’s a bunny. On the other hand, the artist, Hunt Slonem, is internationally renowned and celebrated. How did you choose the rug? Rugs are like art; they speak to you. The beautiful saffron, gold and ivory colors of this Moattar rug provided the perfect punch of color to contrast with the rich, mink backdrop. fernandezandtrue.com

CUSTOM VANITY Design Galleria Kitchen & Bath Studio OUSHAK RUG Moattar Ltd. CHANDELIER & SCONCES  R Hughes Showroom PAINTING by Hunt Slonem through Martine Chaisson Gallery ANTIQUE CHAIR FABRIC Kravet WALL COLOR Benjamin Moore’s Nightshade

 

 

foyer
Melanie Turner
Melanie Turner Interiors

What was your inspiration? An 18th-century manor house blown up in a large scale. We chose a graphic pattern for the floor that was architectural and period-specific to the home; it gave the space a dose of freshness. How did you choose the artwork? Since three generations had lived in the home, we wanted the art to look like it was collected over time. We achieved this by layering the artwork as a collection. There were four subject matters on display—19th-century portraits, boats, dogs and horses. How did you decide upon the salon-style arrangement? It is a very upper-crust generational approach to art. You inherit what your family gives you and add to it. What’s the secret to creating the perfect gallery wall? Usually, it’s one major theme. For example, all frames match, art from the same period, a common color scheme, etc. Our theme was lifestyle of the manor born. 
melanieturnerinteriors.com

STAIR RUNNER Jamie Lanford DRAPERY FABRIC Jim Thompson ART & ANTIQUE TABLE Melanie Turner Interiors

 

 

back stairwell
Kelly Hansen
Kelly Crago Hansen Interiors

Tell us about the wallcovering. It’s a fabric by Amy Karyn that’s available through Jerry Pair & Associates. If you look closely, it has a slight Indian vibe to it. I knew I wanted the space to be bold, but not crazy. The texture of the fabric really enabled me to use a wide variety of art together, in addition to having a pattern on the wall. Your space—a series of halls on various levels—presented a unique set of challenges. What was the most difficult to overcome? Besides installation, I’d say editing. I really found so many different things that I loved and looked wonderful with the wall color. I asked project manager Emory Herbert to hide the hammer! I knew that if I did too much it would almost become a distraction. How did you choose the carpet color? I’m all about doing something unexpected. I needed something to brighten up the staircase and I wanted something less serious. I toyed with doing the entire space in leopard but there is a fine line between being overwhelming and being edgy. What was your inspiration for the second-story landing with the white commode and the palm mirror? Again, I wanted it to be less formal than the first floor but still hold its own. I fell in love with the mirror from Parc Monceau a while ago; it’s so chic. When I paired it with the Dorothy Draper-style cabinet, it just made me happy.
kellycragohansen.com

COMMODE & CHANDELIER Parc Monceau WALL FABRIC Amy Karyn through Jerry Pair & Associates RUNNER Stark Carpet ACCESSORIES Interiors Market ART Gregg Irby Fine Art 

 

 

butler’s pantry
James T. Farmer
James Farmer Designs

You fit a lot of things into the butler’s pantry without it being too crowded. Scale and proportion make a room—regardless of the room’s actual size. The table width, scale of the chairs and even the Oushak had to all fit the bill to be intimate and comfortable, but not cramped. Like football, design is a game of inches to make it over the goal line! How did you choose the ceiling treatment? The painted ceiling is a personal and professional preference. Treat the ceiling as a wall or floor, adorned with the perfect color or material. Plus, it’s a Southern tradition to paint your porch ceiling “haint” blue, and I love to carry that [color] throughout the home. Why did you use a lantern instead of a chandelier? As an anglophile and Downton Abbey fanatic, I thought this English lantern was the perfect nod to said loves. I relish any opportunity to bring an outdoor element indoors, as well, and lanterns are a delightful way to meld the two. I’ll take a handsome lantern any day over a fussy chandelier. jamesfarmer.com

DINING TABLE Beckett Antiques CHINA & SILVER Beckett Antiques and Foxglove Antiques & Galleries RUG Kammy & Co. BLUE VELVET CHAIRS, TABLESETTINGS, LIGHTING & FLORALS James Farmer Designs DRAPERY FABRIC F. Schumacher WALL COLOR Benjamin Moore’s Monroe Bisque CEILING COLOR Benjamin Moore’s Palladian Blue

 

 

master bedroom
Barbara Westbrook
Westbrook Interiors

The color of the master bedroom is cozy and romantic. What’s the key to using a dark color like this one? I wanted a rich color that would be both inviting and dramatic. Dark colors can provide a gorgeous backdrop for beautiful pieces and great fabrics. In this bedroom, the rich tapestries and the beautiful woods keep the deep color from being overpowering or oppressive. I love a house with rooms in deep, rich colors contrasted with light, airy spaces. What was the first piece you chose for the space? The unique Italian carved chair covered in antique tapestry. It is worn in some areas and patched in others, which makes it all the more interesting. What was the room’s primary challenge? The size. Not only were there a number of doors and windows but, because the house was built in the 1920s, the master bedroom was not that large by today’s standards. Furniture placement had to be creative. How do you balance masculine and feminine elements in a room? It is important to have delicate feminine touches to balance the more masculine pieces. In this room, the masculine clean-lined bed is flanked by gorgeous antique side tables that have beautiful, delicate objects, such as the petite round painting on a stand and the lovely light fixture over the bed. westbrookinteriors.com

BED David Iatesta through Ainsworth-Noah & Associates PERSIAN RUG Sullivan Fine Rugs LANDSCAPE PAINTING Michael Dines SIDE TABLE Horsley Antiques BED LINENS Gramercy Fine Linens & Furnishings CHANDELIER Porta Romana through Jerry Pair & Associates DRAPERY PANELS Holland & Sherry through Jerry Pair FLOOR LAMP Mattaliano through Jerry Pair CHAISE Robuck & Company Antiques TAPESTRY CHAIR Horsley Antiques WALL COLOR Benjamin Moore’s Narragansett Green

 

 

lady’s dressing room
Maria McLaurin Nutt
McLaurin Interiors
Design Galleria Kitchen & Bath Studio

What did you hope to achieve in this space? I wanted the room to appeal to both men and women by incorporating a variety of details, such as glitz and bronze. My hope was to have the sitting area look like it belonged in the dressing room by coordinating fabric selections with the colors in the Quartzite countertops. By continuing the concept of circles and squares throughout with furniture, fabric and accessories, the dressing room and bath had a comforting cohesiveness. There are mirrors embedded in the crown molding. How did that come about? The crown molding is part of the Multiplicity Collection designed by Matthew Quinn for Art for Everyday Inc. The molding is designed to allow for a variety of inserts; this room called for a mirrored inlay. Was it a challenge to work with so many reflective surfaces?  At first glance, yes! However, the use of “antiqued” mirror really softened the effect while still serving a purpose and, meanwhile, making the room appear larger. mclaurininteriors.com

CABINETRY Design Galleria Kitchen & Bath Studio LOUNGE CHAIRS Kravet SIDE CHAIR TRS through Mathews Furniure Galleries SABLE CHAIR Bjork Antikt & Studio OTTOMAN Hickory Chair through Mathews Furniture Galleries FRINGE Samuel & Sons RUG Keivan Woven Arts CHANDELIER Circa Lighting SCONCES Colonial Lighting DRAPERY FABRIC Suzanne Tucker through Ainsworth-Noah & Associates

 

 

lady’s bath & gentleman’s bath
Design Galleria Kitchen & Bath Studio

How did you approach the envelope of the lady’s dressing area and adjoining bath? How did you want them to relate or contrast with each other? What is now the lady’s dressing area was the master bedroom and what is now the master bedroom was the master sitting room. We wanted the bathroom to feel like part of the dressing area, which is why we centered mirrored double French doors into the bathroom. Homes of this period, and especially those designed by Shutze, incorporated a lot of mirror in the dressing rooms and although they were not as large as this closet, the ambiance is the same. What was your inspiration for the gentleman’s bath? We took four little rooms—a hall closet, a bathroom, a dressing room and a closet—and made them into one large space. We envisioned a space that felt like a paneled gentleman’s study, and we thought an all glass-and-marble shower in the middle of the room would be so dramatic. Ample closet storage is behind the mahogany paneling. Michelangelo marble from Marmi was selected for the shower walls and vanity countertop, and the custom shower mosaic is by Traditions in Tile. designgalleria.net

ALL CABINETRY Design Galleria Kitchen & Bath Studio SHOWER DOORS & MIRRORS Atlanta Glass & Mirror ARCHITECTURAL MOLDINGS Matthew Quinn Collection for Art for Everyday DECORATIVE HARDWARE Matthew Quinn Collection MOSAIC FLOOR (her bath) Traditions in Tile FAUCETS, SHOWER FIXTURES & SHOWER NICHE (his bath) Matthew Quinn Collection for Rubinet PLUMBING FIXTURES PDI Plumbing MARBLE Marmi Natural Stone

 

 

lounge
Jimmy Stanton
Stanton Home Furnishings

The lounge has a very organic feel to it. What were you trying to create here? All of the terrariums, reclaimed wood, unique items and neutral colors helped to achieve the natural, organic feel. We wanted you to relax and spend time in our room.  What are the room’s most striking elements? The stacked design books to the right of the fireplace. Our artistically organized, chaotic display of books got everyone’s attention. People felt naturally inclined to replicate this look in their own homes. The vintage Karl Blossfeldt botanical prints were also a hit. We custom-framed the prints so they floated between two pieces of glass, a technique that gave the old prints a modern look. Hanging the artwork from the ceiling to the floor created a perfect grid and showcased the pieces beautifully. Why did you decide to keep the walls white? The walls were originally bright turquoise and the original white marble mantel was already in place. For us, the color selection only seemed natural to complement the mantle. We used Benjamin Moore’s American White and employed our signature technique of painting the walls, trim, ceiling and doors all one color and one finish. What’s your favorite thing about the room? The oversized, antiqued bronze lantern was our favorite design element. Having the lantern hung low above the coffee table created a central focal point for the room. stantonhomefurnishings.com

RUG Keivan Woven Arts ALL FURNITURE, ARTWORK, ACESSORIES, MIRROR, LIGHTING & UPHOLSTERY Available through Stanton Home Furnishings

 

 

guest retreat
Christy Dillard & Heidi Pierce
Dillard Pierce Design Associates, LLC

What’s a must-have for any retreat? The must-haves are a comfortable place to rest, great books to read and a few beautifully appointed pieces that inspire the senses and establish a cohesive feel. There’s a beautifully balanced mix of antiques and transitional furniture. What’s your secret? The key to this balance of antiques and transitional furniture is the tone of the woods, the colors in the surrounding fabrics, the rug and the simplistic styling and design of the antique pieces. Nothing was overly decorative or heavily carved. Describe the custom plaster wallcovering. What was its inspiration? The wallpaper is layers of hand-troweled plaster on paper, which creates a depth of color and texture that cannot be achieved with paint. The wallpaper was fashion-inspired, much like an alligator handbag. We feel that animal prints never go out of style. dillardpierce.com

CHAISES Dillard Pierce Design Associates ANTIQUE BOOKCASE Robuck & Company Antiques, Ltd.  CHANDELIER Ironworks International through Ernest Gaspard & Associates RUG Moattar Ltd. COCKTAIL TABLE Christy Dillard Collection by Lorts through Jordan Spencer DRAPERY Dillard Pierce Design MIRRORS Julian Chichester through Holland & Company

 

 

hallway
Melanie Millner
The Design Atelier, Inc.

What was your starting point in the design of the hallway? The Elizabeth Eakins runners were our inspiration for the hallways. We wanted to use orange. Hallways must be both functional and set the home’s tone. How did you accomplish this? The goal was to create a warm and interesting space that infused a welcoming spirit as you pass through. We also added details and custom touches to make them special. What was the space’s biggest design challenge? Finding the perfect light fixtures. We couldn’t find what we were looking for so we custom-designed our own. thedesignatelier.com

BENCH & LANTERN Smithworks Iron & Design BENCH FABRIC Pollack Fabrics through Dongia SCONCE Porta Romana through Jerry Pair & Associates RUNNER Elizabeth Eakins through Ainsworth-Noah & Associates SCULPTURE Corbin Bronze through Jerry Pair

 

 

lady’s parlor
Tish Mills
Harmonious Living by Tish Mills, LLC

What were some your favorite elements in the space? The room was so complex in the layering and design, which was needed to correct the odd window and door arrangement. The three things that corrected the architecture of the space were the Nancy Corzine chandelier, the art arrangement and the furniture arrangement. Achieving balance and peacefulness in an awkward space can be extremely challenging, but also very rewarding when it comes together just right. What did you choose first? My first selection for the room was the Moattar rug. I absolutely love the classic pattern mixed with the progressive color palette. This space was small and needed to have a whole lot of punch to make it memorable. How did you come up with the seating arrangement? I laid out this room over and over again. It was extremely difficult due to the size and traffic patterns that needed to be protected. Also, I knew that I wanted very strong walls with an eclectic art arrangement. But, after I saw the leather chairs at Baker Knapp & Tubbs, the design fell into place. harmoniousliving.net

CHAIRS & COFFEE TABLE Baker Knapp & Tubbs RUG Moattar Ltd.  TEXTILES Ernest Gaspard & Associates WALL FABRIC Robert Allen Beacon Hill ART Pyror Fine Art CHANDELIER Nancy Corzine through Ainsworth-Noah & Associates

 

 

guest bedroom
Courtney Giles Decker
Courtney Giles Interiors

How did you approach the design of this room? The room evolved around the ikat drapery fabric from Schumacher. I wanted a bold pattern at the window while keeping the rest of the room calm. The canopy over the bed makes the room more quaint and cozy. Despite the room’s small footprint and the presence of some large-scale pieces, there is still the perception of an airy space. How did you accomplish this? The room was a bit of a challenge because it was very small, and one entire wall was covered with four doors. There really was only one legitimate wall for the bed placement. That is where I had to get creative with the custom bedside brackets as end tables and wall lamps. I decided to use the large-scale highboy to anchor the only other solid wall in the room—a smaller piece would have ended up looking dinky. Describe the room’s color treatment. Since there was only one window in the room, I painted the walls high gloss to reflect more light. The white and charcoal accents everywhere toned down the lavender a bit, too. courtneygiles.com

RUG Eve Inc. CUSTOM BED & CANOPY Barter & Galambos IRON CHANDELIER & BEDSIDE BRACKETS Smithworks Iron & Design WALL LAMPS Circa Lighting GREAT SCOTT HIGHBOY MacRae Designs DRAPERY FABRIC F. Schumacher LINENS Gramercy Home WALL COLOR Benjamin Moore’s Winter Grey

 

 

nursery
Bill Musso, Todd Falconbury, Lauren Dott, Lauren Sardo & Emily Koch
Musso Design Group

Was it difficult to design a contemporary space in a house with such classical architectural detailing? There were a few challenges, like every project has. We decided to downplay the classical elements by painting the moldings and wall one color, which allowed the decor to play a more prominent role. This approach is more prevalent in Europe, where contemporary art and modern furnishings often fill traditionally styled homes. Do some rooms lend themselves to certain colors? Absolutely; a room’s function is a big factor in determining the color scheme. Lighting, size and the shape of a room are also important in determining colors and shades. In this case, we took into account the wonderful natural lighting and chose a background color found in the window treatments. The colors chosen for the walls and fabrics were somewhat non-gender specific. What’s your favorite thing about the room? We had two things we liked best. The first was the focal wall, upholstered in a modern, geometric cut velvet from Duralee. This wall defined the contemporary space and made a wonderful backdrop for our second favorite thing—the mid-century walnut-and-acrylic crib from Spot-On Designs. mussodesigngroup.com

CRIB Spot-On Designs SWIVEL CHAIR Musso Design Group LIGHT FIXTURE & FLOOR LAMP Design Within Reach DRAPERY FABRIC Lee Jofa UPHOLSTERED WALL FABRIC Duralee Fabrics

 

 

sitting room
Barbara Heath & Tim Green
The Mercantile

How did you envision this sitting room? We saw it as a current-day family trophy room with vintage photography and terrific trophies. We loved incorporating the hand-painted vintage family crests from Gibb’s Fine Art as they added just the right amount of color to our walls. How did you work with the ceiling’s unique shape? The two issues we faced were the ceiling line and the lack of direct natural light. We took both of those on as challenges and wanted to demonstrate that if you keep a monochromatic palette on your walls and ceiling, it can actually elevate the height of the room and make a relatively small room look larger. Describe the color palette. We wanted to keep the space light, bright and current. Without natural light, we needed to bring that illusion with our color scheme. Keeping the walls neutral, as well as the majority of the upholstery, allowed us to have significant pops of color. The citron green rug played off the navy in our pillows to bring things to life. What custom pieces were designed for this space? The coffee table was handmade in South Carolina and the bookcase—although it’s a piece by Century Furniture—was lacquered locally by the artists at Bjork Antikt Studio. mercantileatlanta.com

RUG Sullivan Fine Rugs ALL FURNISHINGS & ACCESSORIES Available through The Mercantile

 

 

young man’s bedroom
Caroline Tolleson
Caroline McLean Tolleson, LLC

What design challenges did the room present? While adding quite a bit of charm, the dormer window presented a design challenge. Not only did it create an awkward hallway, it also changed the shape of the ceiling dramatically, making the room appear smaller than it was. As a solution, I chose to paint the sloped portions of the ceiling in the wall color, extending the height of the room. How did you choose the fabric for the headboard and frame? The headboard fabric was the first thing I chose! I selected the fabric because I loved the rich texture and handsome colors for a young man. You’ve used curtains in an unexpected way. Why did you decide to place them there?  I chose to hang the draperies at the front of the dormer to add softness to all the angles in the room and to separate the childlike play area in the dormer hallway from the sophisticated room. carolinemcleantolleson.com

PLAID FABRIC Lee Jofa COVERLET Gramercy Fine Linens & Furnishings ETAGERE Acquisitions CHANDELIER Foxglove Antiques & Galleries LAMP Edgar-Reeves Lighting WALL COLOR Benjamin Moore’s Copley Gray

 

 

teen retreat
Bryan Alan Kirkland
Maison Atlanta/Bryan Alan Kirkland Designs

What was your inspiration for this teen retreat? My inspiration came from an Osborne & Little wallpaper; the “Gecko” pattern is glamorous yet understated. Having lived in Miami, where geckos live in the trees, I imagined that my room had amazing trees, as well. I could picture geckos crawling around so I followed up with a chandelier that would cast shadows like a tree and hide them on the walls. I also love the mix of bronze, gold and silver combined with beautiful blocks of color. Textures, colors and patterns abound. How did you balance all of these elements? I played with solid colors and patterns in lots of touchable textures, from the bamboo rug to the textured silk sheers to the faux hide-hair pillows on the daybed. Visitors especially loved the smooth feeling of the wallpaper that looked like it had texture. It was all tactile and fun, but it’s all just a play on the mind. What are your favorite items in the space? My two favorite items are the desk chair and daybed. The desk chair was a moment of surprise; it was unexpected because the frame was so elaborate, finished in gold leaf, and had an amazing raspberry fabric. My daybed was something you would have expected to see in Marilyn Monroe’s train car—if she had one. It was incredibly sumptuous and sublime in its dark gray faux silk. maisonatlanta.com

RUG Moattar Ltd. DESK & COFFEE TABLE Grizzel & Mann SIDE CHAIR Baker Furniture CHANDELIER & GLASS ART Maison Atlanta DESK CHAIR Century through Maison Atlanta WALLCOVERING Osborne & Little through Grizzel & Mann TRIM COLOR Benjamin Moore’s Sterling Siliver

 

 

game room
Kellie Griffin
Kellie Griffin Interiors, Inc.

What kind of ambiance were you trying to create in the game room? Given that the home is more than 80 years old, I wanted a design akin to a 1920s gentleman’s club, a warm retreat from the drudgery of the Depression. I envisioned games and gambling among friends, or an after-hours parlor filled with the power players and robber barons of a bygone era. How did you accomplish this? The lighting was the most important element of the room. For a dramatic yet welcoming feel, I used an eclectic assortment of vintage and repurposed pieces. The comfortable and functional furniture incorporates rich masculine leathers juxtaposed with plush and luxurious draperies. What is an essential element in any game room? A casual and functional atmosphere is essential. A game room should be inviting to all and be functional, bringing the family together through entertainment or recreation. kelliegriffininteriors.com

LEATHER ARMCHAIRS Century Furniture ANTIQUE GAME TABLE Bee Home DRAPERY FABRIC Travis & Co. WALL COLOR Benjamin Moore’s Iron Mountain

 

gazebo                   
Debbie Weitz, Kent Drotor & Jessica Brummett
B.D. Jeffries

 

 

front entry & porte-cochère
Mary Palmer Dargan
Dargan Landscape Architects

 

 

 

pool area & garden
Ed Castro & Hannah Seaton
Ed Castro landscape, inc.

 

The multiple outdoor areas at Knollwood, home to this year’s Decorators’ Show House & Gardens, featured an array of design ideas—from a timeless entrance and classic pool area to a more exotic dining space ensconced in a charming gazebo.

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