Anatomy of a Console Table

Sara Gilbane

Generally speaking, there are precious few "rules" when it comes to decorating. After all, taste isn't really a matter of following a prescribed list of "do's" and "don'ts", but instead a more elusive art form: it is emotional rather than logical. There's an often repeated mantra that good taste can't be taught -- and perhaps that is in fact the case. However,I firmly believe that if we take the time to train our eyes, we can learn short cuts and handy tricks that can at the very least help us approximate good taste, even if it isn't innate.

One area of decorating that appears to have surprising uniformity is styling a console table. A console table is the true workhorse of occasional tables -- it works equally well behind a sofa as it does in foyer -- and it's also an amazing opportunity to practice styling on a small scale. For many designers, the task can even be broken down into a rather simple arithmetic formula. Take for example Sara Gilbane's alcove (shown above). The classical elegance of the console table is anchors the statement-making gilt mirror. A pair of tall vases flank either end of the table and help bridge the space between the mirror and table top. Smaller-scaled picture frames and a decorative bowl fill in the center of the table and create further symmetry. This symmetrical arrangement is then echoed on the lower shelf with two small plants flanking the inlaid box.

Following this symmetrical formula is a simple and guaranteed way to achieve a visually pleasing arrangement. A few more examples from some of my favorite designers to illustrate some of the many variations on this theme:

Hillary Thomas Designs

John Willey Interior Design

David Jimenez

Mary McDonald

Meg Braff

Ashley Whittaker

Miles Redd

If you have a longer wall to fill, follow the lead of Miles Redd (above) and Sally Steponkus (below) and try flanking the console table with a pair of smaller chairs. When company comes, you'll have the extra seating, but otherwise the chairs will be out of the way for day-to-day activities.

Sally Steponkus

Kristen Hutchins

If you're ready to move on to the next level, try breaking up the symmetry a bit, which can create a far more interesting (and less "decorated") look. The key to your success though will be to maintain the balance. Here, Kristen Hutchins uses only one table lamp (a good choice as the console table is on the small side), but balances it with a small floral arrangement at the other end.

Kara Mann

Here, the very symmetrical arrangement of mirrors above the console is loosened up by the more haphazardly arranged orange boxes below. If the boxes had been stacked more tidily, the overall effect would have been far too geometric, which would have felt too studied and not in keeping with the more organic qualities of the decorative objects on the table itself.

Ruthie Sommers

If you're trying to break up the symmetry a bit, I'd suggest keeping at least one element symmetrical, as Ruthie Sommers did here with the pair of sconces flanking the mirror. This is a simple trick to bring balance back to an asymmetrical space. [Random aside: Did you notice the adorable dog lounging on the stairs in the mirror's reflection?]

Lindsey Coral Harper

Sometimes a simpler, less cluttered arrangement is best, particularly in a small entryway or hallway. Here, Lindsey puts the emphasis on the vertical space of the room rather than the horizontal by using highly reflective elements (the metallic wall paint, the gilt mirror, the glittering wall sconces). The effect is further realized by placing the mirror and sconces higher up on the wall. A word to the wise though: when hanging wall art, mirrors, sconces, etc. it's best to keep them below the height of the door or window frame.

Tim Clark

Time for the masters' class! In this vignette by Tim Clark, nothing is symmetrical and yet the arrangement is still highly successful. The red rattan chair is balanced by the palm in the red pot and the height of the pot is similar to the height of the floor lamp behind the chair. The green stools echo the color and shape of the small vases on the opposite side of the console table. As each side speaks to the other, the eye moves back and forth across the vignette.

Amanda Nisbet

A final point to consider is that sometimes fewer, larger pieces are far more effective than a bunch of small tchotchkes. In this vignette by Amanda Nisbet, the scale of the mirror, lamp and bust create a lot of drama without creating a lot of visual clutter. The neutral palette also ensures that these disparate pieces work harmoniously together.

Virtual Vacation: Palm Springs

After a long weekend of packing, moving and (slowly but surely) unpacking, I'm ready for another vacation. Since I won't be taking one for a while, I thought I'd indulge in a little virtual vacation today, courtesy of the New York Times and its recent feature on the Palm Springs' home of Kansas-based designer David Jimenez. While I've never been to Palm Springs myself, I've always imagined it to be an oasis of old Hollywood glamour situated in the middle of the California desert. The kind of place where Hollywood starlets sip on colorful cocktails beside glittering sky-blue pools. Where entertainment executives make deals beautiful golf courses with breaktaking mountain views. And where lazy afternoons by the pool turn into elegant (and a little bit wild) house parties at night.

From a design standpoint, Palm Springs is most often associated with mid century modern architecture and the Hollywood Regency style first popularized in the 1950s and 1960s. Recently, both MCM and Hollywood Regency have experienced a resurgence in popularity thanks in large part to designers like Jonathan Adler and Kelly Wearstler. In Palm Springs itself, the Parker hotel, decorated by Jonathan Adler in 2004, has become a sort of Mecca for design fans -- and I hope to make the trek one day to experience it for myself. In fact, when I saw the white lattice work on the front entrance to Jimenez's home (at top), I was instantly reminded of the entrance to the Parker (immediately above). While the Parker's door is a bold orange (a favorite color of Adler's that is used throughout the hotel), Jimenez's own front door is a sunny yellow -- yet again, just a hint of things to come.

The inside of Jimenez's house matches its lovely MCM exterior, with its bold shots of sunshine yellow and an injection of a blue as brilliant as the Palm Springs sky. The bold colors are tempered by a backdrop of cool white and grounded by black accents. The article indicates that Jimenez decorated much of the house with repurposed (and reupholstered) local flea market finds. All I can say is, if these are the types of pieces you can pick up in Palm Springs' flea markets, then I definitely need to make the trip...preferably with a U-Haul in tow.

Here, I love the yellow backsplash in an otherwise all-white kitchen. In the dining area, the elegant and traditional all-white chairs are a nice counterpoint to the gleaming metal and glass mid century table. In fact, if Jimenez had decided to go with mid century chairs (like, say, Saarinen's tulip chair), I think the overall effect here would've been far too literal. While a house can reference particular periods and styles, a slavish adherence to just one will only make a house look dated -- a virtual time warp. By mixing MCM and traditional styles though, Jimenez creates a more elegant, and more modern, look.

I'm always drawn to salon style art arrangements, especially when each piece of art is shown off in a different, yet coordinating, frame like Jimenez does here. Jimenez's collection of books (in black and white covers, of course) underneath the display lends a more casual air here that works perfectly in a vacation home. I also love the bold flower mirror above the stove. It's such a lovely and unexpected change from a tile or glass backsplash.

The disciplined color palette extends into the bedrooms. While this rigid a color scheme probably doesn't work in a primary residence, I like the idea of using it in a second home as it helps create a hotel-like atmosphere (rather nice when you're on vacation, yes?). A tight color palette is also a great way to keep bold colors -- like this yellow -- from feeling overwhelming.

I love the crispness of the black and white linens (which look like Rubie Green's classic duvet set) and curtains in this guest bedroom. Their simplicity and geometry are great counterpoints to the shapely yellow lamps and accent chair.

Owning a home in Palm Springs without a pool would be like owning a beach house without an ocean view -- in other words, a complete waste. Mr. Jimenez's pool doesn't disappoint, with its placid blue bottom, a wall of ficus trees for privacy, and abundance of white lounge chairs. In short, it's the perfect spot for a pool party.

In the article, Jimenez indicated that he will sometimes rent out his lovely house to vacationers. While I'd imagine that the house (absent going in with a dozen or more friends) is well outside my budget for a long weekend, it's nice to know that the option is out there, for those lucky enough to be able to take advantage of it.

For more photographs of this Palm Springs' beauty and for the full article, please visit HERE.

Photographs by Stephanie Diani of the New York Times.

Blue and White is Always Right

Perhaps it's because of the imminent arrival of summer, but lately I (like many bloggers, including Christy of the fabulous A Lil' Welsh Rarebit) have been drawn to rooms decorated in blue and white. While more than one book has been written on the topic, I think the look is classic and timeless enough that my posting on it won't just be beating the proverbial dead horse.

The the cover story in the latest issue of House Beautiful featured a Hamptons beach home decorated by David Lawrence (living room pictured above) almost entirely in navy blue and white. The result is stunning, and while the colors are undeniably beachy, the house doesn't look like a typical beach house, with no rattan or cheesy shell print pillows in sight. I think the house is a great illustration of how the blue and white color scheme can be at once traditional and contemporary, refined and yet still casual.

Another great example of a blue and white beach cottage look done right is this master suite, designed by the dynamic duo of Nathan Egan. The palette here is much quieter than in the David Lawrence's beach cottage, but the sky blue and oyster tones are perfectly suited for an oasis-like master retreat. I also appreciate how the designers didn't let the colors or furnishings compete with the beautiful white-washed walls and ceiling.

Here's a living room in Wainscott, Long Island, decorated by Thad Hayes. Again, the soft blues and whites create a cozy, beachy space that's still sophisticated.

This den in a summer home in East Hampton decorated by Elizabeth Martin is yet a fourth beautiful example of beach house chic from New England. I love the wall color here, especially against the white wainscoting and dark rattan furniture. The space looks elegant, but cozy and lived-in. I also love the idea of blowing up a family photo to poster-size; it's so personal and keeps the room from looking too "decorated". My one complaint about this room would be to loose a few of the throw pillows on the sofa. One of my big designer peeves is when there are so many throw pillows on a sofa or chair that you have to move them just to sit down.

As far as I'm concerned though, the entrance hall/stairwell in this home is absolute perfection:

The coral chandelier is a great nod to the setting, and I love the pale blue ceilings and sand-colored walls. When I think of beach houses with "style", I tend to think of those in Nantucket or the Hamptons. Ironically, I've never been to either location, but I like how understated all the homes seem (unlike, say, in south Florida where I picture all the houses awash in various shades of pink and turquoise).

With every silly generalization I make up, of course, comes an exception or two to prove that, in truth, anything (even bright turquoise) can be done with style and panache. This breakfast nook in a house on Johns Island, South Carolina, was decorated by Phoebe Howard. By keeping the palette monochromatic, Phoebe is able to use a brilliant hue and make it almost understated. This is Florida-style done right.

Of course, blue and white does not have to come off as beachy. The color combination can read distinctly masculine, especially when the walls are washed in a deep navy, like in the bedroom decorated by Kansas City designer David Jimenez. What I particularly like about this space is the bed linens, which look like they're made of mens' dress shirts; the look is classic American style to me -- very Ralph Lauren. David's prior work at Restoration Hardware and Pottery Barn is also pretty evident in this room, I think, from the Valencia-style bed to the task light.

In my new house, I'm definitely going to have to try painting out the backs of bookshelves a different color because I'm loving the look in just about every iteration. This den was designed by Little Rock designer Tobi Fairley (who also has a great blog HERE) and, while it incorporates a lot of brown, in addition to blue and white, I couldn't resist posting it here. This space seems just so livable to me -- there's even a TV mounted above the fireplace.

And since blue and white shouldn't be limited to the living room or den, here are a kitchen and a dining room from designer Sherrill Canet's portfolio:

This kitchen, located in Quogue, NY, makes me weak in the knees. I'm typically of the mind that cabinets should either be natural wood or white (or cream), but these robin's egg blue cabinets are lovely. Of course, the cathedral-style ceiling, top of the line appliances, and sea of an island don't hurt either. Notice how the island's cabinets are painted a deeper blue than the wall cabinets; a truly masterful touch.

And finally, this "breakfast room" (looks like a formal dining room to me!) in Mill Neck [Long Island...are you detecting a trend here?], New York, illustrates how navy can really be used to punch up a space without reading as loud. I think the Chippendale chairs are a great counterpoint to the heavy white [marble?] linear table. I also really like the art over the buffet; it's modern and suits the color palette of the space but still stands on its own (i.e., it's not just a design tool).

Whew! This post is getting rather long, but once I started looking for blue and white, I realized just how ubiquitous a design trend (albeit one with indefinite staying power) it really was.