Q&A with Chris Goddard of HGTV’s Design Star

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Photos by Mark Jackson/CHROMA Photography.

Designer Chris Goddard grew up in Arkansas in a house full of built-in furniture. As his love for design started early in life, he says this situation “drove me nuts.” Now, as the principal founder of Goddard Design Group, he credits these hurdles, as well as the creative nurturing of his family, for his love of change, which continues to inspire every facet of his work.

It was the need to produce something new every time, and the drive to push himself past his own creative limits, that helped Goddard become a finalist on the most recent season of HGTV’s Design Star: Next Gen.

We spoke with Goddard about his whirlwind experience of creating interior design for TV, and how his reality TV appearance inspired an even deeper love for design than he’d had in 30-plus years.

For those who haven’t watched the latest season of Design Star, can you relay to audiences your method of design?

I’m a big proponent of change, if you’re doing the same thing you did 3 years ago you’re doing something wrong. I never do the same thing twice, so in 30 years we’ve never used the same fabric twice, the same piece of furniture twice — it’s kind of my trademark. I don’t want anybody to have something somebody else has.

What has been your biggest inspiration, since you were young, to work in such a creative field?

I grew up in a very creative family, always surrounded by creativity and the arts. My family, especially my mother and my grandmother, were big on travel and exposing me to as much as possible. So I traveled a lot and spent a lot of time in museums. They would always take me out of school for weeks at a time; they always said ‘the best education was travel and experiencing things.’ I grew up a little globe-trotting kid, seeing the world, which was wonderful and super inspiring.

You received both design and business degrees in college. Have you found this type of structured education helpful as well?

I’ve found that having a business degree really makes a huge difference. Most designers are creative but can’t always run a business, and I’ve been able to strike a good balance. That’s not to say I haven’t ever screwed up — we all have — but those are called learning experiences.

You mentioned loving to travel, what’s one of your favorite places to visit?

One of my favorite places is Morocco. I try and go once a year. I’m super inspired by the colors and textures, anything that’s handmade. When you have something that’s made by hand, at least one thing in your house, it gives your house a soul and gives the room a sense of place, like it’s always been there. That’s my whole deal, creating timeless rooms. I don’t want anything to look like it was stuck in time, and the key to doing that is layering in parts of the past, present and modern so you get something that never really goes out of style.

A traditional Southern estate with hints of modern elegance in Fort Smith, Arkansas.

What is your primary focus when you’re designing a space?

I’m designing for the client, or if it’s commercial, for the space. You want to create an experience that is singular to them. I think the death of most design is becoming a trend or doing anything trendy, so I always try to be very specific in what I’m doing and make sure it’s uber-tailored to the space or the client.

I think as a designer the biggest compliment I can ever get is when someone comes in and says “Oh this looks like the homeowner,” instead of “this looks like a Chris Goddard house.” The biggest compliment is that it’s a reflection of the homeowner or the space.

What was it like to be on an HGTV show? Did you enjoy your time on set?

When I started my business I taught myself how to do everything, how to put on wallpaper, how to paint — to be a good designer you have to have an understanding of all the people that work for you. I haven’t done that [in person] in over 25 years, but [on the show] it all came back to me like riding a bike. … Each episode was like a day and a half, so cranking everything out and then being judged on it was a little tricky. In our career, our clients are the judges and you kind of have an idea of what they want, but when you go into things blind, you don’t know.

For me it was more fun because I got to push myself out of my comfort zone, which I really needed. I kind of looked at the whole experience as an opportunity to reignite my passion for design. It’s easy when I get to the level I am at and get comfortable — and I think I was feeling a little comfortable — which was the reason I wanted to compete. Doing it, I came back and I couldn’t have been more excited about design than I had in my whole life. It was the best experience I could have ever had.

What lessons have you taken away from the experience?

It’s best to go with your first thoughts. If you get too much in your head, it throws off the creative process. Don’t be afraid to try anything new. The main thing [I learned], though, was to trust my gut, be authentic and keep pushing myself. And to learn something new. I learned so many new design tips, technology tips — everyone had so many things to share. It was nice to just be able to soak it all in.

How have things progressed since going back to the firm? Any big plans for the future?

I’m excited to see what happens in the next few years, as design is having a Renaissance. Right now we’re busier than ever, since people have been stuck in their homes and they see things they want to change. They want multifunctional spaces, beautiful spaces, there’s been this huge resurgence in an interest in design. The whole world is once again interested in how they live.

The design style of this home evolved from Spanish Mission into an eclectic mixture of modernism and neoclassical, created through thoughtfully curated collections, from vintage Chinese rugs to contemporary art.
A key component to the design of this Fayetteville penthouse was the incorporation of pieces from the client’s extensive modern art collection, seen above and below. “It was a lot of fun to pull modern furniture and art together to create a new space that still resonates our client’s unique, eclectic personality,” according to Goddard Design Group.
Top photo by Rett Peek Photography.
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Glass Ceilings: Designed to be Broken

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Cover image: ©istockphoto.com / Rost-9D

In the male-dominated field of architecture, women struggle to overcome institutionalized barriers to gender equity.

At her eponymous New York City studio, architect Nina Cooke John creates sophisticated spaces through “high-impact” residential architecture.

Nina Cooke John photo by Ball & Albanese; Below photo by Lisa Russman Photography.

Courtrooms are increasingly occupied by women attorneys and even judges, and world-class hospitals have no shortage of women physicians. But, regrettably, the profession of architecture remains nearly as male-dominated as the halls of the U.S. Senate or Fortune 500 boardrooms. In a field that demands both artistic achievement and construction expertise, gender equity has been painstakingly slow.

There are certainly some bona fide celebrity women architects, such as Jeanne Gang who is dramatically redefining the skyscraper, and Elizabeth Diller whose firm of Diller Scofidio + Renfro created The High Line in New York and The Broad in Los Angeles. They follow Zaha Hadid, the trailblazing Pritzker Prize-winning designer who passed in 2016. The prominence of these women has inspired a new generation of female architects, but that path is still laden with roadblocks.

Despina Stratigakos, Ph.D., vice provost for inclusive excellence and professor of architecture at the University at Buffalo, states, “Architecture is a male-dominated profession by design,” and explains that there was strong pushback when women first started entering the field 140 years ago. “The justifications given then for excluding them from practice, revolving around women’s negative ‘feminine’ influences, became embedded as core values of the professional culture,” says the professor, who reports that a deep-seated bias against women’s abilities continues today.

Stratigakos’ 2016 book, Where Are the Women Architects? was partly inspired by the emergence of a new movement seeking greater gender equity in the profession. “I wanted to raise awareness of this long-standing question and of the voices of activists pushing for answers today,” she explains. “Women have long advocated for greater diversity in architecture, but too often have been ignored by the profession’s leaders,” says Stratigakos.

The professor cites statistics that reflect approximate gender parity among students enrolled in accredited architecture programs in the U.S. but that is not, however, indicative of women’s advancement in the profession after graduation. “Although the gap has shrunk between the numbers of men and women studying architecture, racial and ethnic disparities are slower to change,” adds Stratigakos, who notes that Black women are sorely underrepresented in architecture schools. 

While challenges for women of color can be dispiriting, voices like Nina Cooke John provide inspiration for those entering the field. The Jamaican-born architect, whose New York-based Studio Cooke John specializes in “high-impact” residential architecture — she explains the concept as maximizing and customizing every square inch of the spaces she describes as “machines for living” — and public art.

Cooke John, whose impressive resume includes degrees from Cornell and Columbia, was included in Dwell magazine’s “13 Extraordinary Women in Design and Architecture You Need to Know.” Following faculty positions at Syracuse University and Parsons School of Design, she has returned to Columbia to teach architecture, making the professor well suited to counseling young women entering the field. Informed by her experience as one of the few Black women in her class at Cornell, she advises, “It’s important to speak out and create your own community because support is paramount to your success.” She suggests that if students who feel isolated cannot find that support on campus, they should reach out to practitioners or minority-based professional associations for mentorship. 

After practicing and teaching extensively, Cooke John created her own firm with another woman architect — both mothers of young children who appreciated the flexibility most large firms could not provide — and eventually went solo. She reports, “For many women, it’s about finding your voice and creating an environment that’s difficult to find in a male-dominated firm.” Suggesting women tend to approach the profession differently, Cooke John reports, “When women interact with clients, it’s not so often about ego but listening to the clients and responding to their needs.”

“We interact with the built environment constantly, and while some people view it as in the background, it’s really the foreground of everything we do,” says Cooke John, who adds, “When people engage with one another in public spaces, community-building is much stronger.” Her foray into public art installations further advances her philosophy of placemaking, which transforms relationships between people and the human-made environment.

Julia Gamolina is director of strategy at Trahan Architects, an international firm with offices in New Orleans and New York, whose portfolio includes prominent educational, sports and performing arts venues. She is also founder and editor-in-chief of Madame Architect, an online magazine that celebrates the achievements of women in the field and serves as a digital mentor to young professionals. Explaining that challenges for women are exacerbated by influences beyond their own architectural firms’ cultures, Gamolina observes, “Most professions dealing with the built environment, such as commercial real estate, construction and engineering, tend to be even more male-dominated than architecture.”

The editor of Madame Architect not only laments the lack of gender equity in her industry, but suggests progress is unlikely to be swift. “It’s slow to change because architecture itself takes a long time, from financing and government approvals to design and construction,” explains Gamolina, another accomplished Cornell alumna. She reports the numbers of women in leadership positions is more anemic than overall female participation in the industry, but notes some women start their own firms after becoming mothers.

Other women, reports Gamolina, drop out of the rigorous profession when they have their first child because employers do not offer sufficient flexibility. “It’s not a motherhood problem at all,” insists the architect and journalist, who maintains that lack of flexibility applies equally to fathers and even caretakers of elderly parents. One potential dividend from the pandemic was the recognition by employers that staff can be fully productive working outside the office.

Gamolina believes young women need to understand there are exciting roles awaiting them in architecture beyond design itself, and points to her own director of strategy position at Trahan Architects. “Madame Architect showcases all the career possibilities within the field,” she explains, citing specialties in administration, communications and marketing.

Rosa Sheng is a principal at SmithGroup, whose 15 offices create cultural centers, master-planned cities and mixed-use projects around the globe. Sheng also serves as her firm’s director of justice, equity, diversity, and inclusion, and is founding chair of the Equity by Design Committee created by the San Francisco chapter of the American Institute of Architects (AIA).

 

Julia Gamolina is director of strategy for Trahan Architects — the Coca-Cola Stage at Atlanta’s Alliance Theatre is a signature project — and is also editor-in-chief of Madame Architect.

Photo of Julie Gamolina by Lily Olsen; Theater photo by Leonid Furmansky.

Equity by Design has conducted three pivotal research studies with the most recent, in 2018, involving a survey of more than 14,000 architecture school graduates. For Sheng, therefore, anecdotal stories from her colleagues are supported by hard data. Her research reveals several “pinch points” in the careers of women architects: pathways to licensure, access and opportunities to leadership positions, caregiving navigation/reconciliation, and pay equity for similar roles or positions. Her committee’s early work focused on the “missing 32 percent,” referring to the attrition rate between women architecture school graduates and those who became licensed.

After giving birth to her second child during the Great Recession, Sheng was experiencing one of those pinch points. “I felt like I couldn’t be a good parent or a good architect,” she recalls defeatedly, and adds, “People say there are barriers, but you don’t believe it until you experience them.” In challenging times, women leave the profession, something Sheng herself considered even after years of success. But her work with Equity by Design has provided a new purpose to complement her passion for the discipline. “It’s that feeling of being swept away by the excitement, like, ‘Wow! There’s something here we can influence and help to change,’” explains the activist architect.

Sheng reports, “In addition to Equity by Design, there are many more women in architecture leading efforts to share experiences, celebrate achievements for justice and equity in the profession, and inspiring a more diverse demographic of architectural practitioners.” She cites organizations like 400 Forward, a nonprofit that inspires women of color to become architects.

“Your success will not be determined by your gender or your ethnicity, but only on the scope of your dreams and your hard work to achieve them.” This is not just any motivational trope, but the words of the great Zaha Hadid, who overcame challenges on both fronts.

Rosa Sheng, a principal at SmithGroup — the UC Davis Teaching and Learning Complex is a recent project — was founding chair of the Equity by Design Committee.

Photo by Scott R. Kline; Building renderings courtesy of SMITHGROUP.

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‘Keep Things Sophisticated’

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Photo by Rick Chaffiotte Photography.

Interior Designer Marissa Stokes aims for designs that are classic and timeless. And says don’t overlook the ceiling.

For designer Marissa Stokes, home has been a variety of places. Home was growing up in New Jersey, where creative parents and a need for change led to an intense love for interior design at a young age. Home was also New York, where she earned a degree from Parsons School of Design and worked her first jobs at elite design firms, including David Kleinberg Design Associates, Victoria Hagan Interiors and Jayne Design Studio. And now as an accomplished designer, home is more than just a place — it’s every threshold she passes, every piece of furniture she chooses, every decision she makes in order to help craft the perfect space for her clients. We spoke with Stokes about her experiences in the industry and how her love of interior design has transformed her career so far.

How do you think living in New York affected your design style and preferences?
You’re just exposed to so many amazing things, being in and around New York City. The architecture alone, having incredible museums at your fingertips. I also went to school in NYC; I think that was an incredible experience, but also had a huge influence on my design aesthetic, just having everything at your fingertips, between different cultures, food, architecture. I feel fortunate to have lived there and so close to there still now. I love New York City.

 

When was the first time that you ever thought about working in design?
I really have always wanted to be an interior designer from a very young age.… I think it’s because my parents are both very creative people, always doing things to improve our home.… My dad made furniture, we even had a woodshop in our basement. I just had this love for transforming spaces and the process, and I just fell into it very naturally.

 

Did you learn wood craftsmanship yourself?
Yes! I had all the tools at my fingertips in the shop, and I am still able to use them now, a bandsaw, a tablesaw, et cetera. We also had a sewing machine, so I grew up sewing at a young age — we’d be making window treatments and pillows. I was always transforming my personal space, shifting things around, changing them or painting them. Making them look different. It was just something I always loved to do, and still love it.

A bright living room situated in an Upper East Side apartment.

The corner of a library in a Montana lodge.

A Mediterranean Revival home on the Intracoastal in Palm Beach.

Above photos courtesy of Jayne Design Studio.

Why do you do what you do, what about art and design draws you into doing it every day?
I love making people’s dreams come true. There’s something so rewarding about helping a client transform their space so it’s not only functional, but beautiful. In terms of art and design, there’s so many artists and creatives out there who are doing incredible work, and I’m being exposed to them, just learning and growing. It’s another reason why I love what I do. Every day is different and I just love that.
Are there any activities outside of work that help inspire you or your work?
Outside of work, I’m always trying to get out in nature, go for a walk or hike — nature is always inspiring. I feel like I can always pull things from that. I love to travel as well, even though it’s been a bit difficult to do so.
Where’s somewhere you love or would love to go?
My dream place I’d love to go is Greece. It really offers everything. It has ancient and historical sights, of course, but also beautiful landscapes and amazing food.
What has been your favorite project to do?
I worked on a project for Jayne Design Studio in Palm Beach. It was my first project as a senior designer for the firm. It’s a Venetian-inspired home on the Intracoastal. The clients were art collectors who wanted to enjoy the views and display their art. We designed and decorated a home that was quiet, clean and sophisticated to balance their collection and the architecture. I loved the home, its location and the clients. I will always have a soft spot for it.
When it comes to designing, what is the most important element you have to remember?
Well one thing that tends to be overlooked, I think, is the ceiling. It’s very important to design from top to bottom, to think about ceiling work, a lighting plan, and overall how it’s treated and how it affects the space.
Is there a piece of art in your own home that you would never consider selling?
Everything is here for a reason, so not one specific piece.
It’s always important to surround yourself with things you love, even if it’s a bit eclectic, surround yourself with furniture and art that you love. When you do that, things just kind of work together. There’s no standard.
What do you want people to take away when they look at your work?
I want people to find it classic and timeless, something that could last forever. I don’t want someone to walk into a space and instantly date it. I want the clients to be comfortable in their home for a long time. Keep things sophisticated.
What advice would you give to someone going into design?
Don’t be afraid to roll up your sleeves, you have to wear a lot of hats in this industry. Maybe start with an internship, but, all in all, do whatever you need to do to learn.

At left: A cozy breakfast room nook with a custom-designed banquette.               Photo by Aaron Thompson.

Above: An outdoor terrace overlooks Dutchess County.                           Photo by Aaron Thompson.

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ASPIRE House Princeton — Boy’s Bedroom

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Designer Diane Durocher quoted “Adventure, curiosity and exploration are what opens young minds to infinite possibilities” as the inspiration for the boy’s bedroom in the home. Choosing a color palette and furniture to grow with the child, Durocher explains the room represents a child’s curiosity about world, travel and life. Featuring an en suite bath, the bedroom is the perfect space for growing and learning.

Designer ~ Diane Durocher ASID, IIDA, CAPS, CID
Diane Durocher Interiors 

201.825.3832
diane@dianedurocherinteriors.com
dianedurocherinteriors.com
Instagram ~ @diane_durocher_interiors

Photography by Mike Von Tassell Photography
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ASPIRE House Princeton — The Dining Room

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Using the homeowner’s collection of antique wooden panels depicting the 12 zodiac symbols, designer Sam Ciardi created a Southeast Asian designed dining room. The room is a warm and cozy space, according to Ciardi with Samuel Robert Signature Spaces, who chose to center the room around a custom dining table.

Every inch of the zen-inspired room breathes life into the space, from the abundant green plants to the dark, earthy ceilings, to the bespoke credenza painting. The “deep bold, ‘Palm Frond'” transports you to the perfect paradise that encompasses a tropical, tranquil elegance. 

For more information on the ASPIRE House Princeton Designer Show House, click here.

 

Sam Ciardi
Samuel Robert Signature Spaces
Rockaway, New Jersey

973.376.770
signaturespacesnj.com

Instagram: @samuelrobertsignaturespaces

Photography by Mike Van Tassell Photography
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ASPIRE House Princeton — The Master Suite

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This zen master suite is the perfect space to unwind or start the day, with an impressive master bath, spacious walk-in closet, and distinguished furnishings. A soft mural wall and striking full-wall fireplace create warming ambiance in the space, highlighting comfort and opulence.

For more information on the ASPIRE House Princeton Designer Show House, click here.

Designer ~ Judy King 
Judy King Interiors  

609.279.0440
info@judykinginteriors.com
judykinginteriors.com
Instagram ~ @judykinginteriors

Photography by Mike Von Tassell Photography
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ASPIRE House Princeton – The Great Room

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This gorgeous great room is the gathering space of the home with the floating fireplace as its centerpiece. Featuring art from the Chelsea Art Group in New York City, the great room is warm and inviting and flows seamlessly into the kitchen and breakfast area. 

Designer ~ Anna Maria Mannarino
Mannarino Designs, Inc. 

866.574.3326
Holmdel, NJ
mannarinodesigns@comcast.net
mannarinodesigns.com
Instagram ~ @mannarinoannamaria

Photography by Mike Von Tassell Photography
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ASPIRE House: Princeton Designer Show House

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By Jessica Ganga and Victoria Zielinski

 

Unique Homes Magazine had the opportunity to visit the Princeton Aspire Show House, where designers showcased their elegant and creative designs for each room and area of the home. Located just minutes away from downtown Princeton, this home seamlessly blends modern design with art, creating the perfect balance of the two.

Foyer

Foyer of the home that leads to the offices.

Walking into the home, the first thing you can’t help but notice is the accent wall that travels from the bottom to the top of the staircase. It’s designed by Joe Berkowitz of JAB Design Group. Inspired by a black and white photo he saw, the basis of the foyer is a mix of “edgy” and “traditional contemporary.”

It’s warm and inviting despite the accent color being black and white. The textured wallpaper is a subtle twist, which adds an eclectic focal point. An added touch: Walk up the steps to find the exact image Berkowitz admired for his design. 

Library

From the foyer, to the right, is the library, a “dark, mesmerizing, and thought-provoking room,” as described by the designer, Amy Manor of Red Bank Design Center. Manor drew from a childhood memory to create a space that welcomes diversity and is a space without judgement. Continuing with the theme of the home, Manor incorporated art from artists featured in Parlor Gallery in Asbury Park, N.J. 

The home’s library featuring art from Parlor Gallery.

His & Hers Offices: 

Gentleman’s Office: When designers Vivian Hung and Joe Giamarese approached the design of the masculine office space, they took into account the pandemic of 2020. What was important to them when creating the space was keeping in mind how this place will function as a work-from-home space. According to Hung, the design duo loves texture, but didn’t want to be bold with it. They incorporated pattern and texture with the carpet and the drapery that created a calming energy throughout. The main centerpiece of the office? The desk that played with the mix of materials, contrasted well with the carpet and fit perfectly into the space. 

Lady’s Office: A true creative escape. This space is one that evokes fun, creativity and a place to genuinely retire for work. Designed by Vicki Kelly Gindy and Tram-Anh Poprik of Red Bank Design Center, the use of color and art combine to make this escape for the “mind, body and spirit.” At the center of the office sits a piece by artist Ray Geary that brings the whole look and feel of the office together. The flow of the colors can’t help but make anyone entering the office stop and say “wow.”

Kitchen + Mudroom 

 “Overall Asian styling with a cool California modern flare” sets the tone of the home for designer Ginny Padula of Town & Country Kitchen and Bath, providing the cabinetry and permanent fixtures for the kitchen, butler’s pantry, mudroom, bathrooms, and more. The kitchen, showcasing design elements that are sleek, earthy and natural, creates a modern, yet comfortable and warm space for cooking, dining, and entertaining. Unique touches, such as the cozy breakfast area, matching countertops and backsplash, and large island, add to the cohesive flow of the space, making it the perfect space for gathering with family and friends.

The lady’s office featuring art from the Parlor Gallery in Asbury Park, NJ.

The kitchen and breakfast nook look out to the backyard featuring a small pond.

Moving toward the mudroom, designer Tamu Rasheba Green of Lux Pad Interiors sought to create a transition space offering a calming atmosphere from the outside world to inside the home. The mudroom, featuring custom built-ins, closets, and an enclosed powder room, allows for the homeowners to “remove physical baggage” and “release tension of the day” by providing a personalized space to decompress before entering the home’s main quarters. 

The Great Room

Designed by Anna Maria Mannarino from Mannarino. The great room flows seamlessly from the kitchen and features a floating stand-alone fireplace that is the centerpiece of the room. For more photos and for Anna Maria’s contact information, click here!

The floating fireplace is the great room’s focal point.

Dining Room

Designer Sam Ciardi of Samuel Robert Signature Spaces was tasked with incorporating the homeowner’s 12 antique wooden panels that depict the Chinese New Year zodiac signs. The result: an earthy room filled with plants, earth tones and “the ultimate expression of minimalist design.”

Drawing Room 

Celebrating the atypical and unexpected, the drawing room, the work of designer Alirio Pirela of Pirela Atelier, creates an inviting space with a medley of different styles that blend together seamlessly. From American Art Deco to European Mid-Century masters and modern emerging artists, the result is a multifaceted space perfect for a serene retreat from the day-to-day. 

 

The dining room was designed around the antique, Chinese wooden panels.

The drawing room features stunning art and sculptures.

Master Bedroom + Bathroom

A truly opulent and sophisticated space, the master bedroom, designed by Judy King of Judy King Interiors, embraces comfort and style. A soft mural wall blends with a striking full-wall fireplace and unique accent pieces drawing attention to the room’s distinct decor, and an impressive walk-in closet and master bath highlighting the experience of getting ready for and ending the day. 

 

Boy’s Bedroom

A 9-year-old’s imagination and curiosity about the world, travel, and life inspired designer Diane Durocher of Diane Durocher Interiors to create a timeless bedroom that will grow with him. A walk-in closet and bathroom provide plenty of space, and the decor, such as a large canvas map hanging from the ceiling above the bed, create infinite possibilities for discovery. 

The master bedroom features a warm and inviting sitting area with a fireplace.

Carefully curated pieces add some fun to the home’s guest bedroom.

Guest Bedroom

Designed by Gail Davis of Gail Davis Designs, the guest bedroom of the home is a warm and inviting, en suite space for guests. The warm space is accented by the statement bed that features the soft and comfortable linens by Deborah Sharp Linens. For lighting, the room utilizes the natural light that floods in through the large windows, but also uses shorter, standing lights, creating a cool-toned atmosphere. For more photos and Gail’s contact info, click here. 

Lower Level — Wet Bar and Gallery Space

The lower level of the home is a large, open space with plenty of amenities. Designed by Ginny Padula of Town & Country Kitchen and Bath, the area was envisioned as “an entertaining space that was both cool and modern yet comfortable and soothing.” Features of this level include a yoga studio, simulation golf room and a theater. The main space, where people would gather, is relaxed with soft-toned fabrics, which perfectly contrasts the main staple of the floor: the bar. 

The downstairs bar is the perfect spot for family and friends to gather around.

Acting as an art gallery, the lower level features a painting by American pop artist Roy Lichtenstein.

For the Showhouse, though, the lower level was transformed into a pop-up art gallery featuring work provided by Chelsea Art Group, which is based in New York City. There were so many interesting and beautiful pieces in the space, featuring a painting hung up near the bar area by famous pop artist Roy Lichtenstein.

The 2020 Princeton Designer Showhouse was sponsored by the following: Benjamin Moore, Cosentino, Kallista, Kohler, Florense, Signature Kitchen Suite, and LG Signature. 

 

Featured photo: A perfect entertaining space, the lower level features a nice sitting area, golf simulation room, and home theater.
Photography by Mike Van Tassell Architectural Photography
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Wallpaper’s Wizardry

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Arabella by Tempaper. Photo courtesy of Tempaper. 

Penchants usually gravitate to the latest and greatest, but one tried and true material continues to be a magical catalyst for lifestyle.

Subtle or bold, classic or contemporary, shiny or opaque, wallpaper has evolved to be design’s magic wand — able to add pizzazz, lend a mellow undertone or inject just the right touch of coziness to any room.

Uniquely versatile, it enables consumers to fashion an interior that captures their individuality. It allows for unlimited customization as well as the creation of personalized living spaces, even adapting for children and pets without compromising on aesthetics. And for every budget from DIY to bespoke, there is a product.

“People want to LOVE their home. They want comfort and convenience, but do not want to sacrifice chic,” says San Francisco designer Jay Jeffers.

“There is a strong desire among consumers for original, authentic design that goes along with their vision for their house,” explains Joyce Romanoff, CEO of Maya Romanoff, a manufacturer of luxury wall coverings.

Ask designers about wallpaper and they invariably chorus, “it’s not your grandmother’s wallpaper,” a truism heard so frequently that it’s almost become a cliché. What is truly amazing is how much wallpaper ends up in homes today, adding a visual depth impossible to achieve with paint. Murals are back. So are individual walls showcased with a stunning texture or print.

And walls are only the beginning of today’s wallpaper story. “Trends indicate that the consumer is looking to personalize space through the creative use of wallpapers beyond the walls. Backings for bookcases, shelves, customized furnishings and ceilings all enter the realms of possibility.

While full room wraps, murals and feature walls still dominate the world of captivating designer installations, these small impact pieces allow for strong style statements without huge pattern or space commitments,” explains Carol Miller, content marketing manager for York Wallcoverings, a manufacturer with 125 years of innovation.

If the mention of wallpaper conjures visions of the flat, one-dimensional rolls common little more than 10 years ago, it’s time to refresh that image. “For many years wallpaper was something many of our clients avoided, but today, it is being rediscovered as an exciting way to introduce the color and patterns many homeowners are now embracing. And there are more wallpaper options out there than ever, thanks to advances in technology,” shares Elissa Morgante, founding partner of Chicago architecture and design firm Morgante-Wilson. 

Dating back to decorated rice paper in China as early as  200 B.C., wallpaper has a long history that continues to evolve, with each century, each decade, adding innovations in materials, finishes, production methods and artistry. The most recent reinvention of wallpaper began more than a decade ago, but changes over the last few years have been especially remarkable. Old-school techniques such as block printing and silk screening continue, but the end result seems entirely new. Modern machinery creates precise designs, and new dyes impart richer vibrant hues. Diverse materials from wood and sand to crystals, shells, fibers, beads, even glass add depth. 

Left: Jewel Tones; Middle: Metallic; Right: Soft Organic

Wallpaper sample photos courtesy York Wallcoverings.

“Manufacturers can now digitally create the beautiful, luxurious look of expensive hand-painted or hand-blocked papers, or embed wallpapers with materials such as mica, glass beads, or even capiz shells to add interest and texture,” says Morgante. 

“Over the last decade, we have diversified our product mix by expanding the types of materials we use. We have focused on making our processes more efficient, cost-effective and sustainable, while maintaining our handcraft and luxury appeal,” explains David Berkowitz, EVP of product development at Maya Romanoff, the largest manufacturer of handcrafted wall coverings in the U.S. Their gallery includes wool, burlap, silk and other natural fibers as well as precious metals and wood. Designs are often intricate, requiring an artisan’s touch. For example, papers in the precious metals collection often employ a time-honored method in which metallic leaves are hand applied to a paper backing with chopsticks. An ultra-modern topcoat prevents tarnishing or oxidizing, allowing for easier maintenance.

Textural papers continue to be in demand. The effect can be rustic or refined. In addition to traditional hemp, jute, sea grass, bamboo and raffia, grass cloth might integrate a variety of other materials. Additionally, says K. Tyler, partner and designer at Morgante Wilson, there are woven papers that look like linen on the wall or a variation of silk.

Schemes inspired by traditional designs (dare we mention chintz) have returned, but today’s execution is nothing like the dingy muted tones of yesteryear. Colors are vibrant, often using multiple shades of the same hue. Botanicals have also blossomed into an important trend, inspired by a growing passion for nature and biophilia. Look for splashy leaves and fronds or impressionist-inspired trees and flowers in soft tones. “I am also seeing a change from the crisp, bold large-scale patterns into a more abstract brush-stroked look. But with some of these styles, you’ll need to be aware you won’t have a side match, and each panel is distinguished,” says Christopher Grubb, president of Arch-Interiors Design Group in Beverly Hills.

Top left: Precious metal inlaid; Top right: Hand-finished wood veneer, Ajiro Fanfare. Bottom: Tribal Print from Ronald Redding Handcrafted Naturals collection.

Photos of wallpaper production and sample by Maya Romanoff.

“There are so many things technology has allowed us to do today. We can do wall covering now that looks like the real material, but it’s made out of vinyl,” says Tony Sutton, owner of Est Est, Inc., an award-winning design firm in Scottsdale. Sutton illustrates with examples of wallpaper made from ultra-thin cork or micro-layers of slate. Additionally, he says, “I can take any photograph and then make a giant custom wallpaper out of it.”

Options today range from rugged vinyls to bespoke designs and hand-painted silks with prices that can exceed $1,000 a roll. “Vinyls are typically less expensive, but super durable. Many of them are rated for commercial use and sold in wider widths,” says Mondi.

“I am a huge fan of using vinyl wall coverings,” says Grubb, who does commercial as well as residential projects. “The color palette is enormous. There are silk and grass cloth looks, wovens, textures and embossed patterns. It’s incredibly durable and easy to maintain.”

“On the other end of the spectrum, you would find hand-painted wall coverings. There are custom made, high-end and truly artisan products that typically replicate a faux finish or mural. In between is where most wallpapers reside. Digital printing is typically very affordable and can often be done on different background materials,” says Mondi.

Design is only part of what consumers want. Sustainability and ease of use are equally important. Upmarket to DIY consumers demand sustainability, which includes efforts to minimize the footprint of manufacturing, observes Miller. Beyond no VOCs, ozone-depleting chemicals or cadmium or mercury, York Wallcoverings also uses water-based inks and coatings and smokeless, non-polluting inks. Additionally, there is a push toward sustainable materials, including cork, natural grasses, leaves, wood veneer, even glass beads made from recycled windshield glass.

Ease of Use

“Now every level and type of wallpaper concerns itself with ease of application and removability,” says Miller. “Even nonwoven unpasted backings used most often by designers remove in full strips.”

A potential game-changer for the industry came with Tempaper, which has revolutionized the concept of peel and stick papers. There is nothing stodgy about these designs, which run the gamut from traditional classics such as chinoiserie to glam to bohemian. They also tap into creations by well-known designers such as Bobby Berk and Genevieve Gorder. The company also offers panels and murals as large as 8 feet by 10 feet. Some designs such as Arabella, part of the Zoe Bios collection, are inspired by artists such as Jean Michel Basquiat. 

Founded by twin sisters Jennifer Matthews and Julia Au, Tempaper is an ideal solution for someone renting, as designer Jewel Marlowe discovered. “Recently we rented a high-end beach home in Jamestown, Rhode Island, for 10 months. This was just long enough that I wanted to add some personality to some of the spaces in order for it to feel like home. However, I was very aware that whatever I used needed to be quickly removable. Luckily, I found some beautiful Tempaper designs to personalize and beautify some of our rooms,” she shares.

Birds are flocking to wallpaper this year. Graham & Brownexpresses this theme in Tori Teal.

Photos courtesy of Graham & Brown.

New additions to Tempaper’s line up include designs from Wright Kitchen and holographic decals from Bobby Berk. This year, the company also introduced a collection of vinyl floor rugs. 

Tempaper does seem to add a “now you see it, now you don’t” ability to wallpaper’s extensive resume, making it a truly magical material.

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The Audacious Artisan

with:

Photos courtesy Katrien Van Der Schueren.

Katrien Van Der Schueren is the founder and creative visionary behind Voila! Creative Studio, a visual laboratory where she envisions, creates and fabricates a full range of bespoke fine art, objects, furnishings, lighting, event and stage sets, and accessories.

In the grand scheme of her career, designer/artist Katrien Van Der Schueren says that her move to America in 2002, specifically Los Angeles, was the first main challenge she met that led her to where she is now. With her experience working in a variety of fields, from the European Commission to marketing, she says that she felt obliged to reinvent herself and that this new world gave her “the opportunity and the audacity to follow a new path.”

Through perseverance, courage and a “huge learning curve,” she remains the leader of Voila!, known as a visual laboratory with endless possibilities. “We are storytellers and translate it into material form. We are creative problem solvers that make the project happen,” says Van Der Schueren.

What about art and design draws you into doing it every day?

It’s an intuitive thing, I think.… I didn’t really think it through. It just felt natural to me and I followed my path of learning and exploring and fine tuning the direction as I went along.

I love working and exploring materials and their possibilities. I love discovering new textures, new techniques, new colors, new color combinations, new designs, new styles … and in my job the learning and discovery is endless. I love the storytelling [aspect] when we work on projects. Imagining the environment pieces will go to, who will use it, look at it and how to tell that story and make that story happen with shapes and form and materials.

What influence, if any, do you get from living in California?

So many things. California is such a melting pot of cultures providing so many creative impulses on a daily basis. There are so many different influences to draw from here that it’s hard not to get inspired every day. I still strongly feel like an immigrant on Discovery Road. 

Since we arrived in LA, the city has evolved so much. It breathes artistic energy in so many domains, from food to music to artisanal crafts to high-end design. Nature is another big part of California’s inspiration. The ocean, for example, I mean who can resist its magic? And what about the vastness of land in between places when you drive out of the city and what about the evenness of the light and its brightn

To keep inspiration alive, Van Der Schueren says she needs to connect with the outdoors, whether it’s taking a drive, traveling abroad or spending time with her family outside the studio, “so when I step back in I feel re-energized and spin my wheels on the right things.”

 What do you usually draw inspiration from?

Literally everything or anything that kind of stops me in my tracks. That can be the shape of a leaf in the garden, a lyric or beat in a song, a shade of a ceramic cup, my kids’ world, an art installation, a set of a movie I am watching. Anything that stops me and draws my attention.

Tell me about Voila!’s conception and how it operates today. What was the original mission/goal of the studio?

I started as a picker. As that’s where it intuitively felt right for me to start. Learning styles, periods, et cetera. Then my intuition just led me to start making, first by combining finds and turning them into either art or furniture. Basically, I do have a lot of something I found and it inspired me to make something with it. Then I wanted to learn more techniques and what I could do with materials, started hiring people and learning about that process and its ups and downs with growing pains. Clients would ask me to custom make furniture and art for them and I gradually learned what I liked and disliked, and it all evolved like that with some very risky steps in between, just out of some gut feeling that that was the next step to take. A lot of mistakes on the way, of course, getting back up and moving forward towards a clearer direction.

When it comes to designing art for a project, what is the most important element you have to remember? Does this differ depending on the type of space you are working in?

Each project is its own. When we start an art project, I look at the story first. The visual story (the interior design choices and the environment and architecture) as well as the audience it’s for. Those parameters will define the art choices. Of course, the location and the environmental conditions are often key as well when it comes down to choosing the materials to work in, and the type of use will also define possibilities.

Is there a piece of art in your
own home that you would never consider selling?

Almost all of them. The pieces I have at home are part of the fabric of my life. I am emotionally connected to them and they make a lot of sense in my home visually.

What would be your dream project or a piece you’ve always wanted to start (or finish)?

Oh boy. A dream project would be that I get unconditional creative freedom and unlimited budget to design and fabricate all the art, and custom-make all the furniture for a unique experiential boutique hotel that also has a music venue on the premises as well as some original and unique culinary opportunities (restaurants/bars, et cetera).

What advice would you give to someone pursuing a career in art or design?

Follow your gut feeling. Only by working your way through you can achieve results and fine-tune direction. Be you

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