16 minute read
Watering Can
A thing of beauty is a joy forever: Its loveliness increases; it will never Pass into nothingness; but still will keep A bower quiet for us, and a sleep Full of sweet dreams, and health, and quiet breathing.
—JOHN KEATS, “ENDYMION, BOOK 1”
WHEN I FIRST GLIMPSED the rendering of our FLOWER Showhouse, wrought by the eminent Atlanta architect Peter Block, I had to pinch myself. It struck me as a dream realized—a vision of elegance with beautiful proportions, tailored and restrained, as only the Regency period could produce. I could hardly imagine a more perfect jewel box to house the treasures of great interior design. Then I learned that the gardens were being conceived by the esteemed Atlanta landscape architect John Howard. Top this o with the project being realized by luxury home builders Young & Meathe, and I knew this house was destined to be “a thing of beauty” and a “joy forever.”
Next, we called on the wisdom, taste,
Honorary Chair Charlotte Moss and experience of Charlotte Moss and Suzanne Kasler to fill the roles of Honorary Chair and Design Chair respectively. I felt certain that a host of talented professionals and marquee companies would want to play—and they did, from highly acclaimed interior and floral designers to iconic
Design Chair Suzanne Kasler brands within the design industry.
Atlanta, as a grande dame of Southern cities so rich with talent, is the perfect location for FLOWER’s inaugural multi-designer showhouse. From my fi rst foray to ADAC as a neophyte in the design business to my most recent visit to this house, with loads of FLOWER business in between, I have found that this city holds a special place in my heart. To be a part of this e ort while helping support the spectacular Atlanta Ballet in the process is just about the greatest honor and opportunity of my career thus far.
I hope you enjoy this look inside— and behind the scenes—of our FLOWER Showhouse. We are excited to share it with you.
Love and SDG,
Margot Shaw EDITOR-IN-CHIEF
Please send your comments, triumphs, challenges & questions to: wateringcan@fl owermag.com OR: Letters to the Editor Flower magazine I P.O. Box 530645 I Birmingham, AL 35253 Get the Flower email newsletter! Sign up at fl owermag.com/news
VOLUME 17, ISSUE 1
Margot Shaw FOUNDER/EDITOR-IN-CHIEF Julie Gillis MANAGING EDITOR
Nicole Gerrity Haas ART DIRECTOR
DIGITAL Jason Burnett DIGITAL GENERAL MANAGER
EDITOR-AT-LARGE Karen Carroll
CONTRIBUTING EDITORS
Missie Neville Crawford Alice Welsh Doyle James Farmer
Kirk Reed Forrester Amanda Smith Fowler Marion Laffey Fox Elaine Griffin Tara Guérard Sallie Lewis
Frances MacDougall Robert Martin Tovah Martin Cathy Still McGowin Charlotte Moss Ellen S. Padgett Matthew Robbins Margaret Zainey Roux Frances Schultz Lydia Somerville Sybil Sylvester
For editorial inquiries: editorial@flowermag.com
Julie Durkee PUBLISHER
Jennel O’Brien ASSOCIATE PUBLISHER, SALES & MARKETING Marlee Ledbetter MARKETING COORDINATOR
ADVERTISING SALES Suzanne Cooper NATIONAL DIRECTOR, HOME FURNISHINGS Wendy Ellis REGIONAL ACCOUNT MANAGER Sara D. Taylor REGIONAL ACCOUNT DIRECTOR
For sales inquiries: sales@flowermag.com
BUSINESS OFFICE Mercy Lloyd CHIEF OPERATING OFFICER Patrick Toomey ACCOUNTANT Lisa Mitchell SENIOR MANAGER
CUSTOMER SERVICE For change of address and subscription inquiries: 877.400.3074 or CustomerService@FlowerMag.info
ADVISORY BOARD
Paula Crockard
Winn Crockard Gavin Duke Gay Estes Katie Baker Lasker Mary Evelyn McKee
Michael Mundy Ben Page Angèle Parlange Renny Reynolds Scott Shepherd Remco van Vliet Evie Vare Louise Wrinkle
Decorate: Inspiration • Decorate: Flowers Architect: Q&A • Landscape Architect: Q&A
in Bloom
Behind the Design
EVERY BEAUTIFUL ROOM STARTS WITH AN INSPIRATION. HERE’S A PEEK AT SOME OF THOSE EARLY INFLUENCES FOR THE FLOWER SHOWHOUSE.
Produced and styled by Missie Neville Crawford, Maren Edwards, and Sutton Ward Photography by David Hillegas
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1 Farfalle Large Semi-Flush light fi xture from Visual Comfort & Co. 2 Modern Mosaic Mezquita fabric by S. Harris through Fabricut 3 Ludlow Volta Lavatory faucet from Waterworks 4 Stingray wallpaper from Cowtan & Tout 5 Raineri wallpaper in Falco from Fromental 6 Windsong wallpaper from Cowtan & Tout 7 Sailor’s Sea Blue paint from Benjamin Moore 8 Primrose paint (top) and Oyster paint (bottom) from Domingue Architectural Finishes 9 Kravet Basics Collectionfabric from Kravet 10 Dahlia cowhide rug custom-designed by Barry Dixon for Kyle Bunting 11 Silk Sari Bead necklaces from J. Catma
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1 Calais large semi-fl ush light fi xture from Visual Comfort & Co. 2 Arendal rattanbar tool set from Be Home 3 Arkadi fabric in Eldorado from Pierre Frey 4 Janas Cedro fabric from Zak + Fox 5 Tiburon Blushleather from Hancock & Moore 6 Crazy Quilt fabric from Clarence House 7 19th-century Continental cabinet from Ainsworth-Noah 8 Grasscloth wallcovering from Ainsworth-Noah 9 Hand-paintedwallpaper by Gracie & Alexa Hampton, The Collaboration 10 Pangkeb Zepra-Peony fabric from Namay Samay 11 Isadore: Galon Brodé trim from The Michael Aiduss Collection for Houlés 12 Frieze Collection trim in Golden Green from Décor de Paris 13 Pasha Ombre from Fortuny 14 Cadencetable by Ray Booth for Hickory Chair
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1 Raineri wallpaper in Pavone from Fromental 2 Celadon Mist wallpaper from Gracie 3 Gardenia soap from Tamanohada 4 Chareau 4 sofa from Munder Skiles 5 Rose & Fern fabric from Fabricut 6 Opus XII Rose Incense perfume from Amouage 7 Suri fabric in custom color from Namay Samay
Holly Bryan of Holly Bryan Design
HOLLY BRYAN’S ENCHANTING MIX OF FLOWERS AND FOLIAGE CAPTURES THE SOFT SOPHISTICATION OF DESIGNER TAMMY CONNOR’S SECRET GARDEN-INSPIRED BEDROOM IN THE FLOWER SHOWHOUSE.
Produced by Margaret Zainey Roux • Photography by Robert Peterson
Plato was well known for his philosophy that art imitates life, while Aristotle believed that life imitates art. When asked which of these two ancient doctrines she subscribes to, Holly Bryan didn’t have to think twice before replying “both.”
The Atlanta-based fl oral design phenom backed up her answer with a masterpiece of her own making—a bountiful, fresh arrangement inspired by an abstract fl oral painting by Ashley Cunningham. The piece, Ordinary House Plant 2, is one of three original works by various artists featured in a secret garden-inspired bedroom designed by Tammy Connor Interior Design for the Atlanta Showhouse.
“I was captivated by the rich contrasts in the painting,” Holly says. “I love the dramatic juxtapositions of the light and bright hues, along with the heavy brushstrokes coupled with simple botanical drawings. For my arrangement, I took a similar approach and chose fl owers and foliage with distinct shapes, textures, and colors that, despite their di erences, come together harmoniously and organically like blossoms in a real-life garden.”
FROM FAR LEFT TO RIGHT: The painting by Ashley Cunningham served as Holly’s inspiration for her fl oral design. She also pulled colors from other elements in Tammy Connor’s bedroom design, including the linen fl oral print (Penny Morrison “Jaipur Berry”), the graphic pillow (Katie Leede “Mughal Gardens” in Melon), and the polka dot fabric (Lisa Fine Textiles “Tika” in Blush).
MATERIALS
Coated chicken wire Plastic liner Waterproof fl oral tape Leucothoe Nandina Lamb’s ears Banksia Calycina Lisianthus Cappuccino Beige Rose Rex begonia Cymbidium orchid Asparagus fern
STEP-BY-STEP INSTRUCTIONS
STEP 1 Mold chicken wire to fi t the plastic liner, and secure it inside by making an X across the top using fl oral tape. Place the liner inside the bowl, and fi ll with water 1 inch from the top.
STEP 2 Create a base layer by inserting long branches of Leucothoe followed by Nandina. Loosely add in Lamb’s ears to fi ll in any holes.
STEP 3 Insert Banksia at three di erent heights, and round out the arrangement with Calycina. Add Lisianthus to evenly disperse color and texture. Clip roses at varying heights, and strip the stems of all leaves, including those near the blossom. Create small clusters of roses, and gently insert them at varying angles and heights.
STEP 4 Cut the stems of the Rex begonia, and insert the blooms at varying heights and angles. Split the Cymbidium orchid in two. Insert one stem vertically toward the top of the arrangement and the other to the side.
STEP 5 Rotate the arrangement to check all sides. Lightly fi ll in any holes with sprigs of asparagus fern to complete the fi nal layer of color and texture.
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—FLORAL DESIGNER HOLLY BRYAN
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From the Ground Up
ATLANTA-BASED ARCHITECT PETER BLOCK DISCUSSES THE REGENCY DESIGN OF THE FLOWER SHOWHOUSE AND WHAT MAKES THIS 19TH-CENTURY STYLE RELEVANT FOR 21ST-CENTURY LIVING.
By Karen Carroll • Photography by Brian Bieder
Flower: We’ve admired your houses in Atlanta and beyond for a long time, and we’re excited that our readers will experience your architecture through the FLOWER Showhouse. How would you characterize your overall design philosophy?
Peter Block: Whatever the design of a house may be, make sure it has style. I’ll mix different ideas and elements, but the end goal is for it to feel and look good, period. I liken it to a woman wearing jeans, a white T-shirt, and a Chanel jacket. She has great style, but she’s not wearing a pure outfit. That’s often the perspective I come from architecturally.
How do you begin conceptualizing your designs?
Everything starts with a conversation about the clients’ needs and what we want to happen. Then I work on a layout while thinking through things such as the lifestyle flow, internal and external vistas, and where the light originates. From there, the architectural style
develops, whether it’s European or American, traditional or contemporary. I consider myself fluent in all architectural languages. In the case of the showhouse, the style is Regency, so we’re obviously speaking English.
While we consider ourselves to be somewhat fluent in English, we’d appreciate a little “Regency 101.” What are some of the hallmarks of the style that are articulated in the Showhouse?
The literal definition is the time period between 1811-1820, when George IV was Prince Regent. However, it extends well beyond that stylistically. John Nash and Sir John Soane were prominent English architects of the era, and I drew inspiration from both of them. Regency style has all the classic principles of Georgian architecture simplified and pared down—largely a function of people wanting things a little cleaner, less fussy, and more deliberate. Some of the key elements include straightforward blocks of mass with a curved and columned portico on the front and a rectangular porch on the back to extend the house out into the landscape. Exteriors are often white stuccoed brick, which allows the form to stand out. Most of the homes have black doors, long windows, and tall ceilings. Interestingly, there is a well-established tradition of the style here in Atlanta, as the renowned architect Philip Trammell Shutze designed a number of Regency houses in the 1930s.
You mention the “Johns” as influences. Did any specific historic buildings serve as references?
I took many trips to London to drill down the style. I walked up and down the streets around Regent’s Park, which was the brainchild of Nash. One of the most informative experiences I had was a dinner with a group of design professionals at Sir John Soane’s Museum at Lincoln’s Inn Fields. I’ve been there numerous times, but this opportunity allowed me to avoid bumper-to-bumper crowds, enjoy a meal with friends, and “live” in the house and museum for a few hours. I could really immerse myself in the nuances of the house and take lots of photographs of the details.
What particularly inspires you about Sir John Soane’s Museum and perhaps made its way into the Showhouse?
I was especially inspired by how Soane brought light into the spaces. For the Showhouse, we designed a skylight at the peak of the roof, and that’s straight from Soane’s book, even if the detailing is different. It brings light into the middle portion of the house. We also employed tall windows and doors to bring light deep into the rooms. And we laid out almost every space with windows on at least two sides to make sure the light is balanced.
What makes Regency still desirable for the way we live today?
It’s very pliable. Regency can bend classical if you want it to, or it can be purely modern if you prefer that. By changing things up with the décor, you can completely alter the way it feels. If you had a really formal Georgian house, you wouldn’t have all those options.
Are there any challenges to consider with this style?
It’s a matter of editing, and the bones have to be so strong and clear that it can tolerate that editing. With some more exuberant architectural styles, you can cover up a lot of “sins,” if you will, with all kinds of trim and different layers. That’s not as easy to do with Regency. I’m reminded of a quote from Frank Lloyd Wright: “A doctor can bury his mistakes, but an architect can only advise his clients to plant vines.” Fortunately, we didn’t create those kinds of mistakes. But with any house style, you need things that are at human scale so people feel comfortable, at room scale so the space feels good, at house scale so each room feels right within the house, and at community scale so the house sits appropriately in the neighborhood. And that whole sequencing can be tricky with Regency. Since it doesn’t have as many elements to play with, you have to be spot on.
We think you got it just right.
Thank you. Given that the spaces are designed to be flexible, it’s been fun to see all the varied interpretations these all-star designers bring to their rooms!
—ARCHITECT PETER BLOCK
Flower: When chatting with design professionals, we always want a little backstory. Did you grow up gardening or in a design-centric home?”
John Howard: I grew up in Atlanta in a mid-century house with modest gardens. I loved to work outside, plant things, and build things. I always had an interest in architecture and did drafting for architects and engineers during my high school and college years. I also liked to draw and do graphic design, and I was supported by my family in all my artistic endeavors.
The Great Outdoors
ATLANTA LANDSCAPE ARCHITECT JOHN HOWARD SHARES THE INSPIRATIONS THAT HAVE SHAPED HIS WORK, AS WELL AS THE THOUGHT PROCESS BEHIND THE ELEGANT SURROUNDINGS OF THE SHOWHOUSE.
By Margot Shaw • Photography by Brian Bieder
What was your first indication that you would design landscapes?
I discovered landscape architecture when I was in high school, which combined many of my interests including architecture, horticulture, and being outside. It was an obvious choice to study landscape architecture in college. Fortunately, the University of Georgia has one of the top programs in the country.
What would you describe as your defining project—the one where you said, “Okay, I can do this”?
There was not one defining project but, rather, a series of progressive projects that each seemed like the next step along the way. Design came naturally, and each design challenge was exciting. Today, my favorite projects are always the ones in which I’m currently engaged.
Where have you been most inspired by landscapes?
I have been most inspired by my travels abroad. The landscapes and gardens of Europe have had an immense impact on my personal style and perspective. Travel continues to be my biggest teacher, so it’s a part of my schedule every year. Just this year, I have spent time in the South of France, Belgium, England, Ireland, and Italy. The English country manor gardens are some of my favorites, and Hidcote Manor Garden and Bourton House Garden in the Cotswolds rate at the top.
—LANDSCAPE ARCHITECT JOHN HOWARD
Are there one or two design heroes of yours who have really influenced your aesthetic and philosophy?
Russell Page, the famous English garden designer from the 20th century, was a big influence as my personal garden design style emerged. But I am currently inspired by many of my contemporaries who are producing amazing work today around the world, including Fernando Caruncho, Paul Bangay, and Luciano Giubbilei, to name a few.
OPPOSITE PAGE: The poolside parterre garden is planted with a carpet of white violas and cardoons (also called artichoke thistle) in the center. And framing the pool are four hornbeam trees, known in English folklore as ”ladders between worlds.” LEFT: As a focal point for the pool area, John used this oversized Italian olive jar and top dry cast by Longshadow. The design references jars seen in many Renaissance gardens.
aesthetic. I always design with the architecture of the dwelling as the basis of the garden layout and details. Creating garden rooms with lawns, hedges, and green architectural forms is what I love to do, and it certainly was the right approach with this beautiful home.
Of course, a showhouse is a different animal from your typical client-driven projects. How did you create without a “client”? Was it easier or more challenging?
Since we didn’t know who would be living in this home, we designed a landscape that would appeal to a family or an empty-nester couple. The plan is flexible with garden room spaces laid out that have potential for future evolution. The four-quadrant parterre across from the pool has a footprint that could accommodate a future pool pavilion. More elaborate gardens also could be developed in a number of the spaces. It wasn’t necessarily easier, just a different process of imagining future scenarios for use.
The showhouse, with its English Regency style, seems like the perfect pairing for your work. How did you feel about the project?
I have always appreciated the organized nature of the Regency style and the simplicity of detail typically seen. I’m a minimalist at heart, so this style appeals to my
Finally, what do you think constitutes a successful garden/landscape?
I think the most successful landscapes are the ones that are simple yet beautifully inspiring, and the most successful gardens are the ones that are loved and nurtured. You can always tell by the level of attention and maintenance that they receive.
