ORIGIN sensory lifestyle magazine
fall/winter 2012
.UK 5200
FEATURE
DER House, Matrix Business Park, Swansea, SA6 8RE.
7 0607. Email. contact@toast.co.uk
ett Street, Bath, BA1 2QZ. 01225 335 023
18 Dukes Lane, Brighton, BN1 1BG. 01273 738 603
Feel*
14 love of art
of210 an individual’s journey 82 The Promenade, Cheltenham, GL50 true 1NB.story 01242 632 towards art appreciation
3 High Street, Guildford, GU1 3AA. 01483 458 525
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3-24 Montpellier Parade, Harrogate, HG1 2TG. 01423 507 746
3 Upper Street, Islington, N1 1QP. 0207 704 8243
fun facts on art
Don’t forget about greenery. Kilver Street. Shepton Mallet. Somerset. BA4 5NF. 01749 346>>728 Having plants in any room makes you feel more alive. Simple green foliage often lasts King Street, Llandeilo, SA19 6BA. 01558 824 330 Five helful tips to get your house longer than flowers, and the overall design 44 Marylebone High Street. 5HF. 07827 353 044 looking well W1U designed without of a single leaf can make more of a striking breaking bank. 191 Westbourne Grove, the London. W11 2SB. 0207 229 8325 effect.
>> Fabric is an easy and inexpensive way to combine all the elements of your room.
High Street, >> Oxford, 4BW.the 01865 723 436 Don’t OX1 overlook Internet. There are so many great deals for every room in your home on places like Craigslist and eBay. After all, one person’s trash is another person’s treasure. Ditte Isager Hair & Make-up. Linda Johansson
>> Lighting can make or break a room.
>> Focus on your floors. Just like walls, floors need your attention, too. If you’re able to completely change the surface, consider sanding or staining wood floors, or replacing old linoleum or carpet with tile. For a quick fix, add an area rug.
y Dilcock Art Direction. Lesley Dilcock & Toast Printed by Westdale Printing Group.
*on the cover
2 ORIGIN
Have fun by combining patterns, styles and different textures of fabric in everything from window treatments to accessories and furniture.
Invest in lower-wattage bulbs to change a room’s mood from restful to romantic.
A/W 2012
DEPARTMENTS Listen 6 trending tracks Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam tincidunt orci non magna fermentum bibendum. Morbi bibendum libero in tortor iaculis hendrerit non blandit velit.Seditiis eosani bearchi llectem oluptate volorae eatur, am quossumquias eostis descill orehenti aliquid ullo venti omnihiciet es sequis unt aliquam, sam veribus ratur? Edio omniscipid mos conse re mincia dolor secture nos vel magnatque sunte pro mod es nes siminto bercia
Breathe
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8 succulent success Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam tincidunt orci non magna fermentum bibendum. Morbi bibendum libero in tortor iaculis hendrerit non blandit velit.Seditiis eosani bearchi llectem oluptate volorae eatur, am quossumquias eostis descill orehenti aliquid ullo venti omnihiciet es sequis unt aliquam, sam veribus ratur? Edio omniscipid mos conse re mincia dolor secture nos vel magnatque sunte pro mod es nes siminto bercia
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Indulge 10 clean cooking Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam tincidunt orci non magna fermentum bibendum. Morbi bibendum libero in tortor iaculis hendrerit non blandit velit.Seditiis eosani bearchi llectem oluptate volorae eatur, am quossumquias eostis descill orehenti aliquid ullo venti omnihiciet es sequis unt aliquam, sam veribus ratur? Edio omniscipid mos conse re mincia dolor secture nos vel magnatque sunte pro mod es nes siminto bercia
View 12 film facts Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam tincidunt orci non magna fermentum bibendum. Morbi bibendum libero in tortor iaculis hendrerit non blandit velit.Seditiis eosani bearchi llectem oluptate volorae eatur, am quossumquias eostis descill orehenti aliquid ullo venti omnihiciet es sequis unt aliquam, sam veribus ratur? Edio omniscipid mos conse re mincia dolor secture nos vel magnatque sunte pro mod es nes siminto bercia
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5 ORIGIN
LISTEN
LISTEN
pop
singer/songwriter Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam tincidunt orci non magna fermentum bibendum. Morbi bibendum libero in tortor iaculis hendrerit non blandit velit.
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alternative
country Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam tincidunt orci non magna fermentum bibendum. Morbi bibendum libero in tortor iaculis hendrerit non blandit velit.
Trending Tracks top albums that you wont want to miss
Jason Aldean hits the charts with his new album Night Train. His mysterious image and country style send listeners begging for more
6 ORIGIN
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hip hop/rap
rock Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam tincidunt orci non magna fermentum bibendum. Morbi bibendum libero in tortor iaculis hendrerit non blandit velit.
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7 ORIGIN
BREATHE
baking paper
succulent success simple d.i.y. floral design to bring life and oxygen into your home
ruler
BREATHE
templates
oven bake clay smoothing tool knife you will need - Knife - Oven-bake clay - Rolling pin - Non-stick baking paper - Ruler (optional) - House template printed and cut out - Smoothing tool
Step 1 Roll out your oven-bake clay on a piece of baking paper until it’s approximately approx. 1/8″ thick or a bit more.
With Christmas on it’s way in a couple weeks, these handmade clay pots are the perfect gift for that individual with a green thumb.
8 ORIGIN
Step 2 If you are going to use a template, download it here, print it out onto cardboard and cut around it. Lay the pieces onto the clay and use the knife to carefully cut around the shapes. Step 3 Once you have all the pieces cut out, take the base piece and press the two side pieces onto the ends. We want to make the pot watertight, so take a small piece of extra clay and roll it into a fairly thin snake shape. Place the ‘snake’ on the inside join (where the side meets the base). filler text filler text filler text filler text filler text filler text filler text filler text filler text filler text filler text filler text filler text filler text filler text Using the smoothing tool, squash part of the ‘snake’ into the base of the pot and smooth it out.
step 1
step 2
Then do the same to the top of the ‘snake’. I’ve tried to demonstrate in the photos above. Do the same to both sides. filler text filler text filler text filler text filler text filler text filler text filler text filler text filler text filler text filler text Step 4 Once both inside joins are sealed, carefully turn the pot over and smooth over the joins on the bottom of the pot.
9 ORIGIN
Step 5 Add each side of the house to the base structure (one at a time), and using the same ‘snake’ technique, seal all the joins. Keep in mind, it will depend on how thick your pieces are as to whether you will have some overhang (ie. the base structure is slightly narrower than the house pieces). I designed mine to be this way, however you can make adjustments as you go until it looks how
INDULGE
INDULGE
clean cooking
indulge in healthy recipes with beautiful gwyneth paltrow
BALSAMIC ZUCCHINI, ARTICHOKE & CHEVRE FOCACCIA
ROAST CAULIFLOWER WITH CHILI, GARLIC, CAPERS & LEMON
ingredients makes 2
ingredients makes 4
1 large zucchini or 2 small-medium zucchini sliced thin lengthwise and then once in half 2- 3 prepared artichoke hearts (either steam yourself or get a good quality jar), torn into chunky pieces 2-3 tablespoons goat cheese focaccia extra virgin olive oil balsamic vinegar sea salt freshly ground pepper
1 head of cauliflower, outer green leaves removed, broken into bite-sized florets 2 cloves of garlic, minced 1 small red chili, deseeded and sliced 1 tbsp capers juice of 1 and a half lemons olive oil sea salt freshly ground pepper preparation
preparation 1. Preheat your oven to 425°F. 1. Season zucchini with salt and pepper and coat with olive oil and vinegar. Toss to mix. 2. Heat the barbeque, grill pan or broiler on high. Grill or broil for about 1-2 minutes on each side, until nicely charred. 3. Slice the focaccia lengthwise. Spread the chevre evenly on each side (or just one depending on your preference). Layer the artichokes evenly on the bottom piece of bread then layer the zucchini evenly on top of that. 4. Close and slice.
2. Blanch the cauliflower in salted boiling water for about 2-3 minutes, then drain in a colander. When it’s completely dry, add to a roasting pan. Season with salt and pepper. 3. With a pestle and mortar, bash the chili, garlic and a pinch of salt until it forms a paste. Add 2-3 tablespoons of olive oil, mix and pour over cauliflower. Pour over the juice of 1 lemon, and reserve the rest. Toss to coat every floret. 4. Roast uncovered for 25-30 minutes, mixing once or twice to even out the browning. 5. Remove from oven and sprinkle immediately with lemon and capers. Toss to coat.
GOOP’s very own Gwyneth Paltrow shares a couple recipes that are easy, quick, and healthy, everyday meals
10 ORIGIN
11 ORIGIN
film stats for
highest grossing movies ** in millions
2012
the avengers
usa
total gross: $623,279,547
34
action
46
comedy
98
thriller
58
romantic
26
262.03
leading country of movie watchers
sony pictures
warner bros.
17 + 18 + 19 + 25 + 27 best movie review from 2012 This Is Not A Film average rating: 9.1/10
“It’s a cry from the heart of an artist compelled to create, tell stories and respond to hostile, confounding realities.” - Washington Post “There are fireworks -- and an ending that’s as dramatic as anything made by any director making a film, which is something Panahi accomplishes with a bit of a wink, and no small amount of courage.” - Newsday
12 ORIGIN
254.60
total movies per rating
popcorn consumption in the usa Average movie theaters sell 1000 bags of popcorn a day. With each bag around 1 lb, that’s 360,000 lbs of popcorn each year!
mpaa rating
A Thousand Words average rating: 3.2/10
“Murphy, without the words to go along with his bug-eyed double-takes and the mugging, is lost here... He’s never been a silent comic, and never will be.” - McClatchy-Tribune News Service
g r
For the role of Agent Clint Barton (Hawkeye) in Marvel’s film of The Avengers, actor Jeremy Renner was trained by Olympic Archers
245.59
skyfall
top 5 film distributors disney
408.01
the hunger games
the twilight saga: breaking dawn part 2
adventure
20th century paramount fox
448.09
the amazing spider man
two thousand and twelve
marvel’s the avengers
623.36
the dark knight rises
top grossing film of 2012
bet you didn't know
pg
“Eddie Murphy should have just said the word “No” to this tired, formulaic comedy.” - Hollywood Reporter “It makes you want to see Murphy team up with Judd Apatow, or even take on a deadserious dramatic role - do anything but star in another movie like this one.” - Entertainment Weekly
pg-13
“Even 2003 Robin Williams would have thunked this script in the fireplace by page 50.” - New York Post
204 + 130 + 59 + 14
worst reviews from 2012
The 2012 academy award for best picture goes to: THE ARTIST produced by Thomas Langmann
13 ORIGIN
FEEL
LOVE OF ART IT WAS THE 1960’S, AND LOS ANGELES WAS FALLING FOR POP ART. AN ASPIRING PAINTER RECALLS HIS AWAKENING BY BERNARD COOPER PHOTOGRAPHY BY ALICE JACKSON STYLED BY HANNA PETERSON
The windowless room is dark except for static sputtering on a video monitor. Beside the monitor, on one of the stackable chairs, sits Jim, a gaunt young man who stares at his knees and pounds them again and again with his fists. His assault is as unrelenting as the static. That must be the point, I think, but my conviction quickly fades. I shift in my seat and look around to see if anybody appears to understand what’s happening. Postures of contemplation emerge from the gloom: chins propped on hands, jaws grinding gum. Several students lean forward, mesmerized by the granulated light and the steady thwacks of impact. The year is 1973, and our instructor, the conceptual artist John Baldessari, stands in a corner. Six foot seven, with shaggy white hair and beard, he wears an expression that is, as always, inscrutable, his hands buried in the pockets of his jeans. He knows that the aesthetic value of any object or activity cannot be measured hastily; the history of the avant-garde is the history of critics who rushed to judgment, whom time proved foolish. Here at the California Institute of the Arts, we must inch toward, rather than jump to, conclusions. Jim continues to pummel himself and no one speaks. Words would be brutish and premature. He shushes her, punishes his knees. She straightens her skirt and waits a moment. “Jim,” she says, “I haven’t got all day. Your mother wants you to…” His fists stop midair, and he looks up from his lap. “I’m doing a performance,” he hisses. Just as the secretary turns and finally sees a roomful of students staring back at her, Jim lurches to his feet and hits the monitor’s off switch. Static evaporates. “Your mother,” she continues in utter darkness, “wants you to phone her after class.” Jim opens the door and stomps into the hall, the secretary hurrying behind him and wagging the message in her outstretched hand. Darkness again when the door slams shut. The rustlings and murmurs of my classmates. I begin to wonder if the secretary’s intrusion was planned, like a certain performance in the Ice Capades that thrilled me as a child, the skater’s phony falls and failing props eliciting gasps from the audience. Maybe Jim’s temperamental exit was part of his performance, a comment on the fragility of artists’ egos. I can hear the instructor patting the cinder-block wall, groping for the light switch. Outside, sunlight is shining on the freeways, gas stations, fast-food chains, and
decorating on a dime
tract homes surrounding the Valencia campus; whether or not Jim finishes his piece, the world will plod on. I can’t admit this aloud to anyone in the post-studio program, to do so would be considered retrograde and bourgeois, but I find myself longing for ordinary, unself-conscious acts—scratching an itch, swatting a fly—acts without the aftertaste of art. Only days after receiving my MFA from CalArts, I abandoned my ambition to become an artist. I’d long been a secret reader of starkly emotive poets like Sylvia Plath and Anne Sexton, and I’d decided to apprentice myself to writing poetry, a move that, in hindsight, was merely trading in one set of career uncertainties for another. “Decided,” in fact, may be the wrong word; it would be like saying I’d “decided” to sneeze. Still, the impulse had a logic of its own: If art could be freed from its embodiment in an object, as the tenets of conceptualism suggested, then writing, with its intangible images, with its people and places manifest in language, was yet another step in what art critic Lucy Lippard called “dematerialization of the art object.” This was as post-studio as a guy could get, though a love of visual art, and my days studying it, would become a recurring subject in
>> Don’t forget about greenery.
Five helful tips to get your house looking well designed without breaking the bank.
Having plants in any room makes you feel more alive. Simple green foliage often lasts longer than flowers, and the overall design of a single leaf can make more of a striking effect.
>> Don’t overlook the Internet.
>> Focus on your floors.
There are so many great deals for every room in your home on places like Craigslist and eBay. After all, one person’s trash is another person’s treasure.
14 ORIGIN
“WHY BUY CRAP,” MY FATHER WOULD ASK, “WHEN YOU GET SOMETHING GOOD FOR A FEW PENNIES EXTRA?”
Just like walls, floors need your attention, too. If you’re able to completely change the surface, consider sanding or staining wood floors, or replacing old linoleum or carpet with tile. For a quick fix, add an area rug.
15 ORIGIN
>> Fabric is an easy and inexpensive way to combine all the elements of your room. Have fun by combining patterns, styles and different textures of fabric in everything from window treatments to accessories and furniture.
>> Lighting can make or break a room. Invest in lower-wattage bulbs to change a room’s mood from restful to romantic.
FEEL “POP ART REPRESENTS OUR PARTICULAR MOMENT, REFLECTING THIS PARTICULAR CIVILIZATION IN ITS ACCEPTANCE OF THE MECHANIZED AND MASS-PRODUCED.”
my books. My awakening to the world of avant-garde art had taken place ten years earlier in my junior high school library. Light slanted through the venetian blinds. Rotary fans turned overhead, stirring currents of warm air. Every now and then the librarian quieted talkative children as she rolled a cart through the stacks. These details come back because, in a lifetime of generally sluggish and imperceptible change, there followed a moment of such abrupt friction between who I was and who I would become, it’s a wonder I didn’t erupt with sparks. Instead of looking up the major exports of Alaska for my geography report, I slouched in a chair and leafed through an issue of Life magazine. A boldface headline caught my attention: “You Bought It, Now Live with It.” The article profiled the handful of New York art collectors who were among the first to buy the work of pop artists. Although pop art was routinely savaged by critics for exalting the banal—billboards, supermarkets, Hollywood movies—this “new breed of collector” didn’t care. “All that other stuff,” grumbled collector Leon Kraushar, referring to the
sum total of art history before pop, “it’s old, it’s antique. Renoir? I hate him. Cézanne? Bedroom pictures. They’ll never kill pop, they’ll just be caught with their pants down.” They, Kraushar seemed to imply, were a bunch of stuffed shirts, scoffers and doubters, the self-appointed enemies of fun. Kraushar was shown in his Long Island house, lounging on the couch next to a stack of Andy Warhol’s Brillo boxes. Behind him stood a life-size plaster jazz trio by sculptor George Segal. The musicians held real instruments, their bodies frozen into a white glacier of improvisation. Collector Harry Abrams, publisher of coffee-table books on art, watched the real television set that was embedded in Tom Wesselmann’s painting Still Life with Live TV. “Whether it’s on or off,” marveled Abrams, smiling from his recliner, “the painting is different every time I look at it.” Cleo Johnson, the Abramses’ maid, appeared undaunted by modern art; she took a bemused, sidelong glance at the clock in a huge, messy painting by Robert Rauschenberg. According to the caption, the clock worked. So did Cleo, who wore a starched uniform and carried a plate of corn bread.
16 ORIGIN
17 ORIGIN
FEEL
FEEL Robert and Ethel Scull were perhaps the most avid collectors. Pictured in their immense Manhattan apartment, Mr. Scull, a taxicab magnate, watched his wife dust the plump enameled ham that sat atop Claes Oldenburg’s Stove with Meats. “Ethel thought I was crazy when the stove arrived,” Scull said, “but now she calls it ‘my emerald’ and won’t let anyone else touch it.” On the next page Mrs. Scull beamed while standing in front of the portrait she’d commissioned from Andy Warhol—innumerable mugging, multicolored Ethels. As I turned the pages and stared at the photographs, it was difficult to tell the difference between a kitchen and a painting of a kitchen, or a man opening a door and a sculpture of a man opening a door. Reality was up for grabs, and my sudden unknowing made me giddy. I’d always thought that art sat mutely in a museum, but pop blared commercials, told the time, and had to be plugged into an electrical socket like an ordinary appliance. Yet the word ordinary didn’t apply; a soup can or a comic strip were more mesmerizing than I ever thought possible. Even advertisements in the magazine that featured, say, a box of frozen peas seemed otherworldly, lit from within. Up until that day in the library I hadn’t known or cared much about contemporary art. What little I knew I had gleaned from the art in my parents’ house. I liked the Parisian street scene in our hallway; the pedestrians, with a few deft strokes, were reflected in the rain-soaked pavement. In our tropical-themed den a reproduction of a painting by Diego Rivera hung above a bamboo bar; a man with a basket strapped to his back was carrying fresh flowers to an open-air market, his body bent low by the weight of fuchsia blossoms. But the most unsettling painting in my parents’ “collection” was a portrait by my older brother, Ron, of our eldest brother, Bob. The portrait had been hanging in the living room since Bob’s death from Hodgkin’s disease four years earlier. Ron painted as a hobby, the bedroom he’d once shared with Bob redolent of turpentine and linseed oil. A wooden easel was stationed by his bed, ready, I used to think, should he jump up inspired in the middle of the night. Despite Ron’s limited technical skills, his portrait of Bob perfectly, if inadvertently, captured the physical essence of our brother’s illness; something in the thinness of the pigment, as grim as watery soup, never failed to remind me how chemotherapy had turned Bob’s skin translucent, as if he were stripped of all protection layer by layer, his ailing insides harder to ignore. My parents had hung the portrait in a heavy gold frame, their way of containing Bob’s memory forever, of paying him homage. In that sense the frame was like a headstone, strangely funereal for a portrait in which a 21-year-old boy with a flattop is dressed in a dapper shirt and tie, his eyes conveying the hope that he’s handsome. But none of these qualities in itself accounted for what turned out to be the painting’s revelation. One afternoon I sat in the living room, steeped in the idleness that, at the age of nine, I regarded as a calling. Light
18 ORIGIN
from the bay window struck the portrait at an odd angle, and I noticed that the dots running down the center of Bob’s tie were more than decorative daubs of white paint. As I rose and walked closer, the dots resolved into tiny letters. “Oh Bob,” Ron had written on the tie. “Poor Bob.” Ron had moved away from home to attend law school shortly after Bob’s death, leaving me, the late child, to grow up alone. Now he had his own car and apartment and part-time job—triumphs that exempted most young men from unhappiness, or so I supposed. Yet there it was in the afternoon light: the keening of one brother for another, a grief so precise, so carefully encoded, you had to stare long and hard before you noticed. I stood inches from the surface and couldn’t move. What other secret messages were embedded in the world? Could they be revealed by the act of looking? A reclusive boy, especially now that my older brother had left home, I began to spend hours drawing with the pastels Ron had given me as a birthday gift, fascinated by the greasy lines, the hues blended by smudging the page. The nature of the medium—sticks of pigment as dense as clay—lent itself to landscape. Jon Gnagy, the exuberant art teacher on the TV show You Are an Artist, set up his easel every Saturday morning and gave lessons on how to render “majestic” mountains, “fleecy” clouds, and “babbling” brooks. A not-too-woodsy plaid shirt became Gnagy’s sartorial trademark and added a note of gravity to an artsy panache. He sported relatively long hair for the day, along with a pointy Vandyke beard that anyone who harbored doubts about art might have found a tad satanic. Years later, when I first saw Marcel Duchamp’sL.H.O.O.Q., a mustachioed and goateed reproduction of da Vinci’s Mona Lisa, it was Jon Gnagy who sprang to mind. Dubbed “America’s first television art teacher,” Gnagy sketched and painted each landscape in a race against time; the show lasted only about 10 minutes, not counting commercials. While drawing along with Gnagy—or rather, while trying to keep up with him—I seemed to float above the paper, a disembodied observer looking down into a world I was
Know your style There are four types of decorating styles that influence most of us. From country French and cottage, to traditional and contemporary, which style do you prefer? Take our quiz to determine your dream decor. >> When picking items for your home, what colors do you gravitate towards? a) Pastels b) Neutrals, Black and White c) Plain colors in muted shades d) A variety: Sunny yellow, dark hunter green, and cobalt blue
able to enter once it achieved enough depth and detail. The successful replication of a tree or a barn filled me with the thrill of omniscience. Yet despite the satisfaction in making those landscapes, they were, in the end, someone else’s idea of beauty, nothing more than quaint imitations. Not until I came upon the article in Life did I see that art’s subject matter could spring from the city, from our very own home. Paintings by pop artists presented a point of view entirely different from Ron’s mournful portrait of Bob; pop was enamored of a world in which all that’s lost or obsolete is simply replaced by a newer model. Pop was based on unjudgmental wonder, without a trace of the suffering I was too young to know we each must bear, griefs as abundant and burdensome as Diego Rivera’s flowers. Eager for more to read, I searched through the art section of Pickwick Bookshop on Hollywood Boulevard (it was here that musical comedy star Ann Miller was reputed to have asked for ten yards of yellow books to match her living room walls). Newly published, Pop Art by John Rublowsky was among the first American publications to document the phenomenon of pop. The frontispiece was dominated by a photograph of artists Claes Oldenburg, Tom Wesselmann, Roy Lichtenstein, James Rosenquist, and Andy Warhol posed at a group exhibition of their work. The wan fashion model Jean Shrimpton stood among them, mascara-ed and miniskirted, her hair molded into the stiff, symmetrical curls of a “flip.” In another photo of the show, a few bewildered art patrons wandered among a roomful of Warhol’s Brillo boxes as if they’d stumbled into an industrial warehouse. Rublowsky’s book was prescient in that it treated these five artists as the celebrities they were to become, capturing for posterity their every brush stroke and contemplative pause. Each of them was given his own chapter and shown mixing paint or hefting rolls of canvas, hard at work in his cavernous studio. Each of them, that is, except for Andy Warhol, who reclined on a couch, relaxing like a sultan while two handsome assistants in T-shirts and tight jeans dragged a squeegee across his silk screen of Elizabeth Taylor. In the background
>> What type of furniture do you secretly crave? a) Distressed wood or wicker b) Reproductions or matching sets c) Solid-colored sleek pieces d) R usted metal pieces
>>Which type of fabrics do you prefer? a) Heavily textured natural fibers b) Muslin or linen c) Cotton or quilting d) D amask weave
>> Using a design or pattern can give your space character. You would select: a) Brightly colored toile b) Small understated patterns and stripes c) Delicate florals d) T wo-tone prints, like zebra or leopard
>> What lighting fixtures are you drawn to? a) Rusted metal lamps and a large fireplace
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b) Lamps with silk shades, wall scones, and floor lamps c) Track lighting or recessed lighting d) Chandeliers
>> To finish off a room’s look, what would you add? a) Vintage mirrors and floral china b) Sculptures and wall art c) Gilt frames and oil paintings d) Woven baskets and carved wood pieces
>> Flooring is an important, and often overlooked, design feature. What type of flooring do you like? a) Rustic flooring of stone, clay, or brick covered with wool rugs b) Wood, tile, or vinyl c) Wood floors with area rugs d) Hardwood floors Mostly A’s: Cottage Chic, Mostly B’s: Contemporary, Mostly C’s: Traditional Mostly D’s: French Country