Meet my new living room carpet

I just ordered this carpet the other day. I've been in the market for a handmade carpet for years and finally, I chanced upon an opportunity to take care of the glaring hole in my living room decor.

I've been coveting handmade carpets for years but I've always been concerned about the conditions under which they're made. Enter Novica, a world marketplace that operates in association with National Geographic. Novica gave me a $200 credit that I used toward my carpet.

Novica is sort of like a developing world Etsy in that that site connects artisans from all over the world and allows them the opportunity to sell their wares directly to end users. In my case, my carpet was woven by a man in India named Khalil Ahmed. Here's his statement from Novica's website:

I come from a long lineage of carpet weavers. My ancestors have been in this field for more than centuries now. We are five brothers and two sisters, and we grew up as witnesses to the craft of weaving at home. I remember how enthralled we would be every time we saw varied colors merging into different weaves.

I was just in school when I began to learn this art. I was taught by my father and older brothers, and at the time it was like a game that offered moments of great fun. As I grew up I took the loom and began to weave my own pieces. It felt so amazing when I finished my first piece!

It took me almost three years to learn the fine art of weaving. At first my designs were simple and now, as I've gained mastery, they are more intricate. It also has to do with what people want. Before they wanted simple and elegant designs, but nowadays they are more demanding, not only in design, but also in terms of quality and price. It is therefore my responsibility to update my designs and work with quality materials to fulfill people's expectations and requirements.

As a family, we have seen some hard times. I remember a period during my childhood when the situation was so bad I had to work at a tobacco company all day for only a couple of Rupees. I still to cringe to remember those days, but I do not blame my parents. I know they were extremely difficult times, and that was the only option.

I have seen really bad days in my time, but they have given me the strength and determination to do well in life. For example, I had always dreamt of going abroad, so I worked hard and I realize my dreams. In 1992, I went to London for an exhibition. I also got the opportunity to go to Turkistan and Brazil. They were all wonderful experiences.

Before there were only a few families who designed and wove rugs, and people would have to come to our homes to buy them. Nowadays there are more opportunities for us weavers to sell our rugs and carpets with exhibitions happening every now and then. They offer us to show our products to more people rather than relying only with visitors coming to our homes.

It fills me with great pride to tell you that in 2002, I won National Award for one of my hand-woven dhurrie rugs.

It's a great feeling to be in this field, carrying on such a precious family legacy. I only wish that my children will take forward this art.

I'll write more about my purchase and Novica in the coming weeks after my carpet arrives. It shipped from Khalil's studio this morning and I ought to have it in two weeks. In the meantime, take a look through Novica's offerings. They're providing a forum where the developing world and the West can interact directly. This allows anybody to impact developing world lives personally.

It's precisely these kinds of direct interactions that make the world a smaller and better place. Thank you Novica.

It's island time again, kitchen island that is

Tomorrow morning at 9:30 EST, CBS Sunday Morning will dedicate its 90-minute broadcast to an exploration of kitchen islands. Sunday Morning reporter Nancy Giles will travel the world over and two of her stops on this trip to find the exotic, the unusual, the beautiful and the functional will be in kitchens designed by world-renowned kitchen designer Johnny Grey.

The first of the two Johnny Grey designs Sunday Morning will profile are The Threshing Barn in Arlesford, England. Notice how he took the traditional form of a threshing barn and created a space that's perfectly suited to life in the 21st Century. The forced perspective at work in this kitchen is remarkable.

©Johnny Grey Studios

©Johnny Grey Studios

©Johnny Grey Studios

©Johnny Grey Studios

©Johnny Grey Studios

Talk about a lesson in how to define a room within an open floor plan. Wow.

The second Johnny Grey design Sunday Morning will feature is on the other side of the Atlantic in New York. In this room, Johnny introduced an element of hand crafted, nearly whimsical flair to an older home. As a side note, the following kitchen was one of my inspirations when I was starting out as a designer and it's really great that the editors at Sunday Morning see in it what I do.

©Johnny Grey Studios

©Johnny Grey Studios

©Johnny Grey Studios

©Johnny Grey Studios

©Johnny Grey Studios

Of all the flourishes in kitchen design I've ever seen, the leg on the island in the final photo has to be my all-time favorite.

So remember to tune into CBS Sunday Morning tomorrow, May 20th at 9am EST to see Nancy Giles tour of the islands and to hear Johnny as well as his clients as they talk about what it's like to live in the spaces they call home. If you miss the broadcast or if you're somewhere where you can't see it, go to CBS Sunday Morning's website and you can see the broadcast there.

Johnny Grey Studios works in the UK, Europe, North America and anywhere else where someone is calling out for an original, thoughtful design. You can contact the studio and see more of Johnny's work through the Johnny Grey Studios website. Johnny's blog, Grey Matters has more information and thoughts on kitchen islands, so head over there and join the conversation!

A Coverings preview

Coverings is next week and I can't believe it's here already. It's a show very near and dear to my heart and I've been attending it for years. Every year, my involvement in the show increases and as of last December, I'm on the show's staff. For the last six months I've been running all of Coverings' social marketing initiatives, hence my near absence from this blog since the end of last year.

During the show next week I'll be working five straight 18 hour days so I doubt I'll be filing any dispatches from the show floor, but during the week following either Todd ( my energetic collaborator) or I will post a wrap up of the new stuff that made its debut during the show.

For now though, here's a preview from some of the major manufacturers who'll be exhibiting next week.

• Apavisa (Booth 2519) is heading to Coverings with Archconcept, a new collection of patterns in stone, metal and cement finishings that are inspired by the latest manufacturing technology and trends in architecture. This revolutionary range of porcelain is well suited for indoor and outdoor applications.

• Azteca (Booth 2211) will awe attendees with Jasper R40, a new ceramic tile series serving up a marble look that will enliven walls with its striking shade variations. It is available in a 23-x-40 cm format and four colorways: Cream, Beige, Grey and Jade.

• Azulejos Plaza (Booth 2106) will impress attendees with Ecowood, a porcelain stoneware wall tile comprised of 85% recycled content. It comes in four colors and can be used outdoors.

• Baldocer (Booth 1914) is bringing digital front-and-center to its porcelain collection, spotlighting its innovative methods for adding distinctive decorative touches, such as high and low reliefs, colorations, stone and wood lookalikes, and more. The outstanding range of tile formats is available in 43-x-43, 40-x-60 and 57-x-57 cm.

• Casalgrande Padana SpA (Booth 4700) is showing Architecture and Bios. The first newcomer is a fully vitrified porcelain stoneware collection that’s a sophisticated, high-performance option for floor and wall covering, indoors and out. The line is available in a range of 12 colors and a finish reminiscent of brushed cement. Bios brings sustainability to the surface with its unique antibacterial properties, achieved by blending the material base with mineral particles. Such tiles have become a requisite for LEED-ID credit eligibility, and have won extensive recognition.

• Ceramiche Coem & Ceramica Fioranese (Booth 4714) are sister brands spotlighting interesting introductions. Check out Pietra Valmalenco from Coem and Cottage from Fioranese. Pietra Valmalenco offers a contemporary stone look whereas Cottage features a rustic wood style.

• Ceramiche Refin (Booth 4123) has three new products that capitalize on the latest technology. Among them, Cromie is a collection of chromatic ceramic tiles based on the scientific criteria of brightness, saturation and shade.

• Cisa Ceramiche (Booth 4806) will unveil Modula, a beautiful series that replicates the look of natural stone, and Royal Marble that recalls the traditional elegance of the real material. Both are available in four colorways and various sizes.

• Crossville (Booth 3200) found inspiration in concrete and refined stone to create Structure, a minimalist design that contains at least 20% consumer certified recycled content. The new offering is apt for commercial and residential installations, and is offered in large format and plank-shaped sizes.

• Duradek (Booth 3842) is debuting at Coverings with five new products incorporating Tiledek. It’s a PVC waterproof membrane developed specifically for exterior tile applications and featuring an anti-fracture/crack insulation barrier, making it choice for concrete installations.

• Emac Complementos (Booth 2114) has collaborated with prestigious Spanish fashion designer Francis Montesinos to create a collection of high-style aluminum profiles named Novopeldaño Art. The installation possibilities are limitless—as a stair nosing, in countertops, worktops and more.

• Emilceramica SpA (Booth 4718) is presenting On Square. The new collection exemplifies the elegance and simplicity of balance, bringing together 45 blocks of cement reproduced on the ceramic surface to maintain the richness of the material. The contemporary offering comes in four colors in 80-x-80, 60-x-60 and 30-x-60 cm formats. Additionally, look for inspiring introductions from three of company’s sister brands: Ergon, Provenza and Viva.

• Florida Tile (Booth 3223) is touting Gallant HDP and PietraArt Stone Mosaics. Gallant gives marble, onyx and travertine a run for their money thanks to the high definition technology used to mimic the looks. The porcelain floor tile is appropriate for all residential and commercial wall and countertop applications as well as for residential flooring. The Stone Mosaics marvel with a wide range of colors, sizes and textures to complement all tastes and installations.

• Granada Tile (Booth 4465) will be calling attention to three new whimsical works of cement tile art—Normandy, Alhambra and Barcelona. All are part of the Echo Tile Collection that is made of durable and recycled content, and are ideal for bathroom and kitchen applications.

• Lilywork Ceramic (Booth 2903) is debuting Arabesque, a tessellated field of mosaics that is fully color customizable within the Lilywork palette. It’s a look that would make for a lovely addition to walls, floors or even pool surrounds.

• Litokol Spa (Booth 4534) is giving grouting mortar a fresh new look with Litochrom Starlike. It features antibacterial properties and is spot on for gluing and jointing all tiles and mosaics, even those rated R12. Additionally, it has a high-resistance to chemicals and abrasions, and is available in a myriad of colors and combinations.

• Metropolitan Ceramics (Booth 2800) will roll out Quarrybasics Abrasive, a product providing excellent silicon carbide coverage that prevents slips and enhances the look and longevity of quarry tile.

• Mosaico+ (Booth 4330) has four exciting lines that will liven up interiors and exteriors with intense depth of color, dimension and texture. Among the newcomers is Dialoghi, which is a magical meeting of materials—glass and metal, metal and wood, etc.—that offers a truly compelling look and is available in three sizes.

• Oscar & Izzy (Booth 2554) is a newcomer to the international expo and is bringing fun to the show floor with its retro-inspired collections of decorative ceramic tile. All lines boast bold illustrations and bright colors, and are offered in 4-x-4 and 6-x-6 inch and subway sizes.

• Sabine Hill (Booth 4175) is showing for the first time at Coverings, spotlighting its collection of eight classic cement tile designs that masterfully meld modern and organic shapes in endless colorways. All of the offerings are meant for wall and floor coverings in both residential and commercial environments.

• Settecento (Booth 5012) is showing Lodge, which is a glazed porcelain portraying the essence of rustic, reclaimed wood. This natural beauty is available in four colors, two sizes (9-x-38 and 6-x-38 inches) and two surface finishes.

• Solistone (Booth 4270) is stepping into the commercial arena with a new division of products designed specifically for commercial architects and interior designers. Primarily composed of porcelain and ceramic mosaics, the line also uses unconventional materials, like seashells, to create innovative surfaces suitable for interior and exterior walls and floors.

• Taulell (Booth 1723) is premiering a variety of new products, one of which is Ónice. Neoclassical in nature, it features the spectacular shine of onyx stone and is available in seven sizes.

• Undefasa (Booth 1911) unites classic and contemporary designs in its two new collections, Country and Rajasthan. Both styles’ color palettes are based on the tones of natural stone, and can be used as floor or wall tiles; Rajasthan can be installed outdoors.

• Zirconio (Booth 2111) will zoom in on its incorporation of inkjet technology to create Dolomite, a captivating color-body porcelain that seamlessly imitates the look of natural stone.

If you're a design pro in greater Orlando, please be sure to register for the show today by following this link. Remember, it’s all free and as a bonus, I'm giving a talk on Twitter and Facebook on Thursday that's worth AIA, ASID and NKBA CEUs and then again on Friday I'll be presenting a modified version of that same session on the show floor. I hope to see in Orlando!

Anthroplogie continues to offend

I walked past an Anthropologie store in New Orleans this week and was mortified to see their store windows decked out in some bad reproductions of Mark Rothko's work and they were calling it and their new collection as "Abstract Expressionism."

I can sense that Rothko would have been mortified by not only his being classified as an Abstract Expressionist, let alone being the pivot point of a marketing ploy to sell overpriced, unattractive crap. Rothko was a Russian emigre whose family fled the last gasps of the Czarist pograms as the Bolsheviks conducted a bloody coup over the Romanov autocracy. He and his family barely escaped Russia with their clothes on their backs.

The Rothko family was fortunate to escape while they could and so they ended up in New York and then later moved onto the Pacific Northwest.

The Rothkos (nee Rothkowitz) family suffered mightily. They were poor but they managed to keep it together despite their circumstances. By all accounts, Mark Rothko was brilliant and he ended up at Yale.

In the 1930s he started to paint, and his subjects shifted from the Cubist/ Primitivist styles of his contemporaries to something utterly new. By the time the 1950s rolled around he was breaking new ground with a perspective that came to be called "multiforms." These multiforms were in essence individual photons of light, the smallest part of an artistic vision. Take a look at these paintings and imagine what he was looking at when he painted them.

That imagining is the whole point of Rothko's work. It makes me want to look at the parts that make up everything. No one had ever painted that way before and he pioneered the very thought of a pixel. He was painting in the 1950s something many of us take for granted now.

So what does any of this have to do with Anthropologie? Nothing, that's what. How do the get from this great, thoughtful art to this thing?

This sofa's offensive because it's hideous for starters. It's doubly offensive for its $3200 price tag. What makes it trebly offensive is Anthropologie's attempts to sell this crap off the back of Mark Rothko.

Don't buy into it. An ugly sofa is an ugly sofa, despite the marketing hoo-hah that surrounds it. There is nothing about a sofa with that price tag that harkens back to anything but bad taste. Enough, enough, enough.

I have no problem with $3200 sofas, provided they're well made and look like something other than a trail of cat sick. But asking people to spend that kind of money on a piece of furniture that's purposefully ugly and is being hawked by using one of the greatest minds of the 20th Century is just plain wrong.

What do you think? Would a sofa that looks like this and with this kind of back story ever figure into your home?

What's that color?

I get at least three e-mails every week from readers of this blog and other things I've written around the internet. This is immensely gratifying and most of these e-mails are questions about a photo or a request for advice about flooring, appliances, counter materials or cabinet brands.

via

I'm glad to answer these questions and I love that strangers look to me as a source of solid information. However one question I'll never answer definitively is "What's that color?"

This happens most often in response to the things I've written for Houzz.com. It's a legitimate question and every time someone asks it I launch into what's by now a rote speech.

The short answer is that it doesn't matter because you're not seeing the actual color. What human eyes see as color is reflected light and how a color reads in a photo is completely dependent on how a subject is lit at the time the photo was taken. So the act of photographing something distorts its color, sometimes pretty radically. So that's one degree of distortion.

Add to it that you're seeing that photo on an uncalibrated computer monitor and that's at least two more degrees of distortion.

After all those distortions, the nuance of the original color is lost for good.

Photos on the internet are good for general families of color. You can look at a photo of a room and know that you want a yellow kitchen or a taupe living room. But the actual colors used in the photo won't look in your home the way they do in the photo you're admiring.

Here's a detail of a kitchen I designed. The wall color is Sherwin-Williams 7037 and I picked that color because it played well with the off-white cabinetry paint color and it was as similar hue to the brown veins running through the Calacatta marble on the counters and back splash.

If I were to go to Sherwin-Williams' website and look at the swatch, here's what I'd get.

Even though they're same color, they look nothing like each other. What's more, the color as it appeared on the walls was off from the swatch in my Sherwin-Williams chip library.

The difference between a paint swatch and actual paint is typical, and a good designer knows how to accommodate it. The difference, by the way, is due to the fact that a paint swatch is a printed approximation of a paint color as it will appear with an eggshell sheen. Paint swatches are never the actual paint. Different sheens make even the same paint colors look completely different.

So the answer to "What's that color?" isn't an answer. Rather it's an explanation, and a long-winded one at that. It's impossible to specify precise colors with photos and even more impossible to do so with an image on the internet. The only way to gauge true color is to paint a wall, let it cure for a day and then decide whether it works or not.

I know that's not the advice most people are looking for; but it's the cold, hard truth. Use photography, be it on the internet, in a magazine or in the marketing collateral from a paint brand as a general guideline to help you identify a direction. But until a paint color hits the wall, you'll never know how it will actually look.

So go ahead, ask me anything. Just don't ask me what color something is.

Real design stars and a concrete counter guy

During my travels last fall, I had some incredible opportunities to meet some people whose work in the design world I admire greatly.

Everything started at Cersaie in Bologna last September. Endless thanks to Chris Abbate, Novita Public Relations and Tile of Italy for making it possible for me to meet and talk with some people whose work I've long admired.

In order of appearance, I met Patricia Uriquiola,

Philippe Grohe

and the Bouroullec brothers, Ronan and Erwan, all in the same day.

I've written about these peoples' work quite a bit over the years. I shower with a shower that Ms. Uriquiola designed and Mr. Grohe brought to the market. It was great to be able to tell them how much I appreciate their vision and hard work in person.

Later in London for BlogTour 2011, I met such notables as Nicky Haslam,

Barbara Barry

and Lee Broom.

There were more people whose work I admire during those weeks on the road but I don't want to be too much of a name dropper. BlogTour 2011 dropped me into the middle of the London Design Festival and were it not for BlogTour I'd have never been there otherwise. So thank you.

But out of the entire who's who of the world design scene I met, none can compare to a man I had the pleasure to meet in San Francisco last month.

I'd been brought to San Francisco by Zephyr to attend a design event at their spectacular showroom in San Francisco's Design District. One of the night's speakers was Fu-Tung Cheng, the man who brought the decorative and functional possibilities of concrete to the world's attention.

There were at most 30 people in attendance at Zephyr's event and most of us knew one another. It felt more like a dinner party than it did a formal function.

After Fu-Tung spoke, he mingled with the everyone as if he were just another guest at a party. Never mind that there was a stack of his books by the door.

Here's a little back story. In 2002, Fu-Tung Cheng published his first book, Concrete Countertops; Design, Form and Finishes for the New Kitchen and Bath. I was a relative newbie to the kitchen and bath industry then and his book was nothing short of a revelation. It gave rise to a new aesthetic in my work but far more than that, his first book showed me that I could forge my own way and that I could create a career for myself. All I needed to do was channel my passion and my energy as tirelessly as I was able.

Concrete Countertops was far more than a book about a new idea in surfaces, it was a wake up call for me and it challenged me to strike out and make a place for myself in the world. Fu-Tung Cheng's generous spirit jumped off the page as I read his words and I realized that my making a place for myself wasn't a matter of my ambition. A career of my own making could only happen if I could be of service and use to other people.

Part of me knew that already, but Cheng's book about concrete drove home that point and sent me on my way. I'm not kidding when I say that his first book changed the trajectory of my life.

Fast forward to October, 2011 and I found myself in the same room with the man who'd had such an impact on me. I walked up to him and told him essentially what I just wrote in the previous few paragraphs. He was as gracious as he was grateful to hear that he'd impacted me so positively.

We ended up having a longer conversation and later, exchanging business cards when the event was breaking up for the night. And in a final gesture, he inscribed his latest book, Concrete at Home for me.

I'm a fortunate, fortunate man. I say that all the time and I mean it. I have opportunities extended to me on a regular basis that make my head spin, not the least of which are numerous opportunities to meet some of the  people I admire. So thanks Zephyr for a great event and thanks for allowing me to complete another circle.