Designers as a rule have difficulty designing for themselves because they are always designing for others, or in the case of public spaces (lobbies, offices, hotels, schools) the general public.So when designing for oneself, I decided to take myself through the steps I take my clients. 1. What was the purpose, 2. what are the constraints (what does it have to do; 3. what kind of style was I thinking of? 4. What kind of color and pattern would you like on the sofa given other items in the room. 1. The sofa was to go in the living room and was one of the first things you see when walking into the room from a long entry gallery. It is an open plan room where the dining room is open to the living area. The dining room is painted a different color and has six faceted walls with windows and a chandelier which define the space. But I would like to define the living room space a bit more.
2. It has to be as long as possible because me and my partner would like to be able to lie down on it. Also it has to be comfortable and the seat has to be high enough where you can sit down and get up with a drink in your hand! Also, I like high back sofas that support your head and have wings at the end so it feels cozy, almost like your in your own room. So I looked to see what sofas were out there 
and, while I did not find any that were exactly what I wanted, I found loads of inspiration.
In photo number 1 i like wings and the long legs, in no. 2 I like the doulbe humped back and low arms, in no. 3 I liked the shape of the wings, how they go out and then in. and in no. 4 Iliked the tufted back and the front to back stretchers on the legs. I also decided I want one cushin and some nailhead trim. Also in all of them I liked the high back.
So I came up with this drawing of a custom sofa for MARK OF MWS DESIGN.
48″ high with an arm height of 24″ and a seat height of 19″ where the cushion crowns. For comfort I chose a down and feather wrapped cushion with a sprung deck underneath the cushion. The arms are narrow so that the cushion length is mazimized and the tufting on the back will make it comfortable and instersting. It is 7 1/2″ off the floor and has a funky streatcher connecting the legs on the sides and back of the sofa. I wanted nailhead trim because I like it. I will add some throw pillows so that you can group them and lean into the corner. The cushion is about 24″ deep and the sofa is 7 feet long and with a c
ushion that is 6 feet 6 inches long.
Now I have a sofa that is long enough to accommodate a 6ft 6″ person and enough room to have side tables at either end. It’s high back will define the space and because the back is tufted I do not need back cushions.
One last detail, it wil fit in the door and in the elevator to my flat!
So now onto fabric. My first take was that I wanted a wow factor and a pattern that would make the sofa more contemporary given its traditional design. So I chose a big pattern for the outside of the sofa and a stripe for the cushion. and the inside of the wings and arms. For the tufting I chose the plain caramel color velvet in the stripe. The fabric are all cut velvets so they are comfortable to sit on and I will put fabric guard on it so that it will not stain easily. Also I will order 4 yards extra of the stripe just in case.
Here are my fabric choices so far, I am still looking in case I find some thing better while the upholsterer builds the sofa frame and fabricates the cushions and springs and walnut base (about 6 weeks).
So I will let you know how it goes and post a photo of the final product!
Whew.
Mark
MWS DESIGN
Let’s face it, as humans and then Designers certain designs just do not work out. Either the customer does not want it, the Design itself is flawed, or what is designed cannot be built due to budget or physical constraints.
For instance, I had this idea for a sconce that washed the walls in light creating a soft glow, even up the stairway.
I drew the concept at left and began working out the details. The sconce was to be gilded in nickel, carved out of maple for strength at the base.
The interior where the bulb was located was lined with copper for an appealing glow and the wire was shielded in copper for safety.
There were only 10 of these in the hallways and staircase and you were not to see the bulb from any angle.
The customer LOVED it and so did I (which is a bit unusual). But, the budget was becoming prohibitive. The construction and the gilding were coming in at $2,400 wholesale per sconce, without my fee and installation.
I reworked the design so that it had less panache and was more practical to build. I looked into casting it in resin, cast reinforced plaster, even in metal. The budget was getting in the way.
So the sconce was not to be and we chose a Phoenix day plaster shell sconce with custom diffusers so that you cannot see the bulb. They cost half the price and did not have the headaches and uncertainty of production. For more information
mws@mwsdesignhouston.com
In Montecito, CA a client who collected 50′s fashion photography and Calder sculpture asked me to take the Jean Michel Frank style of my coffee table and redesign it into a sideboard for her dining room.
After a discussion regarding dimensions and functionality, we came up with a three drawer sideboard that had to be black and white. I was in her apartment at the
Brocklebank Tower Apartments in the Nob Hill neighborhood of San Francisco, we discovered a zebra skin on the floor. The challenge was on to upholster the piece in zebra with the manes going down the legs for maximum drama!
The challenges were interesting in that the skin she had was brown not black and she needed three more skins to match. After research, I found that the
Bushnell Zebra has dark brown stripes. The Zebras were imported legally and had died of natural causes.
As you may be aware, the stripes are different on
every animal and
emanate from the spine. The stripes are smaller on the legs and neck and larger on the body. I tried to match up the sizes as best I could and inset the zebra and apply most of the molding afterwards. The skin was thick and a challenge to work with. When working with leather, there can be no mistakes. For more information contact:
mws@mwsdesinghouston.com
I talked about one of my Hawaii jobs where most of the furniture was custom made. It was satisfying to design and have built top quality furniture in the finishes that work perfectly with fabrics, wallpaper and flooring.
In this instance the Master bedroom in a contemporary house needed a focal point and the clients wanted something Hawaiian. So after visiting museums, reading, art galleries I developed this take on a Hawaiian bed made of local Koa wood with a carving of a bunch or breadfruit in the center.
The ceilings were vaulted mahogany as were the doors and shutters so we decided to go with a golden koa bed and nightstands. The lamps were Robert Kuo silver lamp from McGuire.
As always, we explored changes and like not using the ships prowl at the top o
f the bed, but ultimately decided the carving would be a nice touch in such a clean contemporary house. Below is the actual bed.
The grain was bookmatched and the bed has details right out of the book the Best of Hawaiian Furniture
Like most custom pieces the details are really important, not just the scale, but the carving, bookmatching and the subtle shaping that comes out during the fabrication process.
I had been fortunate enough to have a Hawaii job in an area called Kolea. Here I was working on a coffee table for a media room. The table was to be 72″ by 48″ due to a large L-shaped sofa.
Also, you saw the coffee table as soon as you walked in the room. Since the sofa was rather
rectalinear I decided to create a two tier coffee table to esemble the shape of the shell of the green turtles that are so prevalent on the Big Island.
I chose a theme of a momma and baby turtle with the legs intertwined and a dark java finish.
Initially, the wood was to be teak in a natural finish. We ended up using teak but ebonized it with a clear dark java finish. Up close you can still see the grain and the golden color of teak gives it a glow, particularly with the recessed lighting above.
The tops are two inches thick and again used Mohawk stains and lacquers for the finish.
The base “legs” are 4″ square and have eased edges. The table is very stable and because it is teak very heavy to move. but you can sit on it, stand on it – it does not move!
When you first walk into the room you see it from the side and it beckons further inspection, also it is large enough to accommodate drinks, books and games; and of course the large remote.
Kitchens are larger and more open than just 5 years ago. They open onto a large family room or can be seen from the entry hall.
While not my preference, a kitchen dining table has to be functional, durable but have a look and warmth about it that makes it inviting.
After all, it is used for homework, crafts, a buffet, and a workspace, a discussion space.
So when a client approached me about a dining table for a LARGE kitchen with high ceilings, she had three small children and want a warm feel, durable and a forgiving finish that scars would become character over time. Also it had to seat 8-10 and had to be extendable.
I used recycled wood joists, which were about 90 years old and were made of pine or douglas fir. Because of its age it had grayed and had the character of dark rings around the nail holes.
The wood was resawn and the top was 2″ thick and the legs which started out at 7″ thick were reduced to 5″. The top was lightly distressed and while it had a finish, I knew that it would be knicked, dinged and scratched. So I created a touch up kit of a colored Black Bison beeswax and some Lacover from Mohawk products.
A portion of table could be seen from the entry and the kitchen was clean lined boderline modern and the table along with a forgiving low pile woven carpet cut down the noise and hid the food, crayons, and other bits falling from the table.
The table is still in use today and to my eye, looks all the better!
Have you seen the prices of dining tables in the showrooms lately? I was looking for one for a client, a clean line traditional table, with few constraints. I was shocked that the price the customer was going to pay for a veneered mahogany dining table with some detail , high quality, and seats 14 in a pinch, was $20k!
What was even more shocking was that the aprons did not account for a standard arm chair, the edges of the elaves were not finished, no leaf box and a myriad of other issues had me thinking, let’s make it.
To add an insult, to make one of these tables correctly, they are considered custom and the quote is jacked up by $5k and the lead time was almost 6 months!
I used to have most of my dining tables made by trusted local workrooms, from sketches and drawings I developed and that fit the aesthetic and needs of my client, the constrants of the room and budget.
After developing a quote and receiving a 50% deposit I wnet to work on the detailed drawings.
The client and I started the conversation about the top, shape, details, etc. and I came up with this drawing of a fiery mahogany veneer which was available from Houston Wood Products.
Then, we started in on the base, pedestal that splits or legs. Since we wanted to seat 14 we decided to go
with a split pedestal and four steel runners for support of the 5 leaves.
The details are so important to finalizing the table before production. The base had carved acanthus leaves and a vase form reeded column. The six legs splay out and had inlaid veneer and large brass casters for ease of movement when opening the table for insertion of the leaves.
We started to fabricate the table and I sent a picture of the pieces arranged before sanding and finishing. For approval, I laid the top on the base so that the client did not have to visualize and could see the proportions.
I also made finish samples and with all of the changes the price had changed as well and with each change I informed the client what the upcharge would be. Most of the changes were approved and some were not. We did go over budget, but the table was one that would last a lifetime and was more beautiful than any we had seen in a showroom. It was also customized to her aesthetic.
The workroom, under my direction, continued by finishing the piece with Mohawk stains and clear lacquer finishes. The table top had seven layers of finish and was polished to a gloss finish. We added the hardware, made a leaf box and below are the results, in 14 weeks!
I added a bit of gilding (23kt gold leaf around the bottom edge and the little carvings on the legs for a more elegant look.
Some of my clients have antique chandeliers and sconces that are not electrified. There is a certain beauty and romance to candlelight.
However, burning candles creates soot, beeswax candles do drip no matter what. Bobeches catch the wax drippings but change the look of the fixture and cleaning wax is no fun even if you have staff. Cleaning was off of a gilded fixture WILL take off the finish eventually.
So clients, like Ann Getty, has opted for an LED battery operated beeswax drip candle as shown at left.
The LED is actually a Maglite that has been ground or filed down to remove the color and inserted in a narrow acrylic tube and dipped in wax and then dripped with beeswax.
When the light is on, the effect is near that of candle light in that there is one source of light and gives off about as much light as a bright candle. The light is also warm (about 2700K).
The Maglite takes two AAA Duracell batteries that come with it and lasts about 4 hours. The beauty of this system is that they dim as they go out, they do not just turn off.
A downside is that they do not flicker like a flame, which to me is not a problem. If you have a chandelier with several candles the light doesn’t feel like it is flickering.
Also, you can put these candles outside and in a windy area without fear of drips or fire.
When you have another even just tilt the candle over and the Maglite falls out change the battteries reinsert and put the candle back in the candlecup. Quick and easy without matches.
I start with an Acrylic tube that is 3/4″ in diameter and the inside diameter is a bit smaller than the Maglite but after it is filed down it fits nicely and the color does not show through the
translucent beeswax. The transculency of the beeswax adds to the candle’s appeal. So use white refined and a little yellow or unrefined wax. But before you dip you will need to sand the outside of the tube with 60 grit snad paper so that the wax sticks and plug the ends. Then dip it four times, letting it cool completely between dipping. A good source of was is
http://www.sinopia.com/ and 4 dips give you a good thickness.
Cut to length so that the flashlight bulb just peaks over the wax at the top. The candle tube is usually 10″ long and the flashlight stop is about 4 3/4″.
When you are all complete and so that they last longer, without dirty finger prints, I spray each of them with gloss lacquer which gives a bit of a sheen and protects the beeswax. Satin lacquer also works.
I make these in two diameters, 7/8″ to fit a standard candle cup and 1″ with a AA Maglite for the older chandeliers. It takes quite a bit of time, a palm electric sander and a bench grinder are very handy. I have made dipping reservoirs for this process, but it takes time and they are delicate but can be repaired and with care last for years.
I have finished the set of GODSPELL and the play went off to a splendid reception and turnout for both performances. The lighting really augmented the set design and created the different moods of the play, Jay Bole at Hi-Fi Doc, LLC did a fantastic job. All of the LED lights used the total power equivalent of a 70 watt incandescent bulb!
The musicians playing behind the fence and under the Houston skyline were fantastic, as four people played over 15 intruments! This was all headed up by co-director and conductor Stephen Jones.
Below Stage Left, a 70′s junkyard with real and silk folage. The real folage had to be fresh for fire reasons so palm fronds and live oak, natural to the area, were chosen. Courtesy of Trammel Crow Comercial Real Estate, for they allowed me to trim a few trees from one of their vacant commercial properties.
I also had to work with Kinkaid School colors which are purple and yellow/gold. These colors actually worked well with the psychedelic color theme without upstaging the actors.
The skyline stayed lit the entire time and was a layered foam insulation from Home Depot and held together with screws and hot glue. The no VOC Benjamin Moore paint was a matte paint called Natura. The surfactant (paint) took a little longer to dry but was tougher than flat latex paint and had no smell.
Lastly, was stage right which had to mirror stage left but have completely different detail. Remember that the entire set rests on the ground and is not screwed to the walls.
Lots of wire, rope, gaffe tape, etc!
To the right is stage right.
And on to the next house, party or theater event!
I was contacted by the Kinkaid School in Houston, Texas to design and build a set for the playGodspell.
I started with a rather stark Recital Hall shown below.
In this space I had to create the set of a junkyard in which Godspell was to take place. The catch was that I was not allowed to attach any of the set to the movable walls or the main walls with screw or anything that would not mar the finishes.
Basically the background had to be made and then strapped to the movable walls, they are on wheels, 16ft tall. They are technically called choral “shells” and are made by Wenger Corporation. The shells are very nice but you cannot put weight on the front of them for fear of them tipping forward; so the set had to sit on the stage.
To create the background I spent alot of time at Home Depot and Lowe’s getting corrugated fiberglass and painting it gray to look like metal. I went to the Benjamin Moore Store and found some gray primer that went on quickly and went back to Home Depot for black Weedstop black woven cloth for the background.In the center I created a Houston Skyline and backlit it with christmas lights and aluminum foil reflectors. I had a week to complete this project start to finish.
Torsten Louis, who is the set consultant was able to provide the platforms and boxes from his theatre warehouse at Kinkaid. Torsten also purchased the ready made fence from Home Depot and welded the brackets that were used to hold the fence to the platforms. Once the platforms were in place and the choral shells were placed by the Director, Dan Bishop, I could start to apply the set.
Twenty six high school performers had to come on and off stage between the shells and the four piece band was behind the fence. There was dancing and singing and lots of movement and props so everything had to be secure. The lighting provided by Hi-Fi Doc, LLC was all LED and allowed the Director to change moods quickly with the lighting. So lighting trees were set up in hidden areas. The lights had to change color quickly, flash and dim so the Technicians setup a lighting panel and computer that worked well with over 50 lighting cues and had to work with the existing lighting system in the hall for spot lights, house lights and stage lights.
I frequented auto salvage yards in North Houston and was bitten by many mesquitos loading trunk lids, hoods, doors, tires and wheels into my van. Even found a patio umbrella, kids pool and actually had to PAY for hubcaps… I will let you know how it turns out……
Designers as a rule have difficulty designing for themselves because they are always designing for others, or in the case of public spaces (lobbies, offices, hotels, schools) the general public.
For instance, I had this idea for a sconce that washed the walls in light creating a soft glow, even up the stairway. 
The challenges were interesting in that the skin she had was brown not black and she needed three more skins to match. After research, I found that the Bushnell Zebra has dark brown stripes. The Zebras were imported legally and had died of natural causes.
f the bed, but ultimately decided the carving would be a nice touch in such a clean contemporary house. Below is the actual bed.
translucent beeswax. The transculency of the beeswax adds to the candle’s appeal. So use white refined and a little yellow or unrefined wax. But before you dip you will need to sand the outside of the tube with 60 grit snad paper so that the wax sticks and plug the ends. Then dip it four times, letting it cool completely between dipping. A good source of was is http://www.sinopia.com/ and 4 dips give you a good thickness.
I also had to work with Kinkaid School colors which are purple and yellow/gold. These colors actually worked well with the psychedelic color theme without upstaging the actors.
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