What awaited me: a transplanted version of the artist Helen Hernmarck’s weaving studio, including an image of her spectacular wool wall. The wall consists of 99 cubicles, nine down and eleven across, filled with thousands of skeins of single- and double-ply yarn spun from the outer wool of Swedish Rya sheep. The skeins span the full chromatic spectrum, with the darker skeins at the bottom and lighter ones at the top. This is Hernmarck’s palette, as broad and rich as that of any artist in any medium.

The demonstration loom is a 5′ Glimakra Countermarch: a traditional, hand-operated floor loom that is the artist’s second largest. To create her “pictures” in wool, she starts with a “cartoon” or watercolor drawing, which helps guide the placement and color choices for the finished piece. (Hernmarck is not only a remarkable weaver but also a fluent watercolor artist.) The body of her work at the Aldrich has never been shown publicly before; many of the pieces remain in the artist’s personal collection.

I find the complexity of weaving similar to that of creating and assembling mosaics. Each technique is time-consuming and performed with painstaking attention to detail. (It often takes Hernmarck an hour to weave one square inch). While one method involves soft materials and the other hard, both require unique skill and artistry in equal measure. At the same time, both use natural materials and blended colors to achieve fluent and sophisticated designs. Whether a woven textile or an extraordinary mosaic, each type of composition prompts you to ask: Is it art or craft?

Since our patterns are fabricated in marble or glass, there is an inherent rigidity to the material; but the incredible variation in a stone’s surface will give the pattern depth. As in actual baskets, we look for interesting and balanced design, color and form. Essentially, it is the illusion and complexity of under/over that makes the pattern successful. And, don’t forget to consider the proportion of the pattern for the size and scale room.

Classic basketweave is always timeless. There is a simplicity to this familiar pattern. But, there are many other ways to achieve a refined and elegant grid. I urge you to explore other woven designs that may add a level individuality and sophistication to your space.

With artisans freed from the time-consuming task of hand-clipping small tesserae, marble patterns have become more accessible. As a result, they have taken on new meaning in interior design and can be used throughout the house: in the foyer, bath, kitchen, laundry, bar, mud room and any other place where pattern enhances the design. The choice of pattern, augmented by the color palette, can make either subtle or bold statements. A stone mosaic can also activate and define a space, much as a beautiful rug would do.

But waterjet patterns are not just confined to marble. They can incorporate glass, metal and terrazzo. Meanwhile, the scale can range from quite large (although the size is dependent upon the size of cut stone available) to petite. Many of the best designs include graphic patterns and elegant weaves, such as you might find in baskets or fabrics.

It is important to remember that there are great mosaics and very ordinary ones. The most beautiful designs share several essential strengths, starting with the quality of the cut (are the edges smooth?) and extending to the consistency of the material and the precision of the assembly (are the grout joints even?). We also need to talk about the expertise of the installer for waterjet mosaics. Has he color-balanced across the installation? Has he planned the cuts evenly? Has he laid the material in such a way that you cannot tell that it was assembled in sheets?

My advice: Choose the pattern and color with care and hire the best installer — but only after you have vetted the work he has done previously.

Just a little background: Sir John Soane (born 1753) was the most brilliant architectural innovator of his day. He designed his own ingenious house at Lincoln’s Inn Fields (now the museum) and the opulent Bank of England, as well as delivered on countless country house commissions.  He was the architect for Royal Hospital in Chelsea and the new Law Courts adjacent to Westminster. His ability to adapt and modernize the language of classical architecture remains influential to this day.

The museum is a treasure of objects and paintings that Soane collected on his travels. They were all used for his architectural laboratory, and included Greek and Roman antiquities, architectural fragments, beautiful pieces of sculpture and 9,000 drawings by Robert Adam.

The museum is now a center for the study of architecture. The Soane Foundation in New York financially supports projects that benefit the museum, most specifically with its Visionaries Gala, which will be held this year on September 26th at the Rainbow Room in New York. We will be honoring Roman and Williams and the Carnegie Museum of Art’s Hall of Architecture. Please join us for this wonderful evening and to help support the restoration of Soane’s Drawing Office, the only complete work space of an early 19th-century architectural practice in existence.

I found another vintage bath image that I thought worth sharing. Now, onward from pink world and into green…tile and fixtures all the same color. The conformity of the 41/4″ tile and the contrasting grout was certainly a trend in the 30’s and 40’s. Unlike many baths of the era, this one does not have contrasting trim. And, this apple green bath is consistent all the way through the design. The faucets have green escutcheons, the shelf brackets are green ceramic and the walls are tiled floor to ceiling! More green!

We always say that a really good design has at least one element of surprise. In this space, the orange chair provides just a bit of relief from the intensity of a solid green bath and the lavender paint is a bold choice. I must admit, this could be a good case for thinking outside of the white box.

A contemporary version of this idea was created by Tim Barber and appears on page 89 of The Perfect Bath. In Tim’s version, the grout is light which tempers the mint green; the fixtures are white, another attempt to soften the palette. The black trim is in keeping with the vintage vibe of the space and the two step wall pattern in 3 x 6 changes the design direction. This is a good version of a transition of old to modern.

Fortunately, I do not have any preconceived ideas so I am open to  designs, colors, shapes, materials, scale and function I may not have previously considered. Of course, my  shopping starts at Waterworks. Containers are always the most useful accessory, so I gravitated to three clay ones glazed in white in graduated sizes. I love their scale; instead of lining them up against the backsplash I’m letting them free float on the counter.

Next on my list were wood cutting boards. There are so many great shapes and types of wood. They are useful and look great leaning against the backsplash or piled on the counter.

I looked long and hard at clear glass containers for flour and sugar, etc., but alas, my counter did not need transparent materials. I love them nonetheless, and recommend them often.

Over time, I have collected many containers I love. I now have my utensils collected in a 1740 Delft jar. I must admit, I am careful about taking things in and out of it, but having an old favorite in my sight is a pleasure.

I keep several of my favorite cookbooks nearby and have decided to rest a favorite photograph near them. The best part of kitchen accessories is that they can be a change agent. Move things around, add a new color, shape or scale and you have a fresh perspective.

In contrast, my new kitchen is a model of practicality and saved steps. Here are a few examples: The dishes are now stacked directly across from the dishwasher, while the silver rests in a drawer directly above the dishes. Similarly, I keep my glassware in a cabinet close to the dishwasher, so I can put it away without taking a step. The pots, meanwhile, are stored on a pull-out, self-closing, specially-designed corner rack that is adjacent to the stove; the arrangement keeps bending to a minimum and — when the rack is out — lets me see all of my pots at once. All wine glasses stay together and all dry food is stored in the same type of container (it just looks so clean) on roll-out drawers.

What I have learned in the process is that taking the time to plan your kitchen for efficiency as well as aesthetics is worth every minute and dime! This is, of course, no different from planning your bath, except that the space is larger, has considerably more components, is used by the entire family as well as your friends, has multiple functions (cooking and eating, gathering, studying and storage, to name a few), and gets much more wear and tear.

A thoughtful design installed with precision will bring a lifetime of pleasure. Do it right and do it once.

This latest addition puts us squarely in the community space of the house. Our goal is to bring our decades of expertise to the kitchen, making the space personal and functional with authentic designs, quality and ingenuity. We are proud to make our cabinets with American timber, precise joinery and substantial construction, personalized interiors and bespoke door panels.

As in the bath, we are committed to timeless design, impeccable craftsmanship and advanced engineering. With the addition of cabinetry, Waterworks has become a one-stop design destination for the two most personal rooms in the house, the kitchen and bath.

Personally, I am so excited about my own new Waterworks kitchen. I used the transitional Belden style and painted the bottom cabinets Midnight (a very dark blue) and the tops Whisper (a very pale gray). The rationale was to anchor the base and let the top float. I am thrilled to say, I achieved my goal. (Pictures to follow when my new kitchen table is in place.)

Please visit one of our six kitchen showrooms to see our infinitely versatile and customizable cabinet designs. Whether modern or traditional, the elegance of our designs speak for itself. I live in my kitchen; it’s where we gather for family meals and entertain friends, navigate around the island or simply hang out in the space. Not to mention, I do my best thinking at the kitchen table. But a kitchen is made more comfortable, useful and beautiful with great hardware, lots of ceramic tile, attractive lighting and a very special view. Like the bath, it’s a room deserving of extra attention.

The first thing you notice is the extraordinary handwork on the gowns: embroidery in silver and gold, beautiful pleating, and wonderful buttons. On a more practical note, I was especially intrigued by the dresses based on nuns’ habits. They look very classic and wearable, tailored and refined with elegant detail.

The most elaborate and highly decorative designs are mounted up high; plenty of sparkle and beading give them an eye-catching effect. While this is not comparable to the McQueen show (my favorite of all time), “Heavenly Bodies” is worth a visit — particularly for the way it is mounted, amongst the relics and statues in the medieval and Byzantine galleries.

In 1978, baths were very small and most did not have the luxury of a corner tub. But they did have 4 1/4″ tile, often pink, and nearly always with contrasting trim. While a little hard to see, the acrylic handles on the faucet and shower fitting were the height of fashion. They turned fairly grimy in no time, but their popularity continued for many years.

The other omnipresent accessory was the “built-in” paper holder. In this case, it is the contrasting ceramic type; just as popular was the metal Hallmack variety with its matching towel bars. Towels, art, plants — this homeowner is trying very hard to “decorate” her bath. And, for the period, it is well done.