Space: The final frontier

By Connie Britell, ASID
Special to the Coastal Point

For example, why are the measurements of a door fairly standard around the world? Obviously, design of the door takes into account basic human anatomy: a person’s height, width at the shoulders, even arm length, often sporting a mid-rail at waist level to lend support to the handle and locking mechanism.

This sort of detail is fascinating, as it illustrates the historical influence human habitation has had on our houses. It is the same principle that underwrites what we more recently term “universal design,” architectural detailing and space-planning sensitive to the physical considerations of most people — be they young or old, able-bodied or physically challenged.

It just makes sense that we need to have spaces that fit us and feel right.

As an interior designer, when I first analyze a room, it is the overall shape of the space that interests me: ceiling height, proportions, the focal point and ultimate use of the area.

Does the space work? If not, I will always attempt to find a remedy without resorting to major structural changes. Minor remedies might include adding architectural detailing like paneling or trim, a more appropriate style or scale of mantle, or a different fireplace surround. Often, I increase the size of window and door casings and change featureless doors.

Then, after addressing the weaknesses of the space, it’s on to camouflaging and enhancing the décor with lots of color and pattern.

In a recent renovation at the Salt Pond, I was asked to tackle the redesign of a too-large, open-plan floor-space that incorporated living room, dining room and kitchen.

At one end of the overly-long living room was an undefined and unfurnished open space used only to access an elevator and an unfortunately-placed, builder-grade, full bathroom whose door was all too frequently left open. Compounding the spatial lack of intimacy, a vast-volumed ceiling loomed large overhead.

What to do? Conquer the space. Take it by the horns and give it definition and the character desired by the homeowners.

Since the decision had already been made to replace kitchen cabinetry and appliances, it naturally followed suit to upgrade the unappealing tile floor in the kitchen and adjacent dining area. Extending the living room’s warm-toned cherry plank flooring into the space was a natural design decision. It not only upgraded the space and united the various areas, but it also provided a more leg-friendly work surface.

The Height Variable

Next, the space demanded attention to doorways and walls.

Some tweaking was definitely in order. When my clients purchased the house a number of years before, they had enclosed a portion of the large porch off the dining room, extending the living space, filling the walls of the new room with windows, creating a year-round climate-controlled view of the Assawoman Canal behind the house.

A great idea — except that the original 9 feet of sliding doors and windows that had once led outside had been left in place, thus leaving the memory to linger on and quashing the notion of a smooth visual transition from one space into another.

The extra-wide, standard-height opening to the “four-seasons room” created a terribly squat relationship to the high-volume ceiling in the dining room. But, because of architectural limitations, it was all but impossible to increase the height of the opening to a more suitable scale.

After much discussion with the client and a little cajoling of the contractor, it was agreed to try a bit of visual trickery. The old doors were removed (whew!). The width of the opening was substantially narrowed to give the illusion of its being somewhat taller, gracious and inviting. The result was a handsome new cased opening — a properly proportioned passageway between two disparate spaces.

It was also agreed that the cherry flooring be extended into that room to make it feel less like an added-on space. (Eventually, when we got to the decorating phase of the project, the walls were washed with a killer “come-hither” red — the final and irresistible seduction to a once uninviting space.)

Good Proportions Mean Good Bones

In order to give a better sense of proportion to the living room, I added a full-height enclosure wall with cased passageway to the area by the elevator and bathroom. This new wall accomplished two things: it redefined the living room space on one side and provided a separate ante room for the elevator and bathroom on the other.

Thus, the living room area was squared, establishing a center line for the fireplace and furniture layout. Just as importantly, the view of the bathroom was eliminated from the general living space. And, as a bonus, the newly-created walls offered the perfect location for a collection of the client’s oversized art pieces.

In studying the newly defined living room, it was not difficult to see that the existing mantle, a custom-made classic, needed a little something to correct its dimensions. It appeared too tall in a space that otherwise defied height. But there it was. The proportions were clearly off.

To remedy the situation, and with the help of an adept woodworker, a section of the upper mantle (a deep dentil molding detail the homeowner didn’t care for), was surgically removed, thus lowering the overall height of the mantle, correcting its scale within the room.

The full bathroom off the living room (tell me why!) was next in line to receive attention. Although it was now neatly tucked out of sight, it deserved to have a bit of re-thinking. The less-than-wonderful bathtub was rarely used (who wanted to bathe in the living room anyway?), the builder-budget vanity was narrow and way too low, and both the light fixture and white tile floor were beyond tired.

Basically, the space had no redeeming characteristics — except for the fact that the space measured 5-by-7 feet. I could feel the creative juices start to flow at the very thought of it. Now to convince the client…

And, yes, away went the bathtub and in its place waltzed in a stylish antique cabinet to not only look beautiful but also to hold the necessary toiletries and sundries. A proud pedestal sink replaced the unattractive vanity while recessed low-voltage lighting brought sparkle and new life to the interior space.

I then selected 4-inch tumbled marble tile in a Tuscan palette for the floor and wall area behind the pedestal sink. With it I designed a decorative, narrow inset border to lend definition to both spaces. A crisp two-tone wall covering, depicting large sea urchins in mustard yellows on a white background, completed the fresh new look.

A Tiny Caveat

While I hinted at the outset that decorating a given space does not usually involve major structural changes, it might sound from my description of the renovation at the Salt Pond that it was anything but minor.

I may have gotten a little carried away in the fun of describing that project, but the truth is that a skillful designer always has the ability to disguise the disadvantaged and camouflage the visual imperfection with never a thought to major structural changes.

But often a tweak here and an architectural detail there can make all the difference in the world. Naturally, the deposed client may feel the construction phase of the design project is major, and certainly it is messy and disconcerting, but it’s far from a major renovation.

Next month, I will address specific spaces and the treatment thereof – namely entryways, stairways, landings and hallways, awkward spaces that no one spends a great deal of time in but which require important techniques.

After reading today’s article, you may have your own questions on the subject of architectural detailing within a space. E-mail me at DovetailDesigner@aol.com, and I will address your questions next month.

Connie Britell, ASID, is the owner of Dovetail Interior Architecture and Design, with offices in Washington, D.C., and Ocean View. She is co-author of “SOS: Sisters On Style, The Professional Organizer For Your Home Designs,” available via e-mail at SistersonStyle@aol.com or by calling (302) 539-1902.