1412 - Penthouse Interior Design
November 24-30, 2003 | May 24-30, 2004
HI, I'M BOB VILA.
WELCOME HOME AGAIN
TO OUR PROJECT
HERE IN BROOKLYN, NEW YORK.
WE'RE SPENDING A FAIR
AMOUNT OF TIME INDOORS TODAY.
WE'LL BE VISITING WITH
THE INTERIOR DESIGNERS,
WHO HAVE SOME NEAT IDEAS
ON HOW TO USE THE SPACE
UP ON THE TOP FLOOR.
ALSO, MARMORINO PLASTERING.
IT INVOLVES A LOT OF MARBLE DUST
AND A LOT OF
SPECIALIZED TECHNIQUE.
AND WE'LL TAKE YOU ON A TOUR
OF A LITTLE SHOP IN SOHO.
STICK AROUND. IT'S GOOD
TO HAVE YOU HOME AGAIN.
CAPTIONING MADE POSSIBLE BY
SEARS.
OK, WE'RE GONNA GET STARTED
ON THE TOP FLOOR,
THE UNIT WE'VE BEEN
CONCENTRATED ON,
AND WE'VE GOT
OUR FRONT DOORS IN PLACE.
THESE ARE STEEL CLAD
FIRE RATED DOORS,
WHICH WILL BE GETTING
A COAT OF PAINT,
BUT THEY'RE REALLY
A VERY KIND OF HANDSOME,
INDUSTRIAL-LOOKING DOOR.
THE KITCHEN'S
ALL COMING TOGETHER.
BUT RIGHT NOW
WE'RE GONNA GET STARTED
TALKING SPECIAL PLASTER FINISHES
WITH CHRIS VILA AND HIS FRIEND
JONAS EVERETS, WHO'S--
JONAS, YOU'VE
STARTED UP IN NEW YORK
WITH A LITTLE
BUSINESS, RIGHT?
THAT'S CORRECT.
WELL, TELL US
ABOUT MARMORINO.
WHAT IS IT?
MARMORINO IS
A LIME-BASED PLASTER
THAT HAS SAND
AND MARBLE DUST IN IT.
IT'S AN AGED LIME PUTTY.
IT'S NOT A FAUX FINISH.
IT'S A TRADITIONAL--
OPEN IT UP, CHRIS.
WHAT ARE
ITS ORIGINS?
1500s. ITALY...
AND SOUTHERN EUROPE.
NOW, HOW DO WE
THIS COLOR, JONAS?
THIS HERE HAS RAW UMBER,
BURNT UMBER,
BURNT SIENNA,
AND YELLOW OCHRE IN IT,
AND ACTUALLY A TOUCH
OF VENETIAN RED.
CAN WE USE REGULAR
PAINT PIGMENTS?
YOU CANNOT.
YOU HAVE TO USE
SPECIAL OXIDE PIGMENTS.
WHAT OTHER COLORS
CAN YOU MAKE?
I CAN MAKE
ANY COLOR YOU WANT.
I CUSTOM MIX EVERY COLOR
FOR EACH CLIENT.
YOU CAN DO, YOU KNOW,
KIND OF A SALMON
KIND OF PINK.
Bob: AND WHAT--IRON OXIDE,
OR WHAT KIND OF PIGMENTS
GO INTO THAT?
THIS IS A BURNT SIENNA,
YELLOW OCHRE,
AND WITH ALSO, PROBABLY,
A TOUCH OF VENETIAN RED.
BUT IT IS COMPLICATED.
IT TAKES A LONG TIME
TO MAKE A COLOR,
ESPECIALLY ONE
AS DARK AS THE ONE
WE'RE USING TODAY.
UH-HUH.
Chris: WHAT'S THE DIFFERENCE
BETWEEN THESE 3 AND THESE?
THESE ARE A LITTLE SHINIER.
ALMOST WAXY.
THIS IS
A VENETIAN PLASTER,
AND THIS TAKES
MUCH MORE COATS
TO COME
TO THIS FINISH HERE.
ABOUT HOW MANY
COATS IS THIS?
THAT IS PROBABLY
6 COATS.
6. AS OPPOSED
TO THESE, WHICH ARE--
2 COATS.
Bob: AND WHAT
GIVES IT THE SHINE?
THAT HAS BEEN SEALED
WITH A SPECIAL WAX
AND THEN POLISHED.
OK, SO THE BROWN
THAT I'M LOOKING AT HERE,
IS THIS A SAMPLE OF WHAT
YOU'RE GOING TO BE DOING
ON OUR WALLS?
THIS IS. THIS IS EXACTLY
WHAT WE'RE GONNA HAVE
AT THE END OF TODAY
WITH THE WALL
TO MY RIGHT.
WHEN YOU CAN SEE
THE DIFFERENCE...
SO, THE WALL
HAS HAD ONE COAT,
AND AFTER A SECOND COAT,
IT'LL START
TO LOOK LIKE THAT.
SECOND COAT
BRINGS OUT
THE HIGHLIGHTS
OF THE MATERIAL.
Chris: AND THAT
TEXTURE, AS WELL.
AND THE TEXTURE,
BUT IT GETS,
ACTUALLY, SMOOTHER
TO THE TOUCH,
BUT VISUALLY
MUCH MORE NUANCED
AND TEXTURED.
WELL, LET'S WATCH YOU
GET STARTED OVER HERE.
OK.
Bob: ANYTHING SPECIAL
ABOUT THE TOOLS?
WELL, WE USE HAWKS,
LIKE NORMAL PLASTERERS,
BUT WE HAVE A SMALL, HARD,
STAINLESS STEEL BLADE.
AND WE WANT
RIGIDITY HERE?
YOU WANT A VERY STIFF,
SHARP EDGE BLADE
THAT GIVES YOU
THE ABILITY TO--
ESPECIALLY ON
THE SECOND COAT,
'CAUSE YOU'RE GONNA BE
PRESSING THE SECOND COAT
INTO THE FIRST COAT
AND CREATING A BURNISH,
AND BRINGING OUT ALL KINDS
OF TEXTURED NUANCE.
IT'S PRETTY RUNNY STUFF.
YEAH, YOU HAVE TO BE CAREFUL
NOT TO OVERLOAD YOUR HAWK,
'CAUSE IT WILL TRY
TO SEEK ITS OWN LEVEL.
Bob: ALL RIGHT. SHOULD
WE KEEP IT COVERED?
DOES THIS STUFF HARDEN UP?
YEP, IT WILL HARDEN UP,
AND THEN YOU'LL GET STUFF
FLAKING INTO YOUR MATERIAL.
SO, CHRIS, WHY DON'T
I GET YOU STARTED OVER HERE.
OK.
AND WHAT YOU WANT TO DO
IS JUST GET A LITTLE ON
THE OUTER EDGE OF YOUR BLADE.
YEAH. THAT'S GOOD.
AND THEN YOU START
NOT IN THE CORNER,
BUT UP IN THAT AREA,
AND THEN YOU CAN GET IT ON,
AND KIND OF JUST PUT IT ON
AND THEN ALMOST TAKE IT OFF
BY PUSHING IT AROUND.
Bob: HOW THICK
DO YOU APPLY IT?
Jonas: YOU WANT IT--
IT'S CLOSE THERE.
YOU WANT IT A LITTLE
THINNER THAN THAT.
A LITTLE THINNER.
YOU'LL FEEL IT.
A KIND OF--
WITH JUST KIND OF
A LIGHT KIND OF PRESSURE,
IT'LL KIND OF COME TO
ITS OWN--ITS OWN LEVEL.
TRY TIPPING
YOUR BLADE BACK.
YEAH, JUST LIKE THAT.
THERE YOU GO.
NOW YOU CAN KIND OF
GET UP IN THE CORNER
WITH A LITTLE LESS
MATERIAL.
Bob: JONAS, WHAT'S THE TOOL
THAT YOU'VE USED
IN THE CORNER THERE?
THIS IS A TOOL TRADITIONALLY
FOR VENETIAN PLASTER.
IT'S A JAPAN SCRAPER.
Bob: JONAS, IS THERE
ANY PARTICULAR PATTERN
THAT YOU RECOMMEND
FOR APPLYING IT
IN TERMS OF THE STROKE?
WELL, THE TRADITIONAL
METHOD
IS TO USE KIND OF
CIRCULAR MOTIONS,
BUT TRADITIONALLY,
MARMORINO HAS
A VERY NUANCED SURFACE,
SO IF YOUR HAND
MOVEMENT IS CHANGING
FROM TIME TO TIME,
THAT'S OK.
IT ADDS TO
THE ARTISTRY LEVEL.
WHEN THIS DRIES,
WILL IT LIGHTEN QUITE A BIT?
YES, MARMORINO
LIGHTENS QUITE A BIT.
THE LIMESTONE,
BEING WHITE,
REALLY WANTS
TO COME OUT.
IT WANTS
TO COME THROUGH?
YEAH.
NOW, FELLAS, THIS WILL NEED
ABOUT A DAY AND A HALF
TO REALLY GET DRY.
YES.
AND WHEN IT DRIES, JONAS,
IT'S GONNA LOOK LIKE
THIS WALL OVER HERE?
IT'S GONNA LOOK
EXACTLY LIKE THIS
WALL OVER HERE.
CAN YOU GET STARTED
ON THE SECOND COAT?
WE SURE CAN. LET ME
JUST GET SET UP.
Bob: COMING UP NEXT,
JONAS AND CHRIS GET STARTED
ON THE SECOND COAT OF MARMORINO.
DON'T GO AWAY.
Bob: NOW,
DOES THE SECOND COAT
GET APPLIED ANY THINNER
THAN THE FIRST COURSE?
IT'S ABOUT THE SAME,
BUT THE SECOND COAT
IS GETTING PUSHED
INTO THE FIRST COAT
AND THEN BURNISHED,
REALLY BRINGING OUT
THE NUANCE
OF THE MATERIAL.
IT'S A DIFFERENT
EXPERIENCE.
Bob: ARE YOU WORKING A LOT
FASTER WITH THE SECOND COAT?
NO.
THE SECOND COAT'S
ACTUALLY GONNA BE
SLOWER...
AND IT REQUIRES
MORE EFFORT.
Bob: ALL RIGHT,
SO WHEN THIS DRIES,
YOU'RE GONNA START TO SEE
ALL THESE DIFFERENT
KIND OF RIDGES
AND DIFFERENCES IN TONES,
BUT WHAT ABOUT THE SHINE
ON THE END OF IT?
WELL,
LET ME SHOW YOU.
WHAT WE HAVE
IS A CARNUBA WAX,
WHICH I'LL APPLY
A THIN LAYER.
IT ACTUALLY GETS
ABSORBED IN,
AND THEN WE'LL
POLISH IT LATER
WHEN IT'S DRY.
SO, YOU'RE USING
A TINY AMOUNT?
YOU WANT TO USE
A LITTLE AMOUNT.
YOU DON'T WANT TOO MUCH.
IT'LL LEAVE BAD SPOTS
IF YOU'RE NOT CAREFUL.
SO, JONAS, HOW DO YOU
FIGURE THE COST
OF THIS KIND OF PROCESS?
THE PRICE IS ABOUT
$20 A SQUARE FOOT.
A SQUARE FOOT?
AND THEN
UP FROM THERE.
UP FROM THERE DEPENDING ON
THE LEVEL OF COMPLEXITY
AND TO DO A DEEPER
COLOR LIKE THIS,
MORE COATS REQUIRED?
THE LEVEL
OF NUANCE IN THAT
REQUIRED 3 COATS.
UH-HUH.
WE CAN
ALSO TINT WAXES
OR ANOTHER SEAL
THAT'S CALLED
A LIME SEAL.
OK. AND THEN AFTER
THE WAX IS APPLIED,
THERE'S A LOT OF
HAND BURNISHING, RIGHT?
WE USE RAGS,
BUT WE ALSO USE
AN ELECTRIC BURNISHER.
UH-HUH. GOOD.
THANKS, FELLAS.
THANK YOU.
Bob: NEXT, WE'LL MEET
THE INTERIOR DESIGN TEAM
AND TALK ABOUT
ALL THE PLANS THEY HAVE
FOR OUR CITY APARTMENT.
NEXT TIME ON...
WORK IS ALMOST COMPLETE
AT OUR CONSTRUCTION PROJECT
IN BROOKLYN, NEW YORK.
WE'RE SPENDING MOST OF OUR TIME
ON THE INTERIOR FINISHES.
WE'LL BE USING A MARBLE-BASED
WALL FINISH CALLED MARMORINO
ON SOME OF THE WALLS.
ALSO, WE'LL MEET WITH
THE INTERIOR DESIGN TEAM
TO GO OVER ALL THE PLANS
THEY HAVE FOR THE APARTMENT.
AND FINALLY, WE'LL GO SHOPPING
FOR FURNITURE AND ACCESSORIES
AT A FABULOUS LITTLE STORE
IN SOHO, SO DON'T MISS IT.
THAT'S NEXT TIME ON
HOME AGAIN.
NEXT TIME ON...
IT'S MARMORINO FINISH
FOR THE WALLS
AND PLANS FOR
THE INTERIOR DESIGN
IN OUR BROOKLYN APARTMENT.
DON'T MISS IT.
Bob: OUR INTERIOR DESIGN SCHEME
IS BEING PUT TOGETHER
BY JONATHAN ADLER...
HI, JONATHAN.
HEY, BOB.
HOW ARE YOU?
AND DARREN BROWN.
HI, BOB.
WELCOME.
LET'S TALK
ABOUT THE BONES
OF THE APARTMENT.
WE'RE ALMOST FINISHED.
WE'VE BEEN SPENDING
A LOT OF TIME
WITH THIS SPECIAL
MARMORINO PLASTER.
WHEN YOU STARTED
THINKING ABOUT
WHAT TO DO HERE,
WHAT DID YOU
LOOK AT FIRST?
WELL, I THINK ONE OF
THE MOST IMPORTANT
THINGS ABOUT IT
IS THE VERY
CASUAL OPEN PLAN.
LIKE I REALLY TOOK
MY CUE FROM THE KITCHEN
BEING EXPOSED,
AS OPPOSED TO
ITS OWN SEPARATE THING,
AND SO, YOU KNOW, HERE
WE ARE IN THE KITCHEN.
THERE'S NO WALLS, OPEN,
AND I THINK THAT
REALLY SETS THE TONE
FOR THE LAYOUT AND FEEL
OF THE APARTMENT,
SOMETHING THAT HAS THIS
VERY CAUSAL KIND OF FEELING.
IT'S CLEARLY NOT
A FAMILY APARTMENT.
NOT A FAMILY APARTMENT.
I THINK IT'S,
LIKE, A PERFECT PLACE
FOR A BACHELOR
WHO'S KIND OF LIVING,
HANGING OUT, AND WE WANT
TO HAVE THIS VERY,
AS I SAID, CASUAL
ECLECTIC SPIRIT.
OK.
SO, I THINK
ON A SPACE LEVEL,
THE NEXT THING THAT I WAS
INTERESTED IN WAS THIS NOOK.
LIKE, I SEE THIS CORNER
AS BEING
THE VERY, LIKE,
KIND OF COMFY, LOUNGY,
HANGING-OUTY KIND OF AREA.
THE LIVING ROOM?
THE LIVING ROOM.
OK.
UM, SO...
YOU'VE GOT
ASSETS HERE, THOUGH.
YOU'VE GOT BRICK.
THE BRICK IS INCREDIBLE.
AND YOU'VE GOT
AN OLD BEAM
AND AN OLD POST
STICKING OUT.
YEAH, I MEAN, I THINK
THAT ON A MATERIAL LEVEL,
WE'RE REALLY
TAKING OUR CUES FROM
THE RICHNESS OF THE BRICK
AND THE OLD BEAMS,
WHICH WE LOVE.
WHEN YOU MEAN
A MATERIAL LEVEL,
YOU MEAN
ACTUALLY FABRIC?
I THINK, LIKE,
SURFACES, FABRICS,
EVERYTHING'S GONNA BE RICH.
AND IN TERMS OF
USE AND FURNITURE
PLACEMENT,
THIS IS WHERE
YOU'D HAVE THE COUCH
AND THE LOUNGE
CHAIR?
COUCH, LOUNGE CHAIR,
AND THE MOST IMPORTANT
THING TO ME IS THE TELEVISION.
YOU LIKE
THE TELEVISION?
YOU'RE IN
THE RIGHT PLACE.
EXACTLY. I THINK ANY
BACHELOR WHO'S HANGING OUT
IS GONNA BE
VERY FOCUSED ON THE TV.
YEAH. WHAT KIND OF FABRICS
WOULD YOU USE IN HERE
ON THE FURNISHINGS?
WELL,
I WANT TO TALK A BIT
ABOUT ALL THE MATERIALS.
I THINK THAT, AS I SAID,
WE'RE TAKING ALL
OUR CUE FROM THE BRICK
AND THE RAW BEAMS
AND THEN THE MARMORINO
PLASTER, I THINK,
IS LIKE SORT
OF CONSISTENT IN
QUALITY AND SPIRIT,
AND I THINK
THAT THE FABRICS
ALSO WANT TO HAVE
A VERY RICH FEEL.
I THINK, LIKE, SORT
OF A WARM-COLORED
MOHAIR, PERHAPS.
WELL, I NOTICED YOU
GOT SOME SAMPLES HERE.
YES, WE DO.
WE HAVE, LIKE, A NICE,
RICH, CHOCOLATE BROWN.
THIS IS
A KIND OF VELOUR,
BUT I THINK THAT
I WANT TO GO WITH, LIKE,
A MOHAIRY
KIND OF AFFAIR.
BUT, AGAIN,
JUST VERY RICH.
AND THIS IS THE ACTUAL
MARMORINO FINISHED
AFTER IT'S BEEN WAXED.
YEAH. SO, THIS
IS THE MARMORINO,
WHICH,
AGAIN, IS SO RICH,
AND I THINK
WE WANT TO DO
A VERY TONAL THING
WITH THE FABRICS,
BUT THEN SOME
OF THE ACCESSORIES,
AND PERHAPS, THE RUG
MIGHT HAVE OTHER COLORS
THAT KIND OF PUNCH
IT UP,
SO IT'S SORT OF
REINFORCING THIS CONCEPT
OF CASUAL, RICH,
KIND OF BACHELOR LIVING.
VERY SIMPLE
WINDOW TREATMENTS.
ROMAN SHADES,
AND SORT OF NATURAL--
LIKE BAMBOO.
EXACTLY.
BUT, AGAIN,
THE APARTMENT
HAS 4 WINDOWS.
THAT'S GOOD FOR AN OLD
NEW YORK APARTMENT.
YEAH, IT'S GREAT.
AND ONE OF THEM
FACES EAST,
SO YOU'RE GONNA
HAVE MORNING LIGHT,
WHICH I GUESS
ALLOWS YOU TO USE
SOME OF
THESE DARKER COLORS.
YEAH, WHICH IS GOOD,
AND ALSO--
YEAH, WHICH IS REALLY
NICE FOR THE COLORS,
AND ALSO, SPEAKING
OF MORNING LIGHT,
I'D LOVE TO HAVE, LIKE,
A KIND OF CASUAL
BREAKFAST TABLE
SITUATION RIGHT HERE,
EVEN THOUGH I THINK
THERE'LL BE SEATING
AT THE COUNTER, YOU KNOW,
FOR JUST A VERY--
LIKE, HAVING A SNACK.
IT'S NICE TO HAVE
A TABLE OVER HERE WHERE--
IT COULD EITHER
BE A GAME TABLE.
A PLACE TO READ THE PAPER.
HANG OUT. EAT YOUR BREAKFAST
WITH THE LIGHT.
OR HAVE A DINNER PARTY.
OR HAVE A DINNER PARTY.
LET'S TAKE A LOOK AT
THE ROOMS IN THE BACK,
'CAUSE WE'VE GOT,
ESSENTIALLY,
A TWO-BEDROOM APARTMENT,
BUT IT CERTAINLY
COULD BE A BACHELOR PAD.
HOW WOULD
YOU USE THE ROOMS?
WELL, I WOULD LIKE
TO USE THIS ROOM...
I'D LIKE TO USE THIS ROOM
AS THE OFFICE,
WHICH I THINK, YOU KNOW,
IF IT'S GONNA BE
A BACHELOR PAD,
OBVIOUSLY, THE GUY'S
GONNA HAVE A COMPUTER
AND GONNA WANT
TO DO HIS THING.
FOR THIS, I KIND
OF WANT TO CHANGE
THE TONE A LITTLE BIT,
AND I'M REALLY MY CUE
FOR THIS ROOM FROM
DAVID HICKS,
THE INTERIOR DECORATOR,
AN ENGLISH
INTERIOR DECORATOR
FROM THE SIXTIES
AND SEVENTIES
WHO WAS KNOWN FOR VERY
STRONG, GRAPHIC PATTERNS.
STRONG USE OF COLOR,
AND A VERY CRISP KIND
OF PINGY KIND OF SPIRIT,
AS OPPOSED TO THE REST
WHERE IT'S KIND
OF LOUNGING CASUAL.
THIS IS GONNA BE
MORE PING.
HAVE YOU
CHOSEN THE COLOR
FROM MY PERSONAL
COLLECTION HERE?
FROM YOUR PERSONAL
COLLECTION. WE DID.
SORT OF
THE DARKEST BROWN,
WHICH IS...I THINK
IT'S THE OAKWOOD BROWN.
FOR THE WALLS?
FOR THE WALLS.
BOY, THAT IS RICH.
YES.
THAT'S GREAT.
IT'S GONNA BE
VERY RICH,
AND I THINK YOU CAN
REALLY HANDLE THAT
IN A ROOM LIKE THIS
BECAUSE YOU
HAVE SO MUCH LIGHT
COME FROM THE SKYLIGHT
AND FROM THE WINDOW,
WHICH, AS YOU SAID,
IS EASTERN FACING.
YEAH, THE SKYLIGHT IS
THE KEY THING IN THIS ROOM,
'CAUSE YOU COULD
WORK HERE ALL DAY LONG
EVEN WITH JUST ONE WINDOW.
YOU'VE GOT PLENTY OF LIGHT.
TOTALLY,
AND I WANT THIS ROOM
TO HAVE A VERY CRISP,
CHOREOGRAPHED FEELING,
SO I MAKE A REALLY GREAT
WHITE LACQUER DESK
THAT'S VERY SIMPLE
AND VERY STRONG,
AND WE'RE GONNA PUT
THE WHITE LACQUER DESK HERE
SO THE DUDE CAN KIND OF
BE SITTING BEHIND HIS DESK
TYPING AWAY,
SERVING HIS EMPIRE.
MAYBE SOME SORT OF
FILING CABINET
OR SOMETHING THERE
FOR NECESSITY,
AND I'D LOVE TO DO
A CHAIR,
LIKE A LOUNGE CHAIR
AND TABLE HERE.
I MEAN, IT'S
NOT A HUGE SPACE.
NO. NO IT'S NOT HUGE.
WHAT ABOUT IN THE BEDROOM?
THE MASTER BEDROOM?
WELL, THE BEDROOM IS ALSO
NOT A HUGE SPACE,
BUT IT'S GREAT, SO I THINK
IN HERE WE WANT TO DO--
WE WANT TO SORT OF STAY
WITH THE CASUAL SPIRIT
OF THE REST
OF THE APARTMENT.
THIS REMINDS ME OF
THE "JACKIE GLEASON SHOW,"
WHICH PROBABLY PREDATES YOU,
BUT I MEAN, YOU KNOW,
THIS IS THE NEW YORK
SITUATION WITH THE BRICK WALL
RIGHT ACROSS THE WAY.
THOUGHTS?
WHAT DO YOU DO?
DO YOU HIDE IT?
OR DO YOU
LEAVE IT ALONE?
IT IS WHAT IT IS.
IT IS WHAT IT IS,
RIGHT? YEAH.
I ACTUALLY
KIND OF LIKE IT.
IT DOES FEEL LIKE
A VERY AUTHENTIC
NEW YORK EXPERIENCE.
AND WHAT ABOUT
THE HEATING ELEMENT
IN HERE, DARREN?
WELL, THE ROOM IS ON
A SMALLER SCALE,
BUT IT
WOULD BE NICE, TOO,
TO HAVE A COUNTER
TO PUT BOOKS--
TO PUT STUFF ON.
BUILT-INS ARE ALWAYS GOOD,
BUT WE'RE GONNA GO CHECK OUT
YOUR STUDIO IN SOHO
AND LOOK AT
SOME OF THE FURNISHINGS
THAT YOU MAKE.
SOUNDS LIKE A PLAN.
GREAT.
Bob: WHEN WE COME BACK,
WE'LL TAKE A LOOK AT
FURNITURE FOR OUR APARTMENT
AT JONATHAN'S STORE IN SOHO.
SO WELCOME.
CROWDED IN HERE,
ISN'T IT?
IT IS VERY CROWDED
IN HERE,
BUT REAL ESTATE IN SOHO
IS VERY DEAR, SO--
I'M SURE IT IS.
I TRY TO PACK IN
AS MUCH STAFF AS I CAN.
I LOVE THE BEAUTIFUL
COLUMNS
THAT ARE PROBABLY
FROM THE ORIGINAL
BUILDING HERE.
THEY'RE FROM
THE ORIGINAL BUILDING.
I WAS SO LUCKY TO
HAVE THEM.
A LOT OF SPACES
IN SOHO HAVE THEM,
BUT I LUCKED OUT.
SO, THIS IS WHERE
YOU HAVE YOUR INTERIOR
DESIGN BUSINESS,
BUT OBVIOUSLY,
YOU'RE ALSO A RETAILER.
I AM A RETAILER.
THAT WAS SORT OF MY--
I STARTED OFF AS A POTTER.
THAT'S MY REAL FIRST LOVE,
AND THEN I
BECAME A RETAILER,
AND RECENTLY
BECAME A DESIGNER,
BUT THIS IS MY FIRST
RETAIL STORE,
AND HERE IT IS.
FULL PRODUCT.
VERY UNUSUAL STUFF.
NOW TELL US ABOUT
SOME OF THESE THINGS.
ARE YOU GOING
TO BE USING ANY
OF THE FURNITURE?
A LOT OF THIS IS
GONNA BE IN THE HOUSE,
SO I WANT TO
TALK ABOUT THIS SOFA--
IS CALLED "SOFA 54,"
INSPIRED BY STUDIO 54.
IT'S VERY LOW AND LOUNGY
IN THE CAMEL MOHAIR
WE INTEND TO USE.
AND STUDIO 54,
OF COURSE,
WAS THE LEGENDARY
NIGHTCLUB--
FROM THE SEVENTIES.
VERY LOUNGY.
OK, AND YOU
MENTIONED DAVID...
DAVID HICKS IS WHO I'M--
MY INSPIRATION
FOR THE OFFICE,
AND THIS IS A PILLOW,
A NEEDLEPOINT PILLOW,
THAT'S VERY MUCH
INSPIRED BY HIM.
AGAIN, THE STRONG
USE OF GRAPHICS
AND VERY BOLD COLOR.
NOW, YEAH, IS IT
ACTUAL NEEDLEPOINT?
THIS IS ACTUAL
NEEDLEPOINT.
WHERE IS IT MADE?
IT IS MADE IN ASIA.
RIGHT, AND WHAT
ABOUT OTHER TEXTILES
LIKE THE CARPET
DOWN HERE?
THE CARPET IS
HAND-LOOMED IN PERU
MADE FROM LLAMA,
BELIEVE IT OR NOT.
REALLY?
MOST OF MY POTTERY
AND MY TEXTILES
ARE ACTUALLY MADE
IN PERU,
INCLUDING MY OTHER
HAND-LOOMED PILLOW.
THESE ARE ALL
HAND-LOOMED ITEMS?
HAND-LOOMED ITEMS.
WE DO THEM CUSTOM
SIZES AND COLORS,
SO I HAVE A WHOLE
PRODUCT LINE THAT I
INTEND TO USE A LOT.
AND YOU MENTIONED YOU
WERE GONNA USE A DESK
THAT YOU MAKE THAT'S
LACQUER.
YES, I DON'T HAVE
THE DESK HERE,
BUT I'LL SHOW YOU
THE TECHNIQUE
IS THE SAME AS THIS
LITTLE END TABLE.
IT'S LIKE A HAND-POURED
LACQUER OVER A WOODEN FRAME
WITH MY CUTE
LITTLE BRAND ON IT.
BUT, I MEAN, IT'S NOT
REALLY LACQUER.
IT'S REAL LACQUER.
OH, IS IT?
YEAH.
AND WHERE IS THIS MADE?
THAT IS MADE IN ASIA,
AS WELL.
REALLY. IT'S A FABULOUS
LITTLE PIECE.
ONE OF MY FAVORITE THINGS
IS TO USE VERY
RICH FABRICATIONS
ON VERY SIMPLE SHAPES.
SO, A LOT
OF WHAT YOU DESIGN
THEN YOU HAVE MADE
INTERNATIONALLY?
I DO. ACTUALLY, I REALLY
STARTED OFF AS A POTTER,
MAKING EVERYTHING MYSELF,
AND HERE'S
"SOME OF ME POTS."
SOME OF ME POTS?
SOME OF ME POTS.
I WAS LIKE A TYPICAL STUDIO
POTTER MAKING EVERYTHING,
WORKING 12 HOURS A DAY,
AND I KIND OF
LOST MY MIND AFTER AWHILE
AND FOUND AN ORGANIZATION
CALLED AID TO ARTISANS,
WHICH IS A NONPROFIT
WHICH CONNECTS
AMERICAN ARTISTS
WITH ARTISANS
IN DEVELOPING COUNTRIES
FOR SORT OF A P.C.
BUSINESS RELATIONSHIP.
SO THEY'RE WELL-PAID,
AND HAPPY,
AND ALL OF THAT STUFF,
AND THEY MAKE
ALL MY POTTERY NOW.
SO THEY BASICALLY
TAKE YOUR PROTOTYPE.
I MAKE A PROTOTYPE,
THEY PRODUCE IT,
AND IT'S BEEN A GREAT
BUSINESS RELATIONSHIP
AND PERSONAL RELATIONSHIP.
ARE THEY
LIMITED EDITIONS?
NO. THEY'RE LIMITED
BY HOW EVER MANY
PEOPLE BUY THEM.
HOW MANY YOU CAN SELL?
YES; EXACTLY.
AND A LOT OF
THESE PIECES, ACTUALLY,
WILL BE USED
IN THE APARTMENT.
THIS COLLECTION I CALL
THE LANTERN COLLECTION.
IT'S INSPIRED BY
GEORGE NELSON'S BUBBLE LAMPS
FROM THE FIFTIES,
SO IT HAS
A MID-CENTURY FEEL.
OK.
THESE PIECES ARE A BIT MORE
KIND OF SCANDINAVIAN,
AND A BIT EARTHY AND ORGANIC.
I THINK THEY'LL BE PERFECT
FOR THE CASUAL FEELING
IN THE APARTMENT.
THEN THIS IS ONE OF
MY NEWEST RANGES.
IT'S CALLED
THE MUSE COLLECTION
INSPIRED BY SURREALIST
ARTISTS MUSES.
AND THE POTTERY ITSELF
IS NOT GLAZED?
THIS COLLECTION'S
NOT GLAZED.
THIS IS A PORCELAIN
THAT WE LEAVE UNGLAZED
TO SHOW THE DETAIL,
SO IT'S A VERY DIVERSE
RANGE OF STUFF.
SO, NEEDLESS TO SAY,
MUCH OF WHAT
WE'RE SEEING HERE
WILL SHOW UP NEXT WEEK
WHEN YOU DECORATE
OUR UPSTAIRS APARTMENT.
MUCH OF IT WILL
SHOW UP NEXT WEEK.
THANKS, JONATHAN.
WE'LL SEE YOU THEN.
WE'RE RUNNING OUT OF TIME.
COME HOME AGAIN NEXT WEEK
WHEN WE FINISH US THE PLACE.
TILL THEN, I'M BOB VILA.
IT'S GOOD TO HAVE YOU
HOME AGAIN.
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