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CALIFORNIA NORTH CHAPTER MAGAZINE VOLUME II FALL 2017

AMERICAN SOCIETY OF INTERIOR DESIGNERS CALIFORNIA NORTH - 1 - VOLUME II FALL 2017 | CA NORTH CHAPTER

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Re vere it. Play it. Listen to it.

S O O T H E Y O U R S O U L W I T H I T.

Pres ent ing t he f irst hig h-res olut ion p laye r piano wor t hy of t he re vere d Steinway & S ons name. T h e S t e i n w a y S p i r i o i s a m a s t e r p i e c e o f a r t i s t r y, c r a f t s m a n s h i p a n d e n g i n e e r i n g t h a t d e l i v e r s a l l t h e n u a n c e a n d p a s s i o n o f l i v e p e r f o r m a n c e s b y t o d a y ’s m o s t r e n o w n e d m u s i c i a n s f r o m c l a s s i c a l to jazz to ro ck. STEINWAYSPIRIO.COM

STEINWAY PIANO GALLERY 6 4 7 m i s s i o n s t r e e t, s a n f r a n c i s c o , c a 9 4 1 0 5 s t e i n way s a n f r a n c i s c o . c o m

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AMERICAN SOCIETY OF INTERIOR DESIGNERS CALIFORNIA NORTH

ASID CA NORTH CHAPTER Telephone 415.626.2743 administrator@can.asid.org asidcalnorth.com | designfinder.com

ASID NATIONAL 718 7th Street NW, 4th Floor Washington, DC 20001 Telephone 202.546.3480 Fax 202.546.3240 Toll Free 800.610.ASID (2743) asid@asid.org | www.asid.org

EDITORIAL STAFF Editor and Communications Director:

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CA NORTH Chapter News 4

PRESIDENT’S MESSAGE

6

18

UGALLERY -------------------------

CURATED ON - LINE ART GALLERY

CAROLINE LIZARRAGA ------------------------LOCAL ARTISAN PROFILE

Katherine Tincher, Allied ASID Art Director: Laura Shine Lee

CONTRIBUTORS:

Cathleen Gouveia, Allied ASID

PUBLISHING STAFF Sales Rep: Mike Watt 972.989.2208 SFDesign Magazine is published quarterly for the ASID CA North Chapter of the American Society of Interior Designers by DSA Publishing & Design, Inc. Editorial content and the SFDesign magazine are controlled and owned by the CA North Chapter ASID. Reproduction of this publication in whole, in part, in any form is strictly prohibited without the written permission of the CA North Chapter of ASID.

ON THE COVER: Caroline Lizarraga’s custom wall texture for the new Robin restaurant in Hayes Valley.

Our Advertisers 23 Blatt Billards

23 Ferguson

11 The Bath + Beyond

16 California Homes Magazine

24 Formation

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17 Ceramic Tile Design

11 McCutcheon Construction

10 Tulip Hardwood Floors

17 Dawson Custom Workroom

10 Rebarts Interiors

5 Dunn Edwards Paints

17 Shades of Marin 2 Steinway Piano Gallery

FALL2017

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Here in the Bay Area, we are so fortunate to have a long Indian Summer with our warmest sunniest months in September and October. As our clients get ready to nestle in for the fall and winter, we see a sudden burst of activity as everyone makes way for the Holiday Season. You may need a few new special resources to help you bring quality and value to your clients. Thus, you will enjoy articles in this issue that introduce you to a few new resources and some, “tips of the trade” that might benefit your business. Your ASID Board of Directors has been very busy over the past few months. ASID National conducted its Presidential Forum in Washington, DC. As the President of ASID California North, I met with the House of Representatives and the Senate along with the Presidents of other Chapters, to lobby for lien rights and copyright laws for interior designers. We also lobbied for equal opportunity for commercial projects in the public sector. In July I attended the ASID Leadership Experience in San Diego and attended the sessions intended for all members. I believe all members should attend to maximize their learning experience as Allied and Professional members of the American Society of Interior Designers. This spring, our ASID Board of Directors reached out to local professors to develop a collegiate competition for Tiny House design, which we hoped to air on HGTV. The professors were not able to synthesize calendars, so I folded this strategic plan initiative into the Tiny House competition as a part of our Design Excellence Awards submissions to develop designs to 1) help the homeless in San Francisco, 2) provide housing in response to the Ghost Ship fire for the artist community, and 3) develop an ASID Mobile Office. We held a Launch Party at Neolith where our members could tour Modern Luxe Tiny House made from two truck containers. We hope to use the winning prototypes to generate tours and funding, and then turn the initiative over to Habitat for Humanity. We hope you will enter your designs to support these initiatives! This year, our Design Excellence Awards will be held at the beautiful Ram’s Gate Winery located in Sonoma just 25 minutes north of the Golden Gate Bridge. We will be celebrating with our showrooms and industry partners, who will also be honored with ASID Awards for the trade support they provide to us all. Please mark your calendars for September 26th and come experience the Passport to Design! You will make valuable industry partnerships, while you enjoy fine wines, and hopefully receive your Annual Design Excellence Award! We are working on several initiatives and training CEUs for our members including a Sketch-up Workshop this Fall, and “lunch and learns” at a few new local showrooms including the new Jack London Showroom in San Rafael, the new Farrow and Ball Showroom in Berkeley, the Eichen Lighting Showroom in San Francisco, and Cosentino’s new city showroom at 101 Henry Adams Street. This fall, we will host the Second Annual Halloween Ball at the General’s Residence, the Board Installation at the San Francisco Fall Art and Antiques Show, and our Holiday Party will be at a historical landmark, “The Pines” in Sausalito. Please mark your calendars for an eventful Fall Season! Lastly, the ASID Board has filled its nomination slate, but we are seeking an Allied Designer in good standing to take the President Elect seat. No prior Board experience is necessary, but is helpful! Please let us know if you are interested. I can tell you from experience that there is no better way to support the trade and to network, than serving on the ASID Board of Directors! We’d love to have YOU come sit at our table this fall as we help steer the growth and support of our professional design trade. If our Board is unable to fill the open Slate, we will become a Design Community and function as a Planning Committee supporting National, and not a dedicated autonomous Chapter to support ASID California North. So please tell us which position you would like to fill on the ASID Board of Directors! Everyone should support the Board for at least one term during their career as a Professional Interior Designer.

AMERICAN SOCIETY OF INTERIOR DESIGNERS CALIFORNIA NORTH ASID CA NORTH CHAPTER Telephone 415.626.2743 Fax 415.626.0749 administrator@can.asid.org asidcalnorth.com | designfinder.com

BOARD OF DIRECTORS President Cathleen Gouveia, Allied ASID 415.203.8663 President@can.asid.org President-Elect Vacant Communications Director Katherine Tincher, Allied ASID 415.494.7076 kat@katherinetincher.com Membership Director Christopher Shields, Allied ASID 415.577.1924 chris.m.shields@gmail.com Professional Development Director Leslie Dean At-Large Director Jim Allen 415.515.6816 jal@louispoulsen.com Financial Director Gus Vouchilas 415.338.3420 gusv@sfsu.edu Student Representative Natalia Vikhreva Emerging Professionals Maryam Malek 415.580.1084 mm@maryammalekdesign.com

Cordially,

F

Cathleen Gouveia ASID President 2016/17

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We just might have your new favorite color. We recently added 300 more colorsare they in your color library?

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CAROLINE LIZARRAGA - 6 - VOLUME II FALL 2017 | CA NORTH CHAPTER

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~ editorial ~

rising star in our Bay Area design community, Caroline Lizarraga and her decorative arts studio create simply stunning custom wall finishes and other speciality applications. We caught up with her between installations to learn more about her process and how to work with her as a designer.

Can you tell us a bit about your background and how you got into decorative arts? I was always into art, and have a background in fashion design. I was actually working in fashion when I started buying furniture at garage sales and fixing it up. One of the first pieces I did, an interior designer saw and offered me $1,200 to buy it. I had bought it for $20! I had already travelled quite a bit through Europe, and I ended up finding a program in Italy that taught restoration. So I went there and learned wood restoration. Then when I came back to San Francisco, there was a woman who was teaching decorative art painting. She taught these beautiful classes with marbling, chinoiserie, and plasters. I studied under her for a couple of years, and some of the other women in my classes encouraged me to pursue decorative art as a career and to start my own business. That’s how I got my start. It was one of those things in life that feels like it was meant to be. I know a lot of old-world techniques, but I try to use that knowledge and apply it to modern ideas and settings. Most people are not willing to wait two years for a table these days, so we have to update the process a little bit. continu ed next pag e

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Its amazing people still teach some of those old world techniques. There are very, very few [people] to be honest. There’s a woman in San Francisco who is keeping it alive, but she flies people in from Italy to teach these classes. And then in turn, all the decorative artists fly in from all over to learn from these masters. It’s a passed down generational craft, so it’s few and far between. There’s another technique that we do called “Verre églomisé” that is glass gilding. There are two women who are the masters [of this technique], one in England and one in New York, and I was just waiting to take a class from them! It’s exquisite the stuff they’re doing. And there’s a huge market for it. That’s what’s lovely is that we all get to keep working and using our hands. What is the range of materials and applications that you work in? We work in everything, and we’re constantly experimenting. I’m always trying to discover new materials to use in our work. So we use a lot of glazes, a lot of plasters, venetian plasters, and paint - we make a lot of our own paint. We do gold leafing and silver leafing. We use crushed powders like crushed bronze, crushed brass, mica powders, and mother of pearl. We’ve been use a lot of resin lately and lacquer. Right now I’m experimenting with feathers! We’re always fooling around and ordering different things to see how we can use them in our products. I’m never opposed to trying anything, you never know. continu ed on pag e 12

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What do you do with the resins? We were using the resins for furniture. We would pour the resin and when it dries it’s the shiniest, most beautiful surface. Then we experimented and did some canvases. And we just did a restaurant project in Hayes Valley where we poured rose gold resin down the wall. So we’re trying new ways of using the resin. How does the process go when you’re working with designers or clients? Do you like to be a part of the creative process, and is it helpful for designers to come to you with ideas first? Each scenario is different; we work all different ways. Sometimes people just tell me exactly what they want and there’s no creative process. It think the most successful way to work is when a designer does have a concept in their mind but is also open to other ideas. When we put our heads together and there are already some other decisions like a stone choice or a fabric, then we can play off of each other’s ideas to come up with something even more incredible. I think that’s where the magic can happen. We’ve had some really successful situations this year. People are liking what we’re doing, and they’re seeing that if they give us a little freedom we can create something more than they even thought was possible. So that’s been great, because when you have trust people want to give you more.

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CAROLINE LIZARRAGA

| e d it oria l continued

A lot of designers probably feel like way too, that if your clients will loosen the reigns a little bit, the project could be that much more amazing. Totally.

I’m seeing a lot of agate inspired walls on your Instagram feed, and we talked about the rose gold resin. What other trends do you foresee coming in? In my opinion, the color pink. It’s everywhere. The other thing we’ve been doing a lot of is painted floors. We’ve done some painted carpets - bringing that whimsical aspect in. I think ombre is still going super strong. The other thing that people seem to really love is an “ombre landscape” if you will. Really bringing nature in. I feel like there was a period two years ago where everything was white with reclaimed wood and air plants; and I think we’re luckily out of that. People are really into color right now, and are taking some risks, which is exciting for me for sure. We’re willing to try anything. And I love working with designers who travel and send me inspiration and say, “Can you come up with a wall finish inspired by these 5 photos?” Yeah! We can. I really enjoy doing that because it pushes me a lot, and I want to be pushed. I don’t want to be doing the same stuff over and over again. Thanks for chatting with us Caroline!

You can reach Caroline Lizarraga Decorative Arts at design@ carolinelizarraga.com or 415.724.3200 And be sure and follow her gorgeous Instagram @carolinebean7

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~ edit orial ~

UGALLERY .C When beginning a project, before the constraints of a budget begin to take hold, designers often envision original art as the emotional focal point and space-elevating feature of a room. However, when designers search for places to cut their budget, they often cut out original art, replacing more expensive one-of-a-kind paintings with less expensive alternatives such as prints, giclées, or wall decor. Where original art makes a space unique and luxurious, its “alternatives” can leave an interior feeling distant and depersonalized.

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Y .COM

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At UGallery.com, a San Francisco-based curated online art gallery, art consultants and curators work one-on-one with designers to find original art for residential, corporate and hospitality projects. The UGallery staff advises designers to use original art as the starting point for their interiors. Because art is such a subjective and personal decision, understanding the artwork that resonates with clients gives designers an understanding of their client’s tastes and personality that can inform decisions throughout the rest of the project. Waiting until the end of the project to find artwork puts the designer at disadvantages both aesthetically and financially. When designers use artwork that resonates with the client as the touchstone for a project, they express the story, personality, and values of their client, ensure the sense of luxury is not compromised, and ground the aesthetic of the room with a common object.

1 A Touchstone for Style By prioritizing original art, designers unify and solidify the direction of their project. Original art connects with viewers on personal and emotional levels. Therefore, a client’s taste in artwork gives a deeper insight into a client’s style, personality, and core values. When a designer bases a project on artwork that resonates with the client, the designer ensures that the space will express and even magnify the client’s personality.

2 Conveying Unique Luxury Original art elevates a space in ways that prints, glicées, and other reproductions cannot. Because it is a precious, oneof-a-kind object, it conveys a sense of luxury that brings sophistication to the interior and pride to those who live or work around it. For example, in a corporate project, original art can speak to corporate missions, underscore the success of the company, and attract clientele. By beginning a design with original art, designers ensure that clients will not miss out on this powerful form of expression.

3 Cohesive Designs When designers prioritize original art, they ensure that the artwork will work cohesively within the rest of the space. This allows artwork to revive bare interiors without competing with the other objects in the room. Beginning a project by selecting the artwork establishes the color scheme, style, and dimensions that can guide the rest of the project. Designers who search for art as the “final touches” on a project put themselves in a challenging position. At this point, the project’s color schemes, style, and available space are firmly established, which puts considerable constraints on artwork that make finding a perfect piece difficult. By beginning the project with emotionally-compelling artwork as the inspiration, the designer personalizes every space, putting the client’s values, desired image, and design style at its core.

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HERE IS A TASTE OF SOME OF THE ARTISTS REPRESENTED BY UGALLERY, SELECTED BY GALLERY DIRECTOR ALEX FARKAS. Visit ugallery.com to see more! | Rossa by Roberta Pinna, acrylic painting on stretched canvas | Relaxing by the Pool by Leslie Morgan, oil acrylic graphite on wood | | Before and After I by John & Elli Milan, oil painting on paper | Still Life II by Atticus Adams, aluminum, gesso, acrylic, wire, grommets, rivets on metal |

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ASID California North Fall 2017  
ASID California North Fall 2017