The art of pretension

I enjoy a beautifully laid table as much as the next person, incorporating well-presented and delicious food, but I was rather taken aback by an article by Jill, Duchess of Hamilton in which she suggested that good "table manners are not only a civilising force, they help keep you trim". This, she argues, is as a result of eating slowly, "which is a central tenet of upper class dining".

What a load of twaddle!

I dare say there is a good metabolic reason to support the slow eating argument, but to suggest that this is something practiced by the upper classes is simply ridiculous.

If one only looks back at Edwardian times, and even at King Edward VII himself, it's fairly obvious that slow or fast eating didn't have as much impact as the quantity of food that was consumed.

I find these rather patronising lectures by so-called etiquette experts completely vacuous.

So there, Jill Hamilton! Pass the port.

vide: http://www.telegraph.co.uk/health/3511751/Secrets-of-the-good-manners-diet.html

My cathedral is your house

Living/dining area with open kitchen on the right.

From the front door with living/dining (and that kitchen!) on the left and another sitting area, (made out of the fourth bedroom space) on the right.

The two bedroom, with killer stairs, showing the bedroom above.

Sliding sandblasted window with bathroom, (and bath!) overlooking the sitting area.

Two bedroom, with the left hand area being the second bedroom converted into an enlarged sitting area.

The Sukhothai Residences being developed next door to the hotel mentioned in yesterday's post were a potential future residence for the Columnist, especially the four bedroom-ed design in the first two pictures. But oh, the disappointment in the structural design.

The cathedral-like living area (photo 1) appears totally disproportionate, with ceilings almost as high as the room is long, creating a uniquely unsettling feeling. I'm a fan of high ceilings, but they have to be proportionate to the space. And unless you have a set of gongs, how do you decorate the upper part of the wall space?

Having discussed open plan, you will also know that I like to close off the kitchen, and this counter arrangement looks too much like a restaurant.

The second set of three photos are of the two bedroom space, but the stairs are a killer in my book, and the loft style with windows from the bathroom, and the bedroom are bizarre.

Anyway, these factors made the choice much easier. And the fact that their price tag is the most expensive in the city. It was launched a year ago, and perhaps there will be a few bargain sales given the world-wide economic slump, to say nothing of the current uncertain political situation in the capital. Unfortunately even this would not tempt me.

It's good when your instincts are right!

Photos courtesy of The Sukhothai Residences: http://www.sukhothairesidences.com/

Sukhothai interiors

Photos courtesy of The Sukhothai Hotel: www.sukhothaihotel.com

Silk and teak

These images are from The Sukhothai Hotel, next door to where I live, and which I believe is the best hotel in Bangkok. It was designed by Kerry Hill and Ed Tuttle. The last image is of the water garden, which I overlook from my balcony.

Hill and Tuttle's style, as seen briefly in the (first) image of the lobby, and the second image, of the sitting area next to the lobby, is an immaculate use of silk panels in teak casements, with bronze legged and marble-topped tables, enhanced by much use of mirrors.

The underlying ambiance is an oasis of calm in this bustling city, and was a very welcoming hostelry on early visits to Bangkok, before we moved here to live.

Sukhothai was the capital of Siam during the reign of King Ramkhamhaeng in the C18th. The architecture of palaces in Sukhothai incorporated elements of symmetry, colonnades and reflecting pools, combined with bronze, teak and marble, all of which have been incorporated into this modern structure.

Further images of the interiors, and of the adjacent exciting new residential development will be revealed in the coming days.

Photos courtesy of The Sukhothai Hotel: http://www.sukhothaihotel.com/

Bullish

Bronze bison with green/brown patina on verde antico marble base 17"h x 22"l x 9.25" w, unsigned, but in the manner of Isidore Bonheur. Estimated at USD700-1,000, sold for USD1,900.

Neapolitan School, oil on canvas. With frame 26.5"h x 33"w. Unsigned C18th. Estimated USD5-7,000. Sold for USD22,000.

Nice to know that some assets are going in the right direction. It would appear not all art is doing so well, however.

Bearish

This self portrait of Francis Bacon was withdrawn from auction when it only reached USD27.4m against an estimate of USD40m earlier on in November at Christie's contemporary art sale in New York, reflecting a certain nervousness for big ticket items.

Head over heels

These two staircases, and the miniature models in the top picture are from the same courtyard house in London.

I am much taken by the miniature stairs, and was tempted to buy a set when I saw them recently in Fortnum's in London, but space constraints on luggage persuaded me otherwise. I do enjoy their juxtaposition with the iron staircase that leads up to them from the courtyard, (second picture), and arriving at an outdoor landing seen beyond the glass panel doors.

The floating staircase that then leads upwards from the indoor foyer is a complete contrast.

But unfortunately, having just taken a rather dramatic and painful tumble from steep stairs, I'm growing wary of anything to do with them. Although these look pretty and interesting, I think I'm now being more drawn to the wide sweeping staircases of yore, where at least someone with a steady hand can guide you, when in need.

The folly of youth. Well yes, the folly of youth is when you don't have it, but you think you still do.

Orchid moments

Saying it with flowers. With best wishes from the orchid squad.

Open minded

I was interested to read recently an article which suggested that the phase in the open plan method of design may have had its day.

I think it depends. Firstly it depends on how many of you live in the space. Secondly it depends whether you can alter the layout to close up the open plan. And thirdly it depends on whether you can escape to your own private space.

If there are just two of you and you are a partnership unit, of adult age and with similar interests, then open plan works quite well, and brings with it the obvious benefits of a larger visual expanse.

If you can close up the open plan - for instance the kitchen, so that unwanted smells associated with cooking can be minimised or eliminated, or with an office, so that the mess that some of us employ to function creatively can be hidden when there are guests - then this is an effective tool. I used that with the refurbishment of this apartment, maximising light with sandblasted glass panels, both fixed and sliding.

And if you have your own private space, where you can go off to sulk after you've had a row, or to close off the noise of television or music, then it works too.

But these are really very important elements to consider when making a design choice.

What would you do?

A flight of fantasy

These are some of the works by Shi Xinning at the Saatchi Gallery in London, depicting Mao Zedong (Mao Tse-Tung) in unlikely scenarios.

From the catalogue:

Trained in China, Shi Xinning’s paintings are influenced by both social realism and European styles. Using the authoritative qualities of both, Shi embarks on history painting with a twist. Taking his imagery from iconic press photos, Shi’s canvases faithfully represent the world as we know it: the Yalta Conference in familiar 40s sepia tone, the Queen Mum in carriage emblazoned in newspaper black and white. It’s only on second glance that Shi’s alterations become evident. Nestled between Churchill and FDR and conversing happily with royalty, Mao takes his place amongst the great leaders of the 20th century.

In China-fying history, Shi investigates dynamics of both the west’s Eurocentric, and China’s isolationist past world views. Humorously illustrating the Chairman’s import and omnipresence in 20th century Chinese society Shi’s insertion of Mao into the fabric of western collective conscience seems entirely plausible. Infusing the totems of propaganda currency with a sense of normality and humility, Shi re-authors the most cherished moments of collective memory with a ‘Forrest Gump’ effect, creating a specious mythology based in Hollywood schmaltz and unabashed optimism.

Xinning's alternative Mao biography operates as a free-for-all send up of official versions of history; his subjects are carefully chosen for their collision course narratives and gossipy innuendo. Beneath Xinning’s paintings lies the intriguing proposition: how differently things might have turned out if only a little thing like ideology didn’t get in the way. In A Holiday in Venice – At the Balcony of Ms. Guggenheim, a Cheshire-ish Chairman lounges linen-clad and carefree, having possibly met his match in the famous art collector; he an aspiring poet and calligrapher, she a respected patron, both figures notorious for their libidinous antics…

In Mao and McCarthy, Xinning's feigned documentation makes hilarious political commentary. Painted on grand-scale, as if blown up from the pages of Life magazine, the scene unfolds like an expose of over-looked evidence pointing out a most embarrassing gaff: all cameras and eyes on the accused, no one seems to recognise the real communists in the room (though who better to sit on the House Committee on Un-American Activities?) Xinning recreates this lost moment with the veritas of mass media authority, his high contrast palette and inky brushwork replicating the tones and texture of cold war journalism with all its greasy smudgy truth.

I'm grateful to the other visitor to the gallery who passed in front of the picture of Mao with Queen Elizabeth the Queen Mother, bringing a welcome flourish of red, of which I'm sure Mao would have approved.

Cote des fleurs

Thanks Joni of Cote de Texas for your kind comments. These are the purple orchids I mentioned on your post about flowers. They're still going strong...

A shoe-in

This is the London house of footwear designer Patrick Cox. It effectively demonstrates a design element that I have mentioned before, and that is not making a museum out of the period you enjoy.

Clearly Cox is a fan of the Empire period, but he admits that in his previous house he decorated it too much like a period piece, giving it a museum quality which he grew to dislike as much as his friends.

So in this endeavour he has still kept the favoured pieces, but he's mixed them into a more contemporary palette, to great effect.

The simplicity of the lines, and the added light, both natural and mirrored enhances the overall scheme.

Wilton Crescent

The very pretty Wilton Crescent in London, referred to by Aesthete's Lament in his post of 11 November, (Mother knows best). It forms a demilune over Belgrave Square.

The crane makes it less pretty of course, but I expect we'll be seeing less of those in London over the coming years.

More bling

The Wittelsbach blue-grey 35.56 carat diamond that was given to Infanta Margarita Teresa by her father King Philip IV of Spain on her engagement to her uncle Leopold I of Austria, is to go on sale at Christie's in December, and is expected to fetch GBP10m.

Infanta Margarita Teresa was the central figure in Velazquez's picture Las Meninas (1656). She is also depicted in the first picture dressed in mourning, following the death of her father. She herself only lived to 21, having given birth to four children, of which only one survived beyond childhood.

Leopold I later became the Holy Roman Emperor, and the diamond then passed into the Austrian and then Bavarian crown jewels, before being sold into private hands in 1931.

Less bling

Charles at 60.

Photo: Hugo Burnand.

This Shah

His Imperial Majesty Nasr-ed-Din, Shah of Persia painted by John Vinter on the occasion of his second state visit to Britain in 1889, sold at Bonhams in October 2007 for GBP311,000 and formerly owned by The Imperial Bank of Persia, (which became HSBC Bank Middle East).

Bonhams catalogue reports that "During his three visits to Europe in 1873, 1878 and 1889 the Shah had the opportunity to observe and admire the jewels and orders of the other monarch. He was made Knight of the Garter by Queen Victoria and presented her with the Nishan-i Timsal (Imperial Effigy) during his visit in 1873. This led the Shah to purchase and commission many pieces of jewellery which were added to the Imperial collection in Tehran. According to Meen and Tushingham the Shah's uniform was sometimes covered with precious stones from shoulder to waist, 'a glittering breastplate' in the words of his French physician who added that diamonds as big as walnuts were used for buttons. A news report on the Shah's visit to Queen Victoria at Windsor in 1873 related that he wore five rows of brilliants, with four large rubies on the breast of his uniform coat.

In Vinter's portrait of the Shah, apart from a display of large diamonds, we are able to identify the gold woven belt with its heart-shaped cabochon-cut emerald buckle (estimated at 175 carats). According to Meen and Tushingham this emerald could well be the one that once adorned the Mughal Emperor and which was carried away from Delhi to Persia with other treasures by Nadir Shah in the 18th Century. The belt was last worn by Shah Muhammad Reza Pahlavi (reg. 1941-1979) at his Coronation in 1967. The diamond medallion Nasr al-Din Shah is wearing around his neck may be the Darya-i Nur, the Nur al-Ain or the Taj-i Mah, three fabled Golconda diamonds which were mined during the Mughal reign. See V. B. Meen and A. D. Tushingham, Crown Jewels of Iran, Toronto 1968."

A house, a home, a gallery, a showpiece?

If we're designers it is of course (very likely!) that we get caught up in the dilemma of whether the beauty we create is too staged. Personally I like things to be extremely ordered. It may be a trait that borders on the obsessive. I like to present things in their best possible light, (or my expression of design). I want people to come into my house and say, or at least think "Wow!". Happily usually they do, or at least my intuitive powers in the latter enable me to discern that.

And whilst the entire experience of the visit should be that, I do expect and hope that as my guests, they will relax, and enjoy the experience. It reminds me slightly of the tenet that good manners is much less about observation of social etiquette written by somebody with not very much to do, (probably not, but something like Debrett's Correct Form), and much more about the idea of making people feel at ease.

I cringe when so-called arbiters of taste make people feel uncomfortable because of an apparent social faux pas; a faux pas in whose culture? I, like many others live in a world that is filled with a variety of cultural expectations. As a "visitor" to these, I would try and follow the example of the "norm" that made my guests feel the most at ease. I am reminded of the story of a state visit by the Shah of Persia to Britain during the reign of Queen Victoria, (in either 1873 or 1889 - he made two). During the service of dinner the Shah apparently drank from his finger bowl. Courtiers were aghast at the apparent faux pas. But without blinking an eye, the Queen proceeded to do exactly the same. Naturally then, so did all the other guests. Surely a good example, whether true or not, of how to avoid the embarrassment of not understanding the finer points of European dining at the time.

But I digress.

Many people prefer their houses to be less of a showpiece and more of an expression of how they live their lives. My showpiece ideal is however a reflection of who I am. In magazine parlance, I'm more of a House & Garden than a World of Interiors. I'm more crisp and elegant than shabby chic. What are you?

Pictureless

The drawing room referred to in yesterday's post with its demilune window is also furnished very simply, and in a deliberate move, has no pictures on the walls. The chimneypiece is C18th.

Pass the salt please

The design elements used for the dining room of this Scottish castle are not what you would traditionally expect. The ten metre long dining table was fashioned from an old oak on the estate that fell during a storm. The other pieces of furniture are simple and almost Shaker in style.

The hanging modern tapestries either side of the double doors that lead to the drawing room are part of a huge collection of artworks commissioned from a member of the owner's family.

The curtains are custom made cream cotton with specially selected pieces of Scottish poetry printed in black which run from the top to the bottom of each of the six panels.

The doors on either side of the French chimneypiece lead respectively (on the left) to the first floor landing from the main staircase of the Georgian wing of the house, and (on the right) to the library. The usage of rooms has been changed; the dining room and drawing room have been reversed, and the library was previously the ballroom.

The castle, like many of this scale, has a long and varied history, which is reflected in the different wings. The original tower, (on the left) is C16th. The central demilune room which joins to the dining room on the right, was built by the Marquess of Montrose for an expected visit by King George III. He never came, but the obvious Georgian symmetry that resulted creates the pleasant aspect that I much admire.

Behind this facade lies an entirely separate wing built in the Victorian times to accommodate the army of servants needed to run such a large establishment, with the most important element being heating, (coal for the fires), and hot water for baths.

Happily today oil fired central heating takes care of that, although fires are still used daily during the winter, and we've even had them on in the summer too.

Scotland quite often only has two seasons: "June and Winter".