Things happen when least expected, which was the case when a client called about a second home she and her spouse purchased in Rasteau, France. The most recent renovation had been completed four decades prior to their purchase, so their new ancient home needed 21st century attention. The request—would I come to see the property and work out some ideas on site for a quickie renovation?
A few weeks later they picked me up in Avignon and then on to Rasteau. The in-town home still habitable, we settled in for the next four days to figure this one out. Suffice it to say, what was originally envisioned as a simple renovation became a significant restoration project.
The purchase included what had appeared to be an abandoned lot, the proposed site of a new pool.
Before: “The Pit” separates the home from this unused, empty space
French architect and painter Le Corbusier or Corbu and Corb for short, said, and I paraphrase, the same principles that apply to the design of a chair apply to the design of aircraft. Over the years, I’ve come to understand and embrace this particular way of thinking. The other thought I identify with is that an architect is a generalist, meaning that we know a little about many things, rather than possess in-depth knowledge on any particular subject. There are, however, individuals who are specialists in a particular building type or knowledge area. At some point in my career I had to make a choice—Generalist or Specialist?
In the thirty five years since I started my training as an architect, I’ve made necessary migrations to related areas of involvement in the design industry. The first was graphic design, then interiors, and furniture and product design. I discovered fine art photography as a student and somewhere along the line, I took up writing. The result is a career of great richness, texture and complexity. It sounds like I’m describing a wine, but it’s fitting.
When I founded Studio Santalla, Inc. in 2001, we offered services in architecture, interior design and graphic design. A few years later, as suggested by a web designer, we dropped the graphics from our offering, but the reality is we didn’t stop producing graphic art. When working on projects for clients, we designed furniture for them. The day I realized my photographs were “that” good, I started selling them. I’ve been referred to as a Renaissance Man, a jack of all trades, multi-talented and met with resentment from design professionals who think I’m infringing upon their turf. I just think of myself as pursuing my interests while eschewing labels and taboos.
My journey has landed me in a place where I have clarity, and have embarked on what is generally known as “brand expansion” by creating new divisions to Studio Santalla. This is a snapshot of our current offering:
Graphic-SS
www.graphic-ss.com
Graphic-SS provides professional services in the areas of brand identity, marketing campaigns and environmental graphics
Ernesto Santalla Photography
www.ernestosantallaphotography.com
Highlights from 30 years producing images in three categories; black and white-all taken with a film camera; color and photo-collage. This website includes e-commerce.
Ernesto Santalla Home
I am working on the introduction of several furniture lines and textiles. Stay tuned for more as this is in various stages of development.
Part of the offering will be furniture we’ve designed previously that is already in our portfolio.
This image was on the cover of Home & Design magazine.
I tell clients that part of what makes Studio Santalla unique is we can provide solutions to a wide range of items ranging from technical issues to fine details. Does that mean we’re qualified to design research laboratories? No. Do I know the finer details of specifying gimp? No. Can I provide an excellent product within the realms of our design expertise? You can bet on it.
A pre-requisite to transform, recreate, re-do, renovate, remodel or reconfigure is the “before.” I think part of valuing where we are is to acknowledge where we’ve been and what was involved in getting there.
To kick off the Before and After series, one of my favorite “before” images.
This room is on the first level of a single family home. It has it’s own bathroom, so it could be used as a bedroom, but the owner wanted it to be a Study. When we got involved it sported a hunting theme in red and green with a hunting dog waiting patiently for the hunt to start.
What the client requested was a comfortable place to read or take an afternoon nap. Even though we have less and less of them, most of us still have books. Here, we framed the windows with bookcases, which elongate the proportions of the room.
I’m proud to say this project was done in the late ’90’s and still looks good.
Thanks for reading. Your comments are appreciated and encouraged. Stay tuned for the next installment of “Before and After.”
From time to time I’m asked, “where’s all the stuff,” “people don’t live like that? They are referring to photos I show them of Studio Santalla’s work, where items are out of sight, but definitely there. As such, the spaces we design are fully functional.
Kitchens, bathrooms and media centers are places where items collect and clutter ensues, taking up valuable space designated, or available for other uses. So let’s dim the lights and go over a few examples.
This kitchen was designed for a household of six, plus very frequent guests. Studies show the inefficiencies of “standard” kitchen cabinetry, which has led to the use of drawers in the bottom cabinets for many of the items typically stored in upper cabinets, which were eliminated. A “garage” cabinet was placed in between the two wall ovens for all hand held appliances. The island has storage on both sides. The pantry is located beyond the door on the right. The dishwasher has a panel to match the cabinets.
I realized years ago that every line added to a drawing will cost money. When working on a renovation, especially, it’s easy to get carried away and add more work assuming it won’t cost much. Oh what a treacherous path to follow that is, because costs can get out of hand and once an idea is “sold,” it’s hard to give up. To stay out of trouble, I remind my clients that anything that’s there and we don’t touch doesn’t add cost to the project. On the other hand, keeping things doesn’t always result in savings or a better project, so it’s a value judgement.
Condominium renovation projects are complex for many reasons. There is a committee, which reports to the Board of Directors, who represents the Condominium Association and is responsible to them. Renovations are usually overdue, budgeted years in advance and typically include a lengthy list of requirements and a multitude of opinions. The Dupont East in Washington, DC, was not exempt from these circumstances, but add to the mix the economy was at a very low point when the project was designed in 2009 and spending money wisely suggested not spending any at all.
The project involved the redesign of the Lobby and the residential corridors. The building was built in the 1970’s and the public spaces had been last renovated in the mid to late 1980’s. There was no documentation of what the original Lobby looked like from photographs, but we had the floor plans. The committee was in agreement that the Lobby was dark, the color scheme dated, and the furnishings out of place in this building.
The front desk had been retrofitted many times to accommodate security, an entry system, computers, etc. The building does not have a dedicated mail room, so the mail is received and sorted by staff. The entry doors were wood and glass in an all glass enclosed space. The peek-a-boo design struck me as odd. Very dusty drapes gave the space a “homey” feeling and traditional furniture in vibrant colors gave it a “modern edge.” The gold metal wall opposite the entry doors was well, gold and shiny.
My job often consists of designing or redesigning space. For that, I have to visualize what it is going to be, which is something I’ve been doing for 35 years, when I first entered Architecture school. It seems like the Dark Ages now, but the tools we used to convey our ideas were pencil, paper and and cardboard models. Fast forward to the present day and we still use pencils and paper, but a napkin sketch can be quickly put to the test with computer models, which allow us to explore options more rapidly.
When making a presentation to a client, we will typically present a combination of plans, photographs, samples and computer renderings. Despite what is often information overload, sometimes it’s not enough, especially in remodeling projects because it requires moving beyond the image of what is there to visualize what it could be. So when presenting an idea on how to transform or create a new space, we are often asked where is there something like it, or whether can I provide a photograph of it? Sometimes the answer is “no.”
Food puns aside, projects are always faced with realities like completion dates and budgets. Budget and cost are two very different things, however, as we often want things that fall outside of the stipulated budget. While some will sacrifice, others will incur additional costs when faced with the fact that the budget did not match the desired outcome. That is the balancing act that design professionals face on a continuous basis.
There are many factors that affect the cost of a project, including geographic location, the choice of contractor, the cost of building materials, finishes and the economy. Budgets are established in different ways, ranging from very detailed studies using complex formulas to simply stating how much money is available to fulfill a wish list. While it’s essential to set guidelines and goals before the design process begins, a budget is based on assumptions and speculation, rather than an actual design. And as happens in smaller projects, clients may not know what their budget is.
So how does the design professional reconcile budget and cost? There are some guidelines I’ve developed over the years that are helpful. In many ways it comes down to what is a “necessity'” and what is a “nicety.’
The driving force behind every project is the quality of the space. Building a good space means that it is well proportioned, functional and pleasing. In my mind, this is a necessity. Building a poorly designed space and a well designed space generally cost about the same, which is an essential to know. The flexibility comes in the materials and finishes and how to make the most of available economic resources.
It moves us to laughter or even to tears. Sometimes it’s funny or perhaps frightening. It comes in any imaginable shape, size, color and material. It inspires. It’s masterful, poetic, delicate or violent. It’s anything and everything imaginable. It’s Art.
From prehistoric caves to man caves it shows up everywhere and sometimes out of nowhere, but its presence is undeniable. Trash becomes treasures to keep and collect or sell at auction. It’s always part of the avant garde, yet the best is ageless. New forms emerge and often dismissed, only to be recognized as a force to be reckoned with later on. Once it becomes mainstream, however, it’s already a part of history. It’s highly personal and even if you don’t like it, it may be undeniably good.
Wall paintings found at the Chauvet Caves c. 32,000-26,000 BC
Present day self-expression found in a Man Cave, perhaps a work of découpage in progress
The amount of information available through the websites of architects and interior designers, social media sites, online communities, blogs and reality shows gives consumers unprecedented access to the world of design. Add to that lifestyle retailers, and it appears we can assemble everything we need to outfit a home, remodel it or even build it from the ground up. Even though statistical evidence shows that costs escalate as much as 40% compared to what it would cost if hiring a design professional, most DIYers would do it all over again.
There is this elusive thing called talent that follows me around. Frankly, I’m not concerned about it because ego isn’t what gets me out of bed in the morning. It’s the desire to do what I did the day before but with a little more wisdom and insight and continue down the path I’ve chosen or have yet to choose. One of the things I’ve learned is I can do whatever I want, provided I apply myself to it. In my case, I’m a design professional and a business man. To be honest and equally thankful, there is more than plenty for me to learn in both of these endeavors.
Question or statement?
I received a Bachelor of Architecture from Cornell University in 1984. Diploma in hand I moved to Washington, DC without a stitch of work experience and was grateful to get a job within a week of arriving. My first assignment was to make changes on a drawing I did not understand and therefore, I had no clue what I was doing. I fought the urge to get up and quit on the spot, and determined to rough it out for a year. After nine months I had a new job where I spent the next ten years.
