A TIGHT SITE AND SEMI-INDUSTRIAL environment contained many clues and some constraints for this new house and studio, which received an Award of Merit in this year’s Victorian Chapter RAIA Awards. Wood / Marsh looked to the large blank faces of Richmond’s warehouses when considering the street presence. Yet, although the facade is decidedly urban, decidedly non-domestic, the aspect the house/studio presents to the street is an enriched one. The blank wall is faced with split-face blockwork in three shades: off-white, pewter and bluestone. Each material occupies a particular plane, rendering the pattern as a thick, three-dimensional surface. The apparently random texture is punctuated by steel window frames, slicing through this dense surface and projecting beyond.

The complexity of this decorated surface might allude to the elaborate ironwork of small Victorian cottages (the building’s other neighbours), or to Melbourne’s polychrome brick history, but it is also reminiscent of Wood / Marsh’s rather more monumental concrete work on the Eastern Freeway. Like those walls, the textured front of the Curtis house involves perceptual tricks. Where the patterning of the freeway harriers appears to shift and change as one drives past at speed, this smaller wall in a dense urban setting plays vertical games. The block and opening patterns increase in scale as they move up the building, confounding the sense of height and perspective from the narrow street. The patterning, however, was generated from a rather more domestic source — the chunky knit of a Missoni swearer.

The confined site led to a strongly internalised cubic volume encased by apparently massive walls. The internal effect of solidity and depth is enhanced by interior blockwork and deep window reveals. The steel window frames jut into the interior, presenting the overtly framed views as additional pieces of realist art.

The “textured cube” is also pierced vertically, bringing light deep into the enclosed volume. Dappled light from the green perforated stair permeates the centre, while an internal courtyard pulls air and light into the rear, creating a second visual link through the depth of the building.

The stair acts as a major ordering element within the simple and direct plan organisation. Darker, lower level spaces are occupied by garaging, storage and a photographic darkroom, studio and office. Bedrooms are located in the middle, while the upper, lighter floor accommodates the kitchen and living spaces. The kitchen opens out to a wide timber deck with rooftop views, providing a release from the otherwise insistent interiority.

These straightforward, robust spaces and surfaces are enlivened by a wonderful collection of visual art and furniture from the 60s and 70s. These aesthetics have subtly affected the architecture. Indeed, the furnishing of tough architectural surfaces with rich interior objects is itself a characteristic of 60s domestic Brutalism. Other references appear in quotation marks. For example, level changes in the living area create a version of the 70s conversation pit — but the white shagpile is confined to a carefully centred rug.

Between Richmond’s industrial environment and the clients’ collection of Twentieth Century visual culture, Wood / Marsh have inserted a rugged cube. The skillful interpretation of these very particular circumstances has resulted in an inventive urban house.

BUILDING AN ADDITION OFTEN INVOLVES considerable alteration to at least part of the existing structure. In the case of this Artarmon house, Melocco and Moore Architects chose to construct the addition as unobtrusively as possible by making it a separate pavilion connected to the existing house by a narrow hallway.

The original house is a single-storey dwelling in the inter-war bungalow style, with a single-hipped terracotta roof and brick walls. To the north is a rear yard containing several mature trees, including a large tallowood tree that’s at least 150 years old and possibly a remnant of the area’s original forest. The architects’ design concept was to build the addition into the rear yard while maintaining the envelope of the original house and working around the old tree.

A gentle slope in the site allowed the pavilion to be built on two levels, which are markedly different in their construction. The eastern upper level has a solid slab base and brickwork walls. The lower western level, where the building comes close to the tallowood tree, is made of lightweight timber with minimal footings to lessen the impact of the structure on the tree’s root system. The study, the closest room to the tree, has been set back and cantilevered. The whole pavilion is covered by a simple single-pitched roof, which contrasts with the traditional double-pitch of the original roof.

The new addition contains the kitchen, dining and living areas, arranged in an open plan style, while the bedrooms and main bathroom are contained in the original budding. The old and new sections of the house are connected by a linking element consisting of a hallway, second bathroom and laundry. This part of the addition has been kept low so that it fits in under the eaves of the old house without disturbing the roof. It is also narrow enough to allow sun to reach the northern side of the original building.

Inside the pavilion, simple shapes and understated furnishings in solid blocks of colour create an atmosphere of cool elegance, while natural wood finishes add a welcoming note. Elements are repeated to provide a strong sense of cohesiveness, such as the narrow horizontal windows which are mirrored in the shape of the bookcases. A bold central element in the form of a low granolithic wall divides the two levels, houses the fireplace and provides a focal point for the space.

On the northern side of the pavilion, the outside splendour of the garden is drawn in through large windows and glass doors. These doors fold back to open up the northern face of both levels, creating a smooth transition from the living areas to the terrace and deck.

By designing the addition as a separate element, instead of an adjunct to the existing building, Melocco and Moore have shown that contrast can be just as appealing as consistency. The old and new sections of the house fit together well, both fine examples of their respective eras.

A simple white container is perhaps the best way to describe the interior of this narrow victorian terrace. With a mere five metre width to play with, architects AIGP adopted a minimalist approach to create the illusion of generous volumes.

THE EXISTING SINGLE STOREY VICTORIAN terrace required a major overhaul to suit the needs of the current owner. The facade was largely off-limits to alterations — the building being in a conservation zone — and the original front room was sound, with a fine fireplace, and well worth keeping. But the remaining 30-year-old extension was quite dispensable, its timely removal creating space enough for an extensive revamp to the rear of the building.

The client briefed architects AIGP to design a two-storey addition incorporating two bedrooms, a kitchen, a dining/living area, bathroom, en suite and outdoor courtyard. To comply with local heritage conservation requirements, the addition had to be invisible from the street, and had to respect the scale of the surrounding terraces. On an allotment measuring 27 metres by five metres, the challenge was to fit everything in without compromising space and quality of light.

The architects describe the interior as a “simple, pristine container”. Interior elements such as the stair and much of the kitchen have been concealed or recessed to increase the sense of space and reduce visual clutter. In the living area the white walls are deliberately spartan, creating a reflective expanse broken only by vertical supports spaced at wide intervals along the north wall, and a series of full height panels along the south wall. These large pivoting screens conceal the stair when closed, and open to reveal extensive understair storage. Essentially, the doors function as a wall, a balustrade and cupboards.

Against a background of simple white painted and laminated surfaces, some carefully chosen pieces of furniture provide bursts of colour and visual focus. A bold red chaise placed in front of the glass doors in the upstairs bedroom makes a particularly striking statement. Crisp, elegant contemporary pieces of furniture demarcate the dining and living areas and innovative feature lamps add sculptural interest here and at the top of the stairs.

In this minimalist setting, lighting plays a crucial role in bringing warmth and personality to the interior scheme. Concealed in-floor and overhead lighting is placed asymmetrically through the kitchen and living area, illuminating the space in an unusual and captivating way at night. Soft shafts of light from the floor illuminate the walls and ceiling, while the down lights cast a glow on the polished floorboards.

Flooring textures are the other main element in the interior scheme. The dark-toned timber floor in the living area is free of rugs and other visual impediments, while upstairs a neutral carpet is a softer, more restful solution for the main sleeping quarters. The folded aluminium plate stair acts as a contrasting link between the two flooring styles.

This pared down interior relies on intangible, ever-evolving elements such as the intensity of natural light and the changing colour of the sky to create moments of visual drama. The success of the interior is based on the less-is-more adage: in an environment such as this, one special piece of furniture or a well-chosen lamp can have maximum impact where it would be lost in a more complicated setting.

Looking bass strait squarely in the eye, this holiday house bears tibrent of salt spray, sun, rain, and southwesterlies. Designed by dawson tanner architects, it has been given a robust street facade and look get to weather the elements gracefully.

FOR THIS HOUSE, tucked in behind the scrub-covered sand dunes along Victoria’s rugged Bellarine Peninsula, easy maintenance and durability were always going to be a priority for the owners. The front of the property is skewed towards the southwesterlies blowing in from Bass Strait, and the rear faces the northern sun. You only have to look around at the wind-deformed trees to gauge the ferocity of the conditions!

The clients asked Dawson Tanner Architects to design a four-bedroom holiday house that would be easy to live in, easy to keep clean — and just as easy to lock up and leave for periods at a time. The house serves as a relaxing base for extended holidays: in the distant future it may become the family’s permanent residence.

The clients required a guest wing for when other family members come to stay, an open dining/living area (with separate study/playroom) and an extensive outdoor entertainment area. To meet these requirements, the architect arranged the rooms so that the family bedrooms are on a separate floor to the living areas, and the guest quarters are separated from the communal living spaces. To achieve this, the front entrance and a short hallway leading from it do double duty as a visual and acoustic buffer.

While the street elevation is severe, the V-shaped dwelling is open to the north, with the deck and adjacent family room designed for year round comfort. This north facing aspect is dominated by rows of windows on both levels.

In winter, heating is provided by the sun, which streams through the entire living area, and is aided by the heated concrete slab floor and an internal blockwork wall which acts as a thermal storage wall. In summer, the ground floor windows are shaded and protected by the upper floor, which cantilevers over the living area. The cantilevered curved roof, in turn, shades the upper storey bedroom windows.

The wall of glazing in the main living area opens to axial and curved landscape elements leading out to the boundaries of the property. A long path made from railway sleepers visually continues the horizontal lines of the rough-sawn weathered feature walls. In contrast, the timber deck finishes in a graceful curve creating an enclosure partially embedded in the lawn by way of a shallow retaining wall — a cosy spot for outdoor living.

Facing the street, the house appears to have thrown up an impenetrable shield against the winds coming off the Strait. Here, there are few openings in the severe fortress-like facade of rugged, radially-sawn, stringybark cladding and rendered cement sheeting. Windows are generally high-positioned narrow slots, and the landscaping has been pared down to a restrained arrangement of straight paths, ground cover and gravel. The house has been sited as close as possible to the street to ensure maximum space in the more sheltered rear yard.

With its back and shoulders firmly set against the elements, this dwelling has been shaped to form a cosy enclave for the clients and their young children. Its rugged, no-nonsense exterior will weather with dignity, while the protected north-facing zone will provide a sheltered spot for relaxation and play in all seasons.

The bathroom is undergoing a rejuvenation process in tune with design trends world wide. Inspirations come from both the natural environment and the industrial arena: timber veneers, sandstone tiles and granite surfaces resonate with brushed aluminium, stainless steel, glass and chrome. Colours are neutral but not insipid. The palette embraces warm browns, cool greys, clay tones and quiet greens and blues. Chrome tapware and glass surfaces are used to sculptural effect, creating dynamic forms and lustrous highlights.
Utilising the under-stair alcove in an inner city renovation, architect Katie Molnar designed a compact bathroom for the restricted space. The bath is inserted directly under the stair, and the vanity is positioned behind. A Graphic Glass opaque wall allows light to flow through from the stair, while retaining privacy. As the building was too close to the boundary for windows, a skylight with timber battens filters light instead. The Carrara marble vanity features Vola taps and a Caroma Laser handbasin.
* WATER WORLD
Light blue and aqua marine Pazotti mosaic floor tiles give off a watery glow in this bathroom by architects Sam Crawford and Emill Fox. The effect is enhanced by natural light filtering onto the glossy white wall tiles and being reflected in the large mirror. The vanity features a 44 mm rotary cut hoop pine marine plywood veneer, with taps from Brodware’s Eko range. The glossy 200 mm x 280 mm ‘Rose White’ wall tiles are from Tilecraft.
* ESSENTIALLY JAPANESE
A mid Meiji era (circa 1890) kitchen storage chest in cypress and elm has been converted into a vanity in this Melbourne bathroom. On top of the antique a slumped glass basin design by Joseph Licciardi, available through Vetrosystems, is teamed with Fantini ‘Stilo’ tapware from Rogers Seller & Myhill and Taps Design. On the floor, walls, and lining the deep Japanese-style bath are limestone ‘Isernia’ tiles from Domus Ceramics. The bath spout is a Hobspa, from Classic Ceramics, and the pair of shower fittings are Grohe Relaxa Plus, from Rogers Seller & Myhill. The bathroom was designed by David Reade, of Id Entity, and Peter and Danielle Longmore, of Issho.
* HEALTH BENEFITS
The System Pool range of hydromassage baths and showers focus on the importance of well being and relaxation. The spa bath shown here features jets which create a therapeutic whirlpool effect, easing muscle tension and improving blood circulation. With its simple rectangular casing and rounded pond-like form, the unit is styled to suit most bathroom settings. Available from Earp Bros Tiles & Bathrooms.
* ROOM WITH A VIEW
Full length glazing captures the surrounding natural beauty in this bathroom, designed by Perth architect Stephen Hoffman. The Lestro round bench-mounted basin and Neo Hob swivel gooseneck outlet, with Neo single lever tapware, are from Rogers Seller & Myhill, available through Attitude Design Collective.
Extra big tiles are gaining a strong foothold in the world of bathroom design. The tiles shown here are a generous 666 mm x 363 mm. With few visible grouting lines, the effect is to make the room appear larger. To prevent the appearance of screen dots on the tile, special rotative printing technology has been used to increase the definition of the design. A layer of high gloss crystaline glaze has been added to the normal glaze to create a mirror finish. Inquires to Earp Bros Tiles & Bathrooms.

Using pinking shears, cut the sheet to 48×52 inches. Center the board on the fabric’s wrong side. Wrap the fabric to the back of the board. (For smaller projects, be sure to allow several inches of fabric to wrap back.) Starting at the center of one side and working out, staple the fabric every inch. Next, wrap and staple the opposite side, pulling fabric taut. Finish remaining sides. Fold corners smooth, trimming excess fabric.

Cut two 38-inch pieces of 1/2-inch-wide grosgrain ribbon and two 42inch pieces for the border. Wrap short ribbons around short ends and staple to back. Add long ribbons. Dot fabric glue between ribbon and sheet.

Matters of taste. Pillowcases, scraps left from other projects, or flawed sheets from the bargain bin offer up enough yardage for fabric-covered mat boards. Small prints work best for this project.

Purchase a precut mat board or have one custom-cut to fit your photos and frames. Cut the fabric pieces 1 inch larger than the mat board. Using a foam brush, apply a light coat of white crafts glue on the front side of the mat. Center the fabric over the mat and smooth it in place. For the photo window, cut the opening I inch smaller on each side than the actual mat opening. Cut diagonally into each corner. Pull the center fabric to the back and glue it in place. Place the mat under a heavy book or other weight and let it dry.

Because of its tight weave, sheet fabric frays very little. Even so, it’s a good ideo to add a tiny dot of glue to the inside corners (below) to prevent any stray threads from popping out.

After the mat dries, attach your photograph to the mat back with tape. Add a solid piece of mat board the same size as the first for backing and place both in the frame.

If you choose not to use glass, be aware that your photograph is unprotected. Consider framing a copy of the original instead. With original heirloom photographs, use only archival-quality tapes and glues.

Dressy drawers. Help an unfinished or worse-for-wear dresser get with the decorating program by covering the drawers in fabric that matches the bedding. A twin-size sheet will cover a three-drawer dresser. When cutting out the fabric, check pattern matches and repeats so the overall design is pleasing.

Cut fabric 72 inch wider on all sides than the drawer fronts. Mix equal parts of water and white crafts glue, and paint one drawer front with the solution. Working quickly, center the fabric on the drawer front and gently press it into place with a small rolling pin or credit card. Work from the center out, pushing air bubbles out the edges. Wrap the 2-inch fabric flaps to the drawer sides or back, and glue into place with full-strength glue. Add a row of hidden staples for holding power. Finish the rest of the drawers, then slide them into a dresser that’s been painted with two coats of matching paint.

Curtains for this one. WIder is better when it comes to drapery fabric-less piecing is needed. And sheets will fit almost any window size. Select a sheet that is 1 1/2 to 3 times wider than your window. If the sides are already hemmed (most are not), skip to the rod pocket step in the next paragraph. If the sides are selvage edges, turn the edge under 4 inch, then 3/4 inch, and topstitch.

Determine the proper length for the curtain and add 2 inches for the rod pocket. For a balloon bottom like the one shown here, add 6 to 8 inches. (You won’t need extra inches for the hem, since the sheet bottom already is hemmed.) Cut the sheet to the proper length. Turn the top edge under 4 inch, then 1 3/4 inches to form the rod pocket. Topstitch.

Flat-front drawers work best because the fabric is glued to the front, then wrapped around the edges and glued and stapled in place. For beveled drawers, apply the fabric to the flat surface only. Paint the bevel a contrasting color.

When adding rickrack, you don’t hav to sew back and forth along the trim-a straight stitch will hold it in place just fine. Align the rickrack so the bottom of the V meets The edge of the hem, then sew straight through the trim. After laundering, the rickrack may curl slightly. Steam ironing will Haen the trim to its original shape.

(Be sure to prewash the trim before using-it may shrink slightly.)

Lay rickrack along the side hem on the curtain’s wrong side. The lower point of the V shape should align with the edge. Sew through rickrack in a straight line. Tack in place at each end and finish with fray-checking liquid.

Sheets not only make the bed, but make the room as well. Fabulous patterns, wide widths, and high-quality fabrics make sheets a perfect tool for decorating. Fabric glues, fusible tapes, and short-cut sewing techniques make the projects more achievable.

Give it the slip. Update almost any headboard with a slipcover made of sheets. You’ll need one flat sheet that’s the same size as the bed-twin, double, queen, or king.

Make a pattern by taping paper onto your headboard and tracing around it. The pattern should extend to the bed rails. Add 1 inch all the way around (12 inch for seam allowances, 1/2 inch for ease of fitting), then cut out two pieces. Baste piping to the right side of one piece along the seam line. Sew the pieces together, right sides facing.

Clip any curves and layer the seam allowances. Narrowly hem the bottom edge. Slide the slipcover over the headboard.

For rail-type headboards that have expanses of open space, you’ll need fabric with a bit of stiffness. Choose sheets with a high thread count. For extra stiffness, iron fusible interfacing or fusible fleece to the wrong side of the fabric before sewing the pieces together.

Seamless coverup. Tablecloths cut from standard yard goods require a seam or two because of the fabric’s narrow width. Sheets come wide enough to eliminate the seam, letting the cloth lay smooth and flat. Generally, sheets are made in the following standard sizes, so use these measurements as a guideline for choosing the proper sheet for your project: twin, 71xl10 inches; full, 87×110 inches; queen, 95×118 inches; king, 108×120 inches.

Cut the fabric 2 inches longer and 2 inches wider than the desired size. Turn under all edges 4 inch, then 3/4 inch, and hem by machine or with fusible hemming tape. Iron on a border of 1 2-inch-wide grosgrain ribbon, aligning the edge of the ribbon with the edge of the hem. If fusible hemming tape isn’t available in the width of your ribbon, combine two narrow strips or cut strips from yardage of paper-backed fusible webbing. Corners can butt, lap, or miterwhichever works best for your ribbon weight and pattern.

Bulletin.. no boredom. Perk up one of your home’s more mundane necessities-the bulletin board. Sound board (you’ll find it at home improvement centers) covered with sheeting and trimmed with ribbon provides a colorful background. For this 32×36-inch board, use one twin sheet. For smaller types, use a pillowcase or crib sheet.

* Space-saving techniques, not visual tricks, make the most of the cottage s small rooms. By designing an efficient wall-to-wall desk and storage unit (left, Jeffrey carved a work area out of one corner of the living room. Storage cubbies fitted with wicker baskets stow everything from file folders to fabric swatches. Fabric-covered corkboards keep memos and design inspiration at eye level.

* Liberal doses of white keep the doses color scheme from becoming overwhelming. Painting formerly dark woodwork white provides crisp contrast provides unifying line from room to room (below). Upholstering larger furniture in white denim also quiets the scheme so that pattern can doses in pillows and accessories. The same while denim, this time with a richly handed top, drapes a doorway.

* With so little space to decorate, Jeffrey could indulge in the details. A folding screen (above) upholstered in a striped fabric creates a dramatic focal point without consuming much floor space. It also can be used for privacy. Some pillow fabrics were dyed with tea to give them a faded appearance. Furnishings–including wicker and painted pieces-are both antique and "aged" with point.

* If you spend much of your time in the kitchen, why not put the stereo there? This Craftsman-style base cabinet (below) also serves as a media center. Jeffrey painted it white and replaced wood panels in doors with glass to make the piece appear less bulky. Checked fabric behind the glass hides stereo equipment and enhances the cottagey look. Another option? Use fabric without the glass. Then you can tuck speakers behind closed doors.

* A full-size dining table would have swamped the small breakfast nook. But this 1940s bamboo table above) is a good fit, and it gives the nook the Feel of a real dining room. "Irs probably actually a buffet table," Jeffrey explains. "But its narrow dimensions work perfectly here." Other space-saving dining solutions might include a drop-leaf or console table, anything with a glass top (it consumes less visual space), even folding cafe or wooden chairs.

* In the bedroom (right),, an upholstered headboard and matching pillows create a focal point but also are practical for reading in bed. The antique cover;et, with its Scottish thistle embroidered design, belonged to Jeffrey’s grandmother. On o bamboo side table are pieces of Mouchlinware, antique wooden boxes commemorating towns or castles. Jeffrey collected the souvenirs while traveling in Scotland. Simple cotton Roman shades (below) are left unlined to filter-but not block-the sunlight.

* To hide the kitchen s 25year-old slider windows, Jeffrey designed simple sheer curtains, banded with a contrasting floral fabric and strung on tension wire inset into the window frame (right. Metal grommets and marine hardware give the treatment a nautical look.

* Pointed effects add "ago" to newly pointed walls. In the study (, Jeffrey mixed oil- and water-based paint then brushed it onto the wall in uninterrupted top-to-bottom strokes to create a streaked look. In the bedroom (page 180), brushing on o "milk wash’ of watered-down white paint over a base color gives the walls a hazy effect. In addition to "aging" the surfaces, the techniques also help to tone down strong color.

* A simple while denim slipcover gets the star treatment with the help of contrast welling and an applique (b By stitching the applique on loosely, it can be removed easily before the slipcover is cleaned. Jeffrey uses remnants of more expensive fabrics judiciously on small throw pillows.

* Skirting the area under the kitchen sink hides ugly plumbing and creates co softness Ir/gh. Jeffrey used the same star appliques as the slipcover, this time in yellow, to embellish the bottom of the skirt. To make the floors checkerboard pattern, use a yardstick or template to mark off the squares. Then mask off each color with painter’s tape. Although a small roller is the quickest way to apply the paint evenly, Jeffrey used a brush and thinned oil paint to get this streaked effect.

Some bathrooms are designed to help keep the calm in households where the kids have to share. Builders call them Jack-andJill baths. Located between two bedrooms, these layouts offer access from both sides and also feature separate vanities that can be closed off from toilet and bathing facilities.

If there’s no room in the house or budget for the children to have private bathrooms, use these examples as a starting point for planning a Jack-and-Jill bath of your own. Our numerous sample floor plans will help you find a layout that fits.

Peacekeeper Disagreements are bound to break out when a teenage brother and preteen sister have to share a single bathroom. To keep arguments to a minimum, Mandy and Jim Truesdale remodeled so their kids could enjoy a Jack-and-Jill layout. Both kids have their own vanity alcoves with doors at each end. Depending on which doors are opened or closed, the alcoves can serve as extensions of their bedrooms or as extensions of the bath.

Unlike most Jack-and-Jill configurations, this one has a third door, which gives guests access from the outdoor deck without forcing them to tromp through one of the kids’ bedrooms. Visitors Welcome Jack-and-Jill baths aren’t just for kids, they’re good for guests, too. That’s why Atlantabased builder, Beverly McAfee, put one in her own home. The bath lies between a guest room and a room set aside for her granddaughter, Madison, who comes for frequent overnight visits.

Entrances from two bedrooms and a sundeck out back can make for a busy bathroom. To keep privacy a priority, the toilet was given its own separate compartment. A pedestal sink next to the tub was provided for the convenience of guests.

This large Jackand-Jill bath has a separate tub and showeran amenity that’s usually reserved for the master suite.

A niche in the file lub surround (above) provides ample room for shampoo bottles, while a sliding wire rock holds other bath necessities. A handheld shower makes bathing more convenient.

Vanity akoves were decorated in the same scheme as the rest of the bathroom; the navy blue tile treatment hat frames the micor (li is also used to bond the file that surrounds the tub (above) and shower (far left).

This conventional layout features three compact sections. To make the space feel larger, Beverly used 9-foot ceilings. These high ceilings made room for transom windows above the sliding doors, so daylight can still reach the bath’s core when the doors are closed.

Elegant wood details and brass accents give the bath a formal feel, but decorative tile treatments on the floor and shower walls help lighten the mood to keep the space feeling kid friendly.

Like the best new cooking, the freshest decorating this season blends a variety of tastes and cultural influences-some exotic, some comfortably familiar. We’ve picked four distinctive looks and broken them down into simple design "recipes." Find one that suits your palate, or sample from a variety of styles-and stylish details-to create your own decorating menu.

Comfort Food

Casual decorating should be soothing to the body and soul. But too often it’s like a bland meat-and-potatoes meal, satisfying our hunger for comfort and function but leaving us craving style. The best new casual looks combine down-home ease with big-city sophistication. Here are the key ingredients:

Wicker adds ease to any room. But for a less porchy appearance, look for pieces that mimic upholsery shapes. The "club chairS (right) echoes sleek designs from the 1920s and 1930s.

Softly tailored upholstery. Some of the sloppy slipcovers of years past were as flattering as baggy sweat suits. Current upholstery styles borrow elements from our weekend wardrobe-brushed denims, bomber-jacket leathers, fuzzy chenillesbut give furniture a tucked-in, casual-Friday polish.

Mixed media. Now that consumers are more comfortable blending furniture styles and finishes within a room, manufacturers are mixing it up on a single piece. The armoire and end table (right) pair cherry and pine woods; the round table and coffee table blend wood and leather with metal. Clutter control. Put overstuffed rooms on a diet with clever storage pieces, such as the luggage-style coffee table and six-drawer end table (right).

Caribbean Salsa

If you’ve tangoed down the produce aisle lately, you’ve probably noticed the tropical influence. Mango, papaya, kiwi, plantain-the colors are straight off a Carmen Miranda costume. The same vivid palette is influencing home furnishings, with hues ranging from citrusy Euro-brights to pumpedup pastels. You decide how spicy to make it But here are some tips to keep in mind:

Start small. Unless you want to live in a state of constant visual stimulation, slip in small amounts of color by focusing on accents, such as pillows, artwork, and rugs. Keep the color quieter on larger spaces, such as the walls and big upholstery.

Take your room’s temperature. A cool combination of blues, greens, and violets (left) can give a space a calm, restful feeling; oranges, yellow$, and reds raise the energy level considerably.

White’s always right. Large doses of white (like the sofa, left) give the eye a place to rest and provide contrast, making bright colors appear crisper.

Catch of the Day

Fax machines, car pools, call waiting. It’s no wonder we’re having a collective escape fantasy. Even if you can’t run off to your own deserted island, you can bring that no-worry attitude home with you. The essential ingredients include furnishings and fabrics with a breezy, sunblushed quality-the kind of stuff you’d expect to see at a beachy inn. Here’s how to pull it together:

Travel light. Don’t burden your rooms with excess baggage. Bring only the essentials on this decorating getaway: a cozy bed, an armoire or chest to stow clothing and clutter, a convenient bedside table to hold personal treasures, and a pile of books. Wear it down. Look for furniture-old or newwith an aged appearance. Whitewashed wood, even obvious brush strokes on painted pieces, make a room look assembled over time.

Loosen up. Banish stiff "wallflower" arrangements by easing furniture away from the walls or placing it on the diagonal, such as-the-armoire (right). What have you got to lose? You can always move it back later.

Far East Fusion

Check out the latest restaurant listings. Chances are you’ll find a few that mix Asian-style cooking with something else, say, Cuban or Tex-Mex. The same thing is happening in home decor, largely in response to our desire for simplicity and serenity in our homes. In the dining room (right), blue-and-white porcelain, a stenciled fretwork border, and a sisal rug give French-influenced furniture an Eastern accent

Here are some ideas for updating tradition with a touch of the Far East:

Not ready for a full-sie color commitment For a quick, inexpensive fix, pile citrus fruits in a glass bowl or pick a bunch of colorful gerbera daisies .

Sheer curtains are another way to create a light-and-breezy look. To give panels substance and to tie them in with your decor, buy an extra twin sheet and use it to band the bottoms of curtains.

Simplify. Highlight one or two collections instead of many; display only what is meaningful and beautiful. Keep patterns to a minimum as well.

Go natural. Think of the surfaces and textures found in a Japanese garden-bamboo, stone, wood, straw-and try to weave these into your decor.

Be serene. A cluster of flickering candles or a fresh orchid floating in a bowl of water can bring a sense of harmony and calm to a room.

Side Dishes

You don’t have to redo a whole room to bring some fresh ideas into your decorating. Here are a few of the details that give the four looks on the previous pages their special appeal. Try adapting any of these ideas to create your own personal style.

Clean lines and minimal ornamentation give the French-style dining chair (below leff a Zen-like grace. Order is evident even in the simple tea setting (below right).

An old postcard wedged between layers of glass is both modem and nostalgic. Buy readymade frames with glass backing. Or, adapt existing frames by replacing the solid backing with a second piece of glass.

Shutters are essential to beach-house style. To get the look without redoing your windows, hinge together odd-sized shutters to make a folding screen. These came prepainted. To instantly "weather" them, sand off the paint in spots.

Painting a piece of flea-market or unfinished furniture is a relatively inexpensive way to give a room a bold shot of color. Pull the color scheme from your room’s fabrics. And don’t be shy. You can always repaint it later.

A sisal rug’s absorbent surface is perfect for stenciling. Use readymade stencils or make your own by tracing and enlarging designs in art and decorating books. This pattem was inspired by Chinese fretwork.