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antiques, custom-designed rugs and velvets that she might have picked herselfduring that period.We have embraced the integrity of the mansion’s architectureand considered the footprint of the area and the furniture layout capabilities.Wehave entitled our suite “Hollywood Glamour”, considering its social history.Serving as an interpreter of style, the JWI Design Group has used both new andfamiliar vendors to achieve a beautiful space.The Solarium, Bernardo Puccio, ASID, CID. Photo by Mary E. Nichols.house as it was originally. My goal was to be true to the concept of the house as itwas during the period when it was first built and occupied.To inform myself aboutGreystone’s architectural heritage, I spoke with a relative of the Doheny family whohad spent time in the home.The scale of the rooms was important to consider, withtheir high ceilings and large, open spaces. For the Second Floor Grand Hallway, weused the original look of the house with a French design influence, with the furniturebeing understated and using oriental rugs to bring in a sense of comfort andcoziness. I knew the space was dark and that presented a major challenge. I used lightshades of color with accents of blues and reds to lighten up the space.CAROLYN BAYLONIn view of Greystone’s distinguished style and imposing history, I gave Mr. Doheny’smaster suite a very dramatic, sophisticated, Old Hollywood Haute look that issexy and inviting, characterized by clean lines and one-of-a-kind custom pieces. Ikept it very clean and minimal, as well as classical, using sharply-defined patternsin black-and-white and deep, masculine colors in accessories and artwork to setthe tone. As a hospitality designer, I like to create spaces and environments thatare innovative and visually stunning. I feel that the designer should cut a new patharound the icons of the past and strive to leave a fresh footprint, to be part ofthe next generation in design and play a role in its future.JUDITH WILSONWhile designing Mrs. Doheny’s suite, we reflected upon the glamorous 1920s inwhich her mansion was built and incorporated its grandness by using fine silks,CHRIS FOWLER & SUZY MOOREFor us, inspiration came from visualizing the previous owners as they enjoyedthe home, and how they might have made use of each of the rooms.The mansion’srich architectural details and importance in the community definitelyhelped us keep our sights clear. Our design philosophy is fairly simple: to helpclients define a personal style while making sure that comfort and function arehigh priorities. A good designer must also be a good listener, and sometimes amind-reader. Sometimes clients don’t know exactly what they want, so steeringthem towards a beautiful outcome may take a bit of patience; this, however,is always worth the effort!MONICA NORDQUISTI am inspired by the Greystone project because of the grandeur and the historyof the building itself. It is as if I am brought back in time as I roam the halls. Oddlyenough, I am more energized by the unfinished spaces, where I imagine lives livedthere, than by the gorgeously finished rooms! The scale of a room is a vital componentin the design planning process.The space must be seen from all angles andeach dimension assessed to make sure that every design element is incorporatedinto the plan. The use of positive and negative space is crucial in the earlystages of the design and to ignore the height or any other part of a room doesnot do justice to the final result. Scale and proportion play a major role in relatingcontent to container. Style is essential but, if the proportion is off, nothing willmake that mistake seem right.SHERRY STEINThe particular excitement about the Greystone project is working in an environmentwith wonderful scale, proportion, and architectural detail.To take an existingspace, color the backgrounds, and fill it with wonderful things—what a dream! Thesocial history of a residence, neighborhood, etc., is factored more or less into anydesign scheme, depending on one’s brief. If it’s to create a historic interior, obviouslyit is given more consideration; if it’s to create an everyday living space for theresidents, their needs are considered first, with an eye to making the total schemeharmonious with the architecture. When serious design produces a space forArt and Living 105