Dear Jean and Richard, I’m struggling with whether to upgrade my home to totally suit myself or with an eye toward resale. Should I play it safe with neutral color choices and more conventional surfaces to be sure it’s more marketable? Karin, Atlanta

Richard: Seriously? Are you just buying the home to “flip” or are you actually living there? Before I give you my opinion I want you to ask yourself if you chose your car based on what some future driver might like! Or if you bought your clothes based on what some future thrift store might be able to sell...

Jean: Calm down, Richard. I’m sure this question occurs to most people when they’re making expensive decisions about their home. Of course, their choices of cars are also expensive decisions, so you have a point. But the home represents more than transportation or lifestyle statement—it’s the lifestyle itself.

Richard: Exactly! And all the more reason to make it your own! If you’re mimicking a room from Pottery Barn’s catalog, make it something unique and your own or you and your friends will be bored with it in a month. Unless it’s your goal to be like everyone else, the home is the single most important part of creating your own unique environment. Think of those neighborhoods in the ads, with every house looking like every other house on the street, except the cars are different. Imagine that in reverse, with every house unique, but everyone is driving the same white Chevrolet. Isn’t the lifestyle more important than the symbol of the lifestyle?

Jean: Wow! Mr. Philosopher! But I know what you mean. Most of the houses we start with have some version of beige walls and brown upholstery—the plain vanilla of décor. And that is, well, comfortable for some people. But I agree that when someone is planning to upgrade, their decision criteria shouldn’t be what someone ELSE might like down the road. Because frankly, even if there are different homeowners in the future, they may or may not like plain vanilla. And they’ll probably change it anyway.

Richard: That’s right. I think the general public has been trained by marketers to think this way. There’s always some latest fashion that will date your clothes, your car, and even your countertops. To some, the way to avoid being trendy is to “play it safe”. Everyone once thought Almond was the perfect neutral for appliances, and installing sheet paneling or grasscloth was a natural way to modernize a room. So I say do what feels right for YOU, because even avoiding trends is trendy!

Jean: Wow, Richard! That’s so deep I’m thinking I should put my boots on. Except I’m afraid they’re last year’s designs, and someone might think I’m being anti-trendy.

Richard: Are they beige, Jean?

Jean: Nope. They’re brown, to match my sofa! Your comment about actual lifestyle verses a symbol of lifestyle makes me think of my grandmother’s house. I remember it clearly, but I don’t remember the car she drove. Her home was an extension of her personality, and it’s fair to say she never worried about what someone else thought was an appropriate wall color. This is a conclusion we share—upgrade your home to fit your tastes and lifestyle, not someone else’s!

Dear Jean and Richard, What is the best countertop to choose for our new kitchen? There are so many choices I feel confused. –Debbie, Naples

Richard:Dear Debbie, choose the green one. Just kidding! I know what you mean about so many choices, and of course everyone has a different opinion about counter top materials. But there is no one ideal choice for everyone. Each has its pros and cons. And make sure you’re being quoted installed prices like our estimates.

Jean: So true! Just when you think you have a handle on the latest fashion, something else comes along. And that doesn’t necessarily mean older choices are “out.” For example, in upscale urban areas—especially in contemporary settings—laminates are often preferred. And if you like no seams and lots of color choices, there are solid surfaces like Corian, Avonite and Gibraltor. The downside of these is that they are not as heat resistant and they can stain or scratch.

Richard:Well, you can sand out those blemishes on a solid surface. But you mentioned laminates, and I have seen some nice use of laminates lately. I think alternative materials have inspired companies like Formica and Wilsonart with some amazing pattern and color choices. But they may not be your first choice if you want an undermounted sink or if seams offend you. Laminates run from about $32 to $83 per square foot.

Jean: Don’t forget some of the most traditional materials. Wood and tile are valid options. Both have an earthy appeal and you can be creative with the edges. Plank, edge-grained, and butcher block surfaces offer a great casual look and simple maintenance can keep them from staining. And if you have the budget, choose something special—black walnut, for example, is magnificent! Wood can range from $60 to $150 per square foot.

Richard:Of course, everyone’s talking about granite and marble. These are both “in” at the moment, but they too have their pros and cons, though I think it’s fair to say most owners like them. Granite is probably the most popular for higher-end homes and the one the Realtors® are always recommending. This mined product is extremely strong and durable with a vast variety of colors and styles. Honed or polished is a personal decision. This might be too contemporary for a classic kitchen and you’re supposed to reseal once a year. It will show seams, and installation can be expensive. Granite installed is approximately $76-100/ square foot. Marble is not for perfectionists but naturally ages beautifully if you don’t mind a few stains. It’s probably the most classic and timeless of all. Normally, sealing twice a year is all that’s required. Approximately $76-100/square foot.

Jean: My turn! Debbie, you might also consider soapstone. It’s a wonderful alternative to the norm. It withstands heat and staining with very low maintenance except for an occasional oiling. For many of us who are not familiar with this as a countertop, the fact is it has been used in labs for ages and is nonporous. And of course there is the downside…soapstone will darken over time and can feel somewhat chalky. It’s approximately $85/square foot.

Richard:The most confusing are the engineered quartz stones like Caesarstone, Silestone, Okite, Zodiaq and the newest, Cambria. …the latter looking the most like granite. These are overall the most reliable and cost $80-100 per square foot. And then there’s contemporary glass, expensive metals, neutral limestones, and even concrete.

Jean:Have we helped any or are you more confused than ever? As we often conclude, the choice depends on the application, budget, and your personal taste. It’s the one conclusion Richard and I can always agree on! As painful as that is to admit!

Dear Jean and Richard: There seems to be quite a range in lamp prices and quality. Style aside, can you tell me what to look for in a good lamp? –Becky, Ashevilleichard: Hi Becky. I’m glad you know there is more to look for in a lamp than style! We may be pickier than some, but it is rare that we find a great looking lamp body that has the right combination of shade, switch, and socket.

Jean: It’s true that we sometimes rebuild a lamp to fit our client’s needs. But of course you might find the perfect lamp if you can first define its application. Will it be task lighting, such as a reading lamp, or will you use it for ambiance? Will it need to have different light levels for different uses, such as a 3-way socket or 2-way hi-low?

Richard: Hi, Ho!? What, pray tell, is a Hi-Ho? Or should I ask?

Jean: Hi-LOW! One setting is bright, one is well, dim. A little like me—and well, you. You can also choose a variable dimmer. Anyway, wattage is one consideration, which means you may want to make sure you also have a multi-level switch. Another is the shape of the shade, which might add a different consideration for the bulb. If the shade is small or tapered, you will most likely want a low wattage or torpedo-shaped bulb to avoid scorching it.

Richard: And speaking of scorching, here’s a hot design tip: when picking out a new shade, take the lamp with you! Three-way bulbs seem to work better with drum or boulliotte shades. These shapes allow the bulb heat to escape. And if you’re using the lamp to read, make sure there is enough space at the bottom for ample range. The amount of light projected beyond the shade is more important than the amount passing through it.

Jean: True, but besides the shape, the opaqueness of the shade also effects the use of the lamp. Shade fabric, color and lining are important in their transparency and light diffusion. I love the look of a black shade, but it can be harder to read by. Higher quality “soft” shades have a fabric lining, usually different from the outside fabric. Often white, ivory, black or gold……..Less expensive “hard” shades have a paper or plastic lining.

Richard: We could talk all day just about shades! But the design of the lamp has an effect on the light as well. For example, the length of the harp is important—you should not be able to see it below the shade’s bottom edge. And be aware of the socket—whether it’s sized for standard or candelabra bulbs. You will need a standard base socket for reading, because it can host three-way bulbs with wattage from 30-70-100 up to 100-200-300. Candelabra base bulbs, used on most chandeliers and smaller lamps, come in clear or frosted and bent or straight tips. The latter is best with clip shades. They come in a range of wattage, from 60 down to 5….which make perfect night lights.

Jean: Richard, do you leave a light on at night because you’re afraid of the dark?

Richard: Heck no! I leave several on to be able to jump up late at night and jot down great design ideas.

Jean: HI-HO!

Dear Jean and Richard: I read in the paper about attendance at the High Point Furniture Market being down. I don’t care how many people were there—I want to know what new products or trends were introduced. Did you go? -- Norma, Hendersonville

Richard: Hi Norma. Yes, we attended it and toured the manufacturer’s showrooms for three days. For our readers unfamiliar with the Market, it is held twice annually only for the trade and is spread throughout High Point, North Carolina, in 180 buildings. Manufacturers from all over the world display their latest home furnishings for six days.

Jean: If there was a common theme throughout those showrooms, you might sum it up with the phrase, “Everything old is new again.” For example, everywhere we went we saw reclaimed wood used in tables and cabinetry. It may have come from warehouse flooring or old factory walls, and when re-used the designers combined it with all sorts of metal accents. Distressed wood with rusty metal, worm-holed wood with chrome—some of the metal even looked hammered.

Richard: At night I saw some buyers that looked pretty hammered. There were several parties, a few with name entertainers. But most of them were held past Jean’s bedtime.

Jean: MY bedtime? If you say so. But you mentioned entertainers, and that’s something else we noticed. A lot of retro Hollywood images were being used to promote a sense of glamour. There are always props and posters of Marilyn Monroe and James Dean. Their faces were even silk screened on upholstery fabrics. We saw over and over images of Aubrey Hepburn. I think for a lot of people she has become the very symbol of beauty and elegance—a look that the furniture industry has embraced in recent years.

Richard: It’s a lot more welcome than the look of the old marshmallow furniture. In fact, the trend seems to be toward leaner, simpler designs—particularly in seating. The lines are finer, the cushions are thinner, and yet the comfort is still there. This is a welcome direction for us—when we design a Manhattan apartment, we often need less bulky furnishings because every inch counts.

Jean: Almost as if to balance the trim nature of new upholstery designs, much of the fabric covering them had large-scale patterns. From traditional damasks to contemporary florals, the designs were bold and dramatic. The same held true for wallpapers.

Richard: That same scale contrast was used with color, too. Earlier you mentioned reclaimed materials like wood, which was often finished to retain the patina or character of its aged surface. Complementing that natural look were purples, lavendars, and even bright pumpkin orange.
Jean: Well, there were grays and taupes, too.

Richard: Those may have been there to complement the sea shell motifs. Did you notice there were shell treatments everywhere? I saw them used on lamps, mirrors, tables—and I saw one chandelier made from sea urchin spines.

Jean: Good to know for when we’re asked to remodel Captain Nemo’s quarters.

Dear Jean and Richard: I read in the paper about attendance at the High Point Furniture Market being down. I don’t care how many people were there—I want to know what new products or trends were introduced. Did you go? -- Norma, Hendersonville src="http://greesonandfast.com/blog/images/couch.jpg" alt="" title="" />

Richard: Hi Norma. Yes, we attended it and toured the manufacturer’s showrooms for three days. For our readers unfamiliar with the Market, it is held twice annually only for the trade and is spread throughout High Point, North Carolina, in 180 buildings. Manufacturers from all over the world display their latest home furnishings for six days.

Jean: If there was a common theme throughout those showrooms, you might sum it up with the phrase, “Everything old is new again.” For example, everywhere we went we saw reclaimed wood used in tables and cabinetry. It may have come from warehouse flooring or old factory walls, and when re-used the designers combined it with all sorts of metal accents. Distressed wood with rusty metal, worm-holed wood with chrome—some of the metal even looked hammered.

Richard: At night I saw some buyers that looked pretty hammered. There were several parties, a few with name entertainers. But most of them were held past Jean’s bedtime.

Jean: MY bedtime? If you say so. But you mentioned entertainers, and that’s something else we noticed. A lot of retro Hollywood images were being used to promote a sense of glamour. There are always props and posters of Marilyn Monroe and James Dean. Their faces were even silk screened on upholstery fabrics. We saw over and over images of Aubrey Hepburn. I think for a lot of people she has become the very symbol of beauty and elegance—a look that the furniture industry has embraced in recent years.

Richard: It’s a lot more welcome than the look of the old marshmallow furniture. In fact, the trend seems to be toward leaner, simpler designs—particularly in seating. The lines are finer, the cushions are thinner, and yet the comfort is still there. This is a welcome direction for us—when we design a Manhattan apartment, we often need less bulky furnishings because every inch counts.

Jean: Almost as if to balance the trim nature of new upholstery designs, much of the fabric covering them had large-scale patterns. From traditional damasks to contemporary florals, the designs were bold and dramatic. The same held true for wallpapers.

Richard: That same scale contrast was used with color, too. Earlier you mentioned reclaimed materials like wood, which was often finished to retain the patina or character of its aged surface. Complementing that natural look were purples, lavendars, and even bright pumpkin orange.
Jean: Well, there were grays and taupes, too.

Richard: Those may have been there to complement the sea shell motifs. Did you notice there were shell treatments everywhere? I saw them used on lamps, mirrors, tables—and I saw one chandelier made from sea urchin spines.

Jean: Good to know for when we’re asked to remodel Captain Nemo’s quarters.