guest post: Luminary Patrons GET ART by James McAnally

Introduction by Kimberly Reuther:

DesignSpeak is committed to supporting local organizations and interior design. I founded it with the goal of connecting homeowners with our local resources and talented designers and I am already pleased with its success. A connection of mine recently introduced me to the owners of The Luminary Center for the Arts, Jame & Brea McAnally. I was immediately enamored of their vision for the artist community and felt it was very similar to my goals for DesignSpeak. However, they are way ahead of me! Here is one of James’ programs for local artists. I thought it would be great for our readers to learn about another way to give back to the community!

Without further ado, here’s James McAnally’s program, in his words.

luminary patrons get art

The Luminary’s Patron Program is an innovative approach for individuals and organizations to support the creation of new work while establishing lasting relationships with some of the most talented emerging artists. The program puts the patron in direct relationship with the artists they are supporting, allowing them to follow the process of the work being created as well as growing a deeper understanding about the process of artmaking. Through this process, patrons come to ‘get art.’


For the same amount that one would spend on a single piece of art, an artist’s time in The Luminary’s Residency Program is subsidized, allowing an entire body of work to be created, as well as giving them access to many other resources and opportunities provided them during their residency. In addition to dedicated studio space and financial support, The Luminary’s staff mentors the artists, advocates for them in the art world, and helps the artists to advance their career through individualized professional development plans. With the Patron Program, we also connects them with much-needed relationships with collectors, interior designers, architects and more who are invested in their career on a personal and professional level.


The artists in The Luminary’s Residency Program are consistently among the most exciting emerging artists working today. Recent applicants have been drawn from 5 continents and have shown at some of the most prestigious institutions in the world. However, what makes our program unique is that we intentionally work with artists in the early stages of their career, whether through our annual MFA/BFA graduate program or through the open application process targeted at emerging artists.

Research has showed that fewer than 10% of artists continue their work 10 years after school. Due to lack of support, too few opportunities and the absence of an active community, 90% of all artists are led to quit making altogether. Investing in emerging artists through opportunities such as The Luminary Patron Program ensures that artists continue pursuing their craft and lay foundations for continued growth.

how to get involved

How to get involved:
If you are interested in becoming a Patron, contact us at to begin the process. We work with each Patron to identify what kinds of artwork would be of interest and send images of available work as they arrive. A typical residency lasts between 3 and 6 months and requires $150-$200/mo for local artists and approximately $300-$500/mo for national and international artists. As a 501(c)(3) organization, we are also able to offer partial tax write-offs for in-kind and cash donations. Our Patrons ensure that great art thrives and new ideas flourish. The Patron Program allows that direct interaction that sustains dialogue and changes both the patron and the artist.

we love…Citygarden

Interview: Dayna Crozier
Photos: Ann Hubbard

Since the 1920s, Downtown St. Louis’ Gateway Mall, which extends west from the Arch, has slowly been developing into an inviting oasis amidst a revitalizing city. Last July, Citygarden became that vista’s most recent and long overdue improvement, taking the place of what had been a vacant lawn for the past 15 years. The Gateway Foundation spent over $30 million to complete this sculpture park and garden, which is free and open to the public during all seasons and features large sculptures by artists like Fernand Leger and Keith Haring, and sustainable and thoughtfully designed landscape architecture. Perhaps the most noteworthy aspect of the this expensive public park’s completion is that it signals St. Louis City’s commitment to continue its trend toward revitalization as it fosters urban pride and diminishes unsafe, neglected space that wards off foot traffic and development.

Citygarden resides from Eighth to Tenth Streets along Market Street, and contains locally sourced plants, a topographical homage to Missouri’s terrain and rivers, and the modernist Terrace View Café, designed by architect Phil Durham of St. Louis’ studio durham architects. The garden, designed by landscape architectsNelson Byrd Woltz, is divided into three bands that run from east to west and represent bluff, floodplain and a cultivated river terrace. A 550-foot-long, Missouri-culled limestone wall curves between the high upland band and the grassy floodplain, and also gives structure to a waterfall and video wall. Carefully selected native plants beautify the garden throughout all seasons, and a sedum-covered roof shelters the café, absorbing sunlight to keep the café cool and helping, along with the rain gardens and porous paving, to absorb water and minimize runoff. Warren Byrd and Phil Durham offer DesignSpeak their thoughts on the work they’ve done for this project.


Q: You called the project “the most important and interesting urban project” your firm had ever worked on. I’d love to hear more about this.

Warren Byrd: Citygarden stands as our first really significant, built urban public project, even while we have had the opportunity to work on a number of remarkable, and subsequently award-winning, projects, including the Flight 93 National Memorial Park, the Asia Trail at the National Zoo (with its giant panda habitat), the entire landscape plan for the community of Watercolor in Florida, Dell Stormwater Park at the University of Virginia, Nike’s European headquarters in the Netherlands, the landscape master plan for Caltech in Pasadena, the Wolong Panda Reserve in China, and major landscape restoration and designs for a several-thousand-acre reserve in New Zealand. We have long wanted the opportunity to design in the civic realm of a major city, and the Gateway Foundation was generous enough to provide us with such a venue as the Citygarden site in St. Louis.

Q: The landscape design emphasizes sustainable elements such as native plants, locally sourced materials and rain gardens. What other details in the design reflect this emphasis?

WB: Other details include the two green roofs (atop the café and the maintenance building), porous paving, and using recirculated water in all of the fountains.

Q: Was an emphasis on sustainability part of the project’s plan from the beginning, or was it something you introduced?

WB: The clients expressed an interest in sustainability from the outset. We believe that we were selected to design Citygarden at least in part because NBWLA emphasizes sustainability in all of our work and we make a point that sustainability can be expressed in ways that are both educational and beautiful.

Q: What do you think the presence of ideals such as sustainability, urban beautification, and the celebration of public spaces contributes to a location like downtown St. Louis?

WB: We believe that the presence of these ideals in the design of such a public space as Citygarden helps to contribute a well-being and pride of place to St. Louis residents, a pride that is essential to citizens feeling a sense of ownership in Citygarden. The designintent was very much about elevating the civic discourse about what makes great and memorable spaces, about setting a high bar for future design works along the Gateway Mall, and about celebrating the value and place of art in the public domain.

Q: Explain the three bands/tiers representing bluff, floodplain and river terrace. What was the inspiration for the idea and what differentiates these bands?

WB: The three bands represent the primary conceptual structuring elements for our plan for Citygarden. We wanted to represent (by abstraction) the significant geologic and hydrologic origins of the St. Louis area river landscapes. We found inspiration in our travels through the region (driving along and across the Mississippi and Missouri rivers), flying overhead, and reviewing countless aerial photographs and historical maps of the area. We thought Citygarden could embody aspects of these local circumstances – in limestone bluff walls, meanders, oxbows, springs and seeps and falls, bands of agricultural-inspired garden beds, groves and drifts of native trees, etc. What differentiates the bands is the topography – highest on then north side (the “bluff”) and lowest and flattest in the central open “floodplain” lawn, with the third band along Market Street as the gently elevated river terrace of gardens – and the two primary walls as the demarcation between the three bands.

Q: How long had you been working on this project, from developing the concept to the execution? Is your work completed, or is it ongoing?

WB: We started working on this in late winter of 2007, completed design work in late spring of 2008, and completed construction in June of 2009. The work is now complete, with ongoing fine-tuning and refinements.


Q: Why did you choose a modern design for Terrace View’s architecture? How do the architecture and the gardens complement each other?

Phil Durham: There was no specific decision to use modern design. We were hired to design two buildings: a maintenance building that needed to blend into the overall design of the garden (which was already set as a design direction at the time of our hiring), and a café in a prominent location that had to accommodate two pieces of sculpture. The design solution was a limestone panel-clad box with the necessary support spaces of the café that would provide a backdrop for the large Fernand Leger relief, Femme au Perroquet, and a glass box for the public spaces designed to continue the spatial experience of the garden into the interior. Any additional ornament or extraneous detail on the walls would have looked labored next to the incredible relief in the Leger cast bronze, and therefore, we detailed our walls very simply and let the sculpture and the landscaping be the focal points.

Q: How do Terrace View’s interior design and the garden surroundings complement each other?

PD: The granite pavers of the raised terrace outside the café run through to become the flooring of the café. The interior and exterior walls of the café are clad in Indiana limestone, as are the exterior walls of the maintenance building on the west block of the garden. The limestone panels were selected to play off the rough limestone arc wall that the landscape architects used to unify the two blocks. The grid of the large granite pavers on the overall site was repeated in the grid of the structural steel columns that support the
roof system in the café.

Q: The wall of windows opens completely onto the garden. Are there other elements of the cafe’s design that add to its interaction with the surrounding garden?

PD: There is a 10′ tall, 16′ long glass barn door that opens up the café to the garden and the exterior seating on nice days. Other aspects that complement the garden are the green roofs on both the café building and the maintenance building.

Q: What are your favorite or most notable aspects of Terrace View’s design?

PD: The asymmetrical steel trellis that protects the glass walls from too much solar gain. The full effect of this will not be seen until the locust trees around the café mature, which will create a nice sense of enclosure in the outdoor dining area.

The limestone panels on the exterior of the building installed in a rain screen system, which allows for open joints, creating nice shadow lines.

The thick mahogany bar that provides a nice contrast to all the stone and steel in the building.

The views of the overall garden from inside the café building, which give the feeling that you are still part of the garden when inside.

Which Roman Shade Are You? – Kimberly Reuther

Roman shades are basically the chameleon of window treatments.  They can conform to almost any decorating style, window size/shape, they have top down/bottom up features, blackout lining, cordless options for child safety, the list goes on and on.  So, how do you determine which one fits your style, home, and personality?

Here, I’ve broken down the basic five types of Roman shades to correspond with specific lifestyle and decorating tastes.  As I stated before, they are a chameleon breed so there is no hard and fast rule to follow.  Just trust your instincts and imagination to select the best choice for your home!

Classic Roman Shades – relaxed americana style, painted, weathered furniture, twill slipcovered upholstery, casual, whimsical accessories, kid-friendly spaces, crisp color palettes, cottage stripes, farmer’s market, coastal indulgences

Flat Roman Shades – sophisticated decor, understated elegance, clean lines, tailored furniture, rich wood finishes, neutral palettes, drum shades, contrast banding, semi-formal entertaining style, cocktail hour, natural light, low-pile wool carpets

Relaxed Roman Shades – shabby chic feel, subtle toile patterns, feminine lines, relaxed refinement, antiques, soft, natural linens, abundance of pillows, billowy fabrics, fresh flowers, fragrant candles, Parisian influences

Soft Fold Roman Shades – classic, traditional style, opulent silks, velvets, and damasks, leather sofas, warm wood paneling, nailhead details, turned legs, formal entertaining, masculine environments, architectural features

Solar Roman Shades – modern power couple, minimalist accessories, sleek furnishings, art displayed like galleries, linear forms, bold accent colors against neutral backdrops, lively dinner parties, open floor plans, cutting-edge technology

If you get stuck, consult with one of our talented team of designers!

Originally written by Kimberly for St. Louis AT HOME’s website.  View post here.  You can see more of Kimberly’s work here.

Can My Life Be Simplified? by Jamie Briesemeister

5 Considerations When Deciding on Home Automation.

1. “Home automation” is not as threatening as it sounds…

The term “home automation” may conjure images of The Jetson’s or Bugs Bunny’s “Home of the Future” where hologram telephones are possible and meals are as simple as zapping a small pill. Poof, instant turkey. While many of these futuristic experiences actually do happen today, the solutions are more realistic than instant pill-food. Automated lighting, a secure house at the push of a button, touch screens that control the whole house. It’s possible right now and it’s not as scary as you may think. Believe it or not, you are already proficient with the concept of “home automation”. Consider this the next time you drive your car, complete with: antilock-breaks, automatic transmission, cruise control, folding side-lights, etc. Move this same concept out of your car, into your home, and start dreaming.

2. Identify your frustrations first.

Electronic systems can be a joy to operate or they can be a royal pain. Consider all of the knobs, handles and switches that you already control throughout the day. There’s a good chance they can be streamlined into one system, saving a lot of multiple steps in your life. Start where you are frustrated: lights ALWAYS on, the pile of remotes, sense of security, or lack thereof. This prepares you to spell out your goals so the companies you call have a general scope of work and can create a preliminary plan to help you meet your objectives.

3. Look at your options and choose a qualified contractor.

Unless you have a design everyone will bid against, your stack of proposals may be complete apples and oranges. Providing a good list of goals (above) and a budget (below) will help, but if your project is large or intricate, you may want to consider hiring someone to design the system first and then embark on search for the right company. Look for CEDIA certification (, review references, and check the Better Business Bureau ( Websites and social media sites (such as Facebook or Twitter) are great windows into one’s style of business or services offered. You may even find project galleries, technical tidbits, or other insights that make you lean toward one company or another. Go with whom you feel the project is right and if things change, consider calling the other guys.

4. There must be value in the solution for it to benefit your life.

If something is bugging you about the way you interact with the electronics in your home, what is it worth to you to fix it? If it is worth $5/day to eliminate the nightly light shut-down-route for five years, that’s $9,125, a realistic starting point for lighting control in the most-often used rooms of your house. For new builds, it’s not unheard of to spend 10-15% of the home’s value on a home’s electronic systems. Divide it out to the per-day cost and ask yourself if it’s worth it to you. Use these numbers as your budget, and consider sharing this information with the companies you call. The one with the best solution, given the budget, might be up for hire.

5. Prioritize, but do not forget about planning for the future.

For various reasons, experiences you may ultimately want for your home may not be available currently. Perhaps it’s the budget, the project timeline, the special order, the technology, who knows. Consider your solution like an a la carte menu and pick what’s important for you now. Create a growth plan with your contractor to identify certain future needs: cameras in the nursery, media room in the basement, etc. This way, you get to enjoy what matters most currently ñ while planning for the future so that your system will be enjoyed for years to come.


Inspiration to Design: Orchid Flower by Victoria Dreste

Bountiful color is all around us. I have a new favorite color at least once a week. Taking these glorious colors and using them in your home can be a bit tricky.

I have put together inspirations and designs to show how to take the wonderful color you see in the world around you and bring it into your home.

Inspiration Photo

This inspiration here is glorious orchids with strains of vibrant color from pink to purple. They also show softer colors, orchid, white, gold, cream and taupe.


Color Scheme Design

The selections I have made take those colors and use them to create a well designed balance home.


The design includes (left to right): an embroidered silk fabric, creamy velvet, brush fringe, small scale stripe, lattice wool carpet and a printed damask on linen.

The Sherwin Williams paint colors can be used in rooms as vibrant wall colors or soft colors with vibrant colors as accents.

Listed in order (top to bottom, left to right):

SW6274 Destiny

SW6977 Queenly

SW6128 Blonde

SW6555 Enchant

SW7009 Pearly White

SW7064 Passive


Style Defined: Modern vs. Contemporary by Kimberly Reuther

You see a cocktail table and fall in love. You wonder if it would work in your home. You try to describe your home to the salesperson. He/she asks “Is your style modern or contemporary?” Your mind scrambles. Am I modern or contemporary? How do I know? How do I define my style?

This scenario probably plays out in your head every time you head out furniture shopping or when you are browsing through magazines. When shown a photo, chances are you know if you like the design aesthetic right away. But if you are asked to describe it, you are stumped. I’m not a designer, you think…how would a designer describe my style?

Relax, design is very hard to define, especially in the context of your personal style. The beauty of style is just that, it’s all yours to define. That being said, there are some basic design principles to help differentiate the elements of each style.

Let’s start with two that are often used interchangeably but, I believe, are in fact very different: modern & contemporary.

Contemporary design gained popularity in the 80’s and is usually characterized by unusual color palettes, graphic patterns, slick surfaces, asymmetrical designs and rounded forms. Lots of stainless steel, lucite and polished marble details abound in this style. You also will be hard-pressed to find a straight line with a multitude of curves and irregular shapes dominating the scene.

living room

living room

glass doors



Modern design elements, on the other hand, have been around since the mid-century and go in and out of fashion as design trends evolve. Modern fundamentals are often represented by clean lines, grounded color palettes, warm wood tones, symmetry and balance in the space. Striped area rugs, linear patterns and natural elements contribute to an overall uncluttered aesthetic.



dining room

living room


Modern design has most recently become incorporated into the mainstream by way of the hospitality industry. Think crisp, clean “hotel” bedding and spa-like suites that leave you craving the same style in your own home. Who doesn’t want to feel like they are on vacation 24/7?

hotel room

As I mentioned before, the great thing about your style is that it is all yours to define. You can pull elements from both contemporary & modern design and have a cohesive home.

But we will leave that for a future discussion. Right now, I’m heading off to my “hotel” bed!

Previously written by Kimberly for St. Louis AT HOME’s website.  Read more of Kimberly’s work and view her portfolio at

luxe trend: malachite by paige gilbertson

This is Kelly Wearstler’s design for the Viceroy in Miami and it was blogged about on Apartment Therapy.

Malachite Accessory finds:
Vivian Mirror by Made Goods (actually used by Wearstler in another portion of the lobby) available at Niche

Malachite Rug by Tony Duquette


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