Have a Window With a Terrible View? Try These Design-Expert Fixes.
A brick wall, cement alleyway, a neighbour’s blacktop driveway—if one of your windows gives you a front row seat to an eye sore, interior designers have a chic solution
A brick wall, cement alleyway, a neighbour’s blacktop driveway—if one of your windows gives you a front row seat to an eye sore, interior designers have a chic solution
If you live in a city, gazing out your window at a brick wall or weed-clogged vacant lot is not uncommon. Suburbanites, too, deal with ugly views—of car-strewn driveways or masonry walls. Anyone can, however, mitigate even the lousiest vistas, say experts such as Agustina Gentili. “Focus on enhancing a window’s other qualities, the entry of light and air,” advised the Mexico City–based designer. Here, how top design experts reframe a dreary outlook to do just that.
A woeful view over a kitchen sink can truly sink your spirits, given how much time you spend there. Faced with such a situation in a house in Mission Hills, Kan., architect Chris Fein built cabinets with integrated shelving that spanned the window (above). This lets light infuse the kitchen but provides a view of objects and plants instead of the homeowners’ own driveway and the lot next door, says Fein, founding principal of Forward Design, in Kansas City, Mo.
Regan Baker relies on fabric blinds to distract from nasty views. The San Francisco designer hung a Roman shade that covers the top third of a home-office window. Its charming scenic pattern draws the eye away from a neighbour’s wall and, she said, “relates to the home’s hillside neighbourhood.” In another project, Baker used sheer, minimal shades in a light, neutral tone to block a dining room’s unlovely views while letting natural light filter in. What’s more, the shades’ hue so nearly matches the wall paint that they almost blend right in, says Baker, keeping the focus on a nearby landscape painting.
When faced with a bleak view, Gentili cultivates a “domesticated jungle,” attaching window boxes to the building’s exterior, if possible, and filling them with flora. Alternatively, the designer loads window sills with lush plants to create a filter of verdure and distract from the ugliness beyond. “This also generates green-tinted shadows that dance and change with the movement of the sun,” she said.
A stained-glass window will, of course, blur a chain-link fence or some equally unwelcome vista. Frosted glass, too. A less costly and disruptive solution: window film. The vinyl material, available in many patterns and textures, affixes without adhesive. Choose from ribbed designs that look like reeded glass to vintage-inspired motifs like Old English (below), a leaded-glass look-alike from Portland, Ore., company Artscape ($25 for a 2-feet-by-3-feet panel). In a garden-level New York apartment, designer Nathanael Tito Gonzalez applied abstract vinyl graphics to the top of a window to diffuse the sight of foot traffic up on the sidewalk.
Cafe curtains, which shield only a window’s lower half, were once out of fashion, shunted aside by contemporary top-down, bottom-up shades. Now they’re back. For a powder room in Southern California that’s tiled in sea green and floored in a checkerboard pattern, Baker executed the old-school fix to block out a rudely confrontational concrete fence. Now light streams in over the drapes’ bright geometric patterns, and the retro decor embraces the client’s love of “grandma chic,” said Baker.
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Odd Culture Group brings a new kind of after-dark energy to the CBD, where daiquiris, disco and design collide beneath the city streets.
Sydney’s nightlife has long flirted with reinvention, but its latest arrival suggests something more deliberate is taking shape beneath the surface.
Razz Room, the new underground bar and disco from Odd Culture Group, has opened in the CBD, marking the group’s first step into the city centre.
Tucked below street level on York Street, the venue blends cocktail culture with a shifting, late-night rhythm that moves from after-work drinks to full dancefloor immersion.
The space itself is designed to evolve over the course of an evening. An upper bar offers a more intimate setting, suited to early drinks and conversation, while a sunken dancefloor anchors the venue’s later hours, with a rotating program of DJs and live performances.
“Razz Room will really change shape throughout a single evening,” says Odd Culture Group CEO Rebecca Lines.
“Earlier, it’s geared towards post-work drinks with a happy hour, substantial food offering, and music at a level where you can still talk.”
As the night progresses, that tone shifts.
“As the evening progresses at Razz Room, you can expect the music to get a little louder and the focus will shift to live performance with recurring residencies and DJs that flow from disco to house, funk, and jazz,” Rebecca says.
The concept draws heavily on New York’s underground club scene before disco became mainstream, referencing venues such as The Mudd Club and Paradise Garage. But the intention is not nostalgia.
“The space told us what it wanted to be,” Lines explains. “Disco started as a counter culture… Razz Room is no nostalgia project, it’s a reimagining of the next era of the discotheque.”
Design, too, plays its part in shaping the experience. The upper level is warm and textural, with timber finishes and burnt-orange tones, while the sunken floor shifts into a more theatrical mood, combining Art Deco references with a raw, industrial edge.
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