Original kitchen separated from breakfast room

Many homes display a breakfast or morning room adjacent to their kitchen.  Nowadays, the need for this extra small room is being challenged: larger kitchens join practicality to conviviality and  they are better suited to children and entertaining needs.  Besides, a series of small rooms is aesthetically less appealing than a flow of larger spaces.  For these reasons, I took on demolishing a partition wall between a kitchen and a breakfast room, and I strongly recommend this rewarding transformation.

If you are decided to move forward with such a project, you must address three issues before demolishing:

1. Find out if the partition wall is a supporting wall,
2. Find out what could be buried in the wall,
3. Design the new opening.

If the partition is a supporting/bearing wall, you will need to consult with a structural engineer or a builder to discuss support options when the wall is removed, such as adding extra vertical support to the ceiling beam.

Kitchen before demolition of partition wall

The partition wall may also hide pipes, air ducts or wires.   Pipes or ducts will be obviously more problematic than wires to reroute.  To avoid having to reroute wires, one possibility is to keep the bottom part of the wall as we did in our project.  The advantages of this are manifold:  the bottom part of the wall offers a support for relocating the electric switches and hiding the wires.   It also provides more storage surface, and, as a noteworthy point, it spares the trouble and the cost of having to redo the floor.

Half-demolished kitchen partition wall with hanging electrical wire

Kitchen and breakfast room after demolition of partition wall

Once you know what is behind the wall and what may need to be moved, you can then decide accordingly on the shape of the new opening above the door – provided that you have kept the top of the wall.  It may be necessary to keep the upper part of the wall to provide symmetry to the other side of the opening, or because a supporting beam crosses the top.  We chose to keep the ribbed vault design of the opening that was present in passage ways throughout the rest the house, but we elongated its shape. It is interesting to see how each type of opening shape can convey a different feeling.  A rounded opening looks definitely more commercial or outdoor oriented, whereas a pointy or diagonal one, as a ribbed vault, looks more refined.  In a modern décor, a square opening would be the usual choice.  In any case, it is worth taking the time to compare the possible designs.

With minimal work, which was more aesthetic than structural in nature, we were able to almost double the size of the kitchen and maximize the use of the floor space, bringing more light and functionality to this well-trodden family space.

Perspective of new kitchen and breakfast room

Breakfast room is now part of the kitchen

You should brake for these abandoned patients, but refrain from picking them all up!  Some are not worth your time, and others are too far along in their path to decomposition. As heart-breaking as it is to pass up on free furniture, you must become firmly selective and keep an eye out only for the true treasures in disguise that deserve an unexpected rescue.

This is how I spotted an old wooden cable bobbin by a dumpster.  I thought to myself: “What a shame to reject such a nicely made spool!”.   My windfall was neither an artistic nor a valuable piece; nevertheless, I envisioned an original side table showing a patina and a character of its own, in my informal sun-room.

Raw wooden barrel

The workmanship and the cleverness of this functional object would be salvaged and given a second life.  However, before getting carried away with my ideas, I needed to evaluate whether it was reasonable to complete the repair given the short amount of time I had available.  I found that the object’s repair could be done in three relatively painless steps:

1. Sand the entire surface, fill the small holes and cracks with wood putty, and close the larger holes with wood plugs;
2. Paint the filled spots to hide the white putty;
3. Stain and varnish the entire surface.

From there, I hoisted the bobbin into my car, taking the worms and slugs that had made it their dwelling along for the ride.

The Repair Process

My first task was to sand the surface, but before I could do so, I needed to hammer down every nail and staple.  Once sanded, I inserted putty fillings into the noticeable crevices and holes of the boards.

Top showing putty filling

Edge showing putty filling

I glued pine plugs inside the larger holes and filled their contour with wood putty. Another sanding round removed the excess of putty.

Wooden plug installed in center top

All holes are filled, main plug is stained, two smaller plugs are in.

In order to eliminate the white marks of the putty, I painstakingly touched up each filled spot with an artist acrylic paint mimicking the shade of the neighboring wood color; it ranged from creamy white to grey brown.  The large wood plugs were stained with a wood stain to let the grain design show through, and again, I tried to reproduce as faithfully as possible the adjacent wood color.

All holes are filled, plugged and stained

Finished stained top

The easiest task remained: staining the entire surface with diluted latex off-white paint. I did not use oil-based paint in order to avoid an inexorable yellowing of the tint.  I had in mind a milky grayish/café-au-lait color, totally sheer to let the pine knots, the irregularities of the wood, its grain design, and its age show through the finish.  Once my very liquid mix was ready, I rubbed it firmly into the pores and openings of the wood.  In some areas, I repeated the application of the mix, especially in the spots that had marred the top of the table.

Finished stained top

I waited overnight before coating the table with a flat acrylic finish that is invisible, yet protective and non-yellowing.  Three coats of it were applied.

The bobbin serves a new function now, and because of  its shape and first destination, it is reminiscent of the Russian constructivism period!

Finished bobbin/ table in place

Paris trompe l'oeil windows on blind wall

Facades in Paris

The following are other manifestations of trompe-l’oeil paintings done on drop clothes. Historical monuments undergoing facelifts are sometimes hidden under gigantic drop clothes mimicking to perfection the actual appearance of the facade, to a point where the eye can become deceived.  Such extreme care spares the monuments’ unsightly plastic coverings for the duration of their repair, and does not deprive the tourists of its architectural beauty and classical lines.  In this case, the trompe l’oeil does not suggest something unreal, but replicates and perpetuates the splendid hidden face of the monument.

Undergoing renovation work at the Jacquemard-Andre Museum in Paris.

The work is hidden under gorgeous faux painted drop clothes replicating the classical architecture of the museum façade.

Jaquemart-Andre museum: detail of faux stonework and window.

Facades in Lyon

Building of the “Lyonnais” located in Lyon,  France.

The building portrays on its facade the 31 most famous Lyon denizens: they appear in a chronological order, the most ancient being on the highest floor of the “Trompe l’oeil” façade.

The Lyonnais building, detail of the entrance with the famous "Abbe Pierre"

Lyonnais building: detail of a first floor faux painted restaurant.

“La fresque vegetale lumiere”, vegetal and light fresco. This very long wall covered partly with vegetation and lights, is also located in Lyon France.

Lyon, mural of Mali crops from a side angle

Lyon, mural depicting aerial view of crops in Mali with farmer

Lyon, close up of mural with Mali crops

It is another creation by muralists reunited in the “Cite de la creation” company, based in Lyon, France. These artists have reproduced pictures taken by Yann Arthus Bertrand, representing threatened areas of the planet; they are respectively situated in Mali, Argentina, and Brazil.

Lyon, aerial view of Mato Grosso in Brazil, with cow herds

Lyon, detail of the Mato Grosso mural

Between each picture are mimicked the various tones of earth that are typical of those regions. The lights come from huge wall sconces covered with lampshades to provide a more intimate atmosphere.

19th Century Terra Cotta Statue

Every day, Parisians find dream objects or utterly-delightful treasure troves in the flea markets, or “les Puces” as we name them. A good eye can spot among rejected objects a fine painting that needs a little TLC, or a ravishing terra cotta statue (see picture). Among treasures I can also mention: Baccarat glasses, 18th century Indian Company porcelain dinnerware, old precious fabrics, Art Deco pieces, rare books, 17th century original drawings, international art, fresh-looking watercolor painted over a century ago for decor or ornament projects, old tools, or magnificent sculpted furniture. And if you are in luck, you may get your find for a song.

The flea market is the best place to find what you are not looking for, or to drive out your deepest, most oppressed desires for things you do not need. You were once unaware of your soft (yet pressing) spot for keys of all shapes and ages, or that you could develop an obsession with door handles or miniature wild hogs. But now, you know it and can fully assume it. Since nobody is around to judge, you can loosen up and stare at a painting with a large corner missing, painted by a blind person. What sheer delight! You eventually realize that as revealing as these besetting sins may be (which become less besetting when you start frantically collecting country-side armoires), you share with the vendors the same forceful passion for these treasures.

Set of Old Keys

Deer Trophies

I was in Paris last month, and it was amusing to witness vendors forbid passersby from photographing their items, which in one particular case included a broken prosthetic leg, deer trophies, and miniature cars rescued from a fire. What are they fearing? Robberies? Counterfeiting? Is there something I’m missing? I also noticed that these markets are becoming more attractive to buyers from abroad. The Chinese arrive on the heels of the Japanese, who are still trying to corner the market of 1930s stoneware bowls and plates, jumping avidly on broken ivory napkin rings and silver-played dishes damaged down to the metal.

Fox, Pheasant and Deer Lost Amidst Porcelain

1930s Bowls

Wall-mounted Coffee Grinders

Flea markets are wild communions of long-lasting or repressed desires, and I am convinced that one goes to the flea market to cajole inadmissible inclinations; it is a sort of open-air loony bin with self-administered treatments. Long live the spirit of rag pickers!

Orientalist Paintings

Miniature 1910 Guimard-style House

Miniature Stove and Armoire

Kilim on a Victorian sleeper chair

Follow simple rules when picking a fabric: debate first if you are more comfortable with a solid color, or a geometrical, floral or ethnic pattern, such as Cashmere, Suzani, kilim or Ikat.  Take into consideration the style of your furniture, the palette of your walls, and your floor colors.  A well-chosen fabric can enliven a room as much as a painting can.

Strive to select the best quality; a good upholstery fabric should last at least one generation.  To this end, check its resiliency and thickness, and ensure its lightfastness.  A measure of lightfastness can be found on the fabric’s label, and is graded from 1 to 5 for American fabrics (1 being the very poorest) and from 1 to 8 for European ones.  Inquiring about the grade of a fabric is not ludicrous; for example, an attractive cherry silk velvet with a tempting price tag could soon turn to a dirty-looking grey brick, due to a loss of its pigment color.  However, high-grade furnishing fabrics of one hundred years of age or older still boast surprisingly fresh and vibrant colors.  Silk is yet another story; it is notorious for burning under exposure from the sun or the moon, regardless of quality.  Nowadays, even reputable fabric makers sell lower-quality fabrics to better suit consumerism.  If a trendy yet low-grade fabric entices you, you may think about using it for slipcovers; it will be less costly than reupholstering, and you will not have qualms about throwing it away after it wears out.

Conversation around a crimson silk velvet upholstered Louis XV chair.

The shape or style of your seat plays a considerable role in the selection of a fabric.  Pick a fabric that contrasts in intensity with the wood frame color to showcase the upholstery.  Similarly, the shape and proportions of the seat need to be studied before deciding on stripes, large patterns, period fabric and so forth.  The idea is to balance pattern and shape, or to compensate the shortcomings of a chair with a surprising or beautiful fabric that will bring forgiveness to it.  An oversized armchair will be weighed-down by a large pattern fabric, which would be better suited on a small chair.  Designs such as Gingham or Toile bring freshness and a little whiff of happiness to an ambiance; silk velvet conveys softness, luxury and refinement.  Brocades, damasks and lampas are equally ultra-luxurious, and by their sheer presence, set a precious tone even in a monastic room.  For a surprise and contemporary effect, two different fabrics could be used on the same piece; or, you can untraditionally appropriate hammam sheets or mattress fabrics to upholster your seats.  An appreciation for these combined considerations would allow you to bring off your décor.

Real and fake cherries on tapestry velvet armchair

Gold trim twisted around settee frame

My creed is that less is more.  The furnishing fabric needs to be underlined by a completing trimming that should not overwhelm it, but just set it.  Using a braid that is too heavy will blur the clean contrast fabric/wood frame of the seat.  Trimming may also serve to create a pattern in the center of the seat or on its back, where a tapestry pattern was often displayed in the past.  Additionally, a trim can be twisted around the pad covering the frame of a settee or armchair (head rest, armrest and their continuation), bringing some salt to its upholstery.

Lastly, it is visually pleasant to display contrasting fabrics or trims to break the monotony of a matching set of furniture; this effect plays the characteristics of the furniture and fabrics against one another other, hence highlighting their individual traits.

Here are some illustrations of these ideas: take a seat!

Leopard-occupied Victorian chair

Daydream fabrics on pillows

19th century brocade silk

A Bientot!