THEATER REVIEW: Living Room Theatre’s ‘A Doll’s House, Part 2’ takes a deep dive

The 'Play' House, situated in Bumi Serpong Damai, Tangerang, Indonesia, is a two-story residence designed by Indonesian architects Aboday. It is part of a new gated housing cluster comprising 120 residences. The project involved integrating an existing 120-square-meter house with a new building on an adjacent 200-square-meter empty plot. Due to corner setback restrictions, the combined structure occupies 150 square meters of the total 320-square-meter land. The exterior of the house features a straightforward design that mimics the sloping roofs of neighboring houses. Exposed concrete is the dominant material, punctuated by small glass incisions and openings towards the main road. The overall appearance is inward-oriented, with vertical green walls that aim to soften the otherwise stark concrete aesthetic. The house is intended for a multi-generational family of three, with a particular focus on the needs of a five-year-old boy, which influenced the playful design elements. One of the distinctive features is a sculptural concrete slide, tucked into the corner between two main building masses. This slide serves as an alternative 'transportation mode' for the child, connecting his second-floor bedroom to the dining room on the first floor. It also functions as a private play area, occasionally covered with plastic and clothes to create a secret cave. In contrast, a standard open staircase is located between a small library and the living area. Inside, the house largely consists of open-plan spaces, with the exception of three enclosed bedrooms. The interior palette is dominated by white and grey, featuring exposed concrete walls and ceilings. Inherent flaws from the concrete pouring process have been left visible, contributing to the natural ornamentation of the house. Concrete was chosen for its dual qualities of structural strength and flexibility, which allows for interesting spatial tensions. Addressing the challenge of heat retention in a tropical climate, given the extensive use of concrete, the architects implemented several strategies. These include an exceptionally high ceiling of ten meters, a special heat-resistant membrane coating on the external roof surface, and the incorporation of numerous climbing plants on the external walls that are expected to grow to the roof, providing natural shading. The design emphasizes natural ventilation and lighting; open spaces are not air-conditioned and rely on strategic openings and incisions between walls, windows, and the roof. A series of ceiling fans, suspended by metal rods, further aids air circulation. To create a continuous flow of air, certain walls are built with a 40-centimeter gap, housing horizontal glass louvres that act as 'rain' windows. Large trees strategically planted in the garden provide essential shade to areas with floor-to-ceiling glass windows. These 'low-tech' solutions aim to mitigate common problems associated with concrete construction in hot climates, creating a comfortable living environment. #AbodayArchitects #IndonesianArchitecture #ConcreteHouse #PlayfulDesign #SustainableArchitecture #TropicalClimateDesign #ResidentialArchitecture #GreenWalls #NaturalVentilation

The article details the evolving children's room in the London home of stylist and brand founder Sarah Corbett-Winder, specifically focusing on her five-year-old son, Lyon. The home, shared with Lyon and his siblings Nancy (4) and Celeste (2), prominently features stripes throughout, a design element Corbett-Winder considers timeless and cohesive. This aesthetic extends to the children's playroom, which initially served as a shared space for Lyon and Nancy. Corbett-Winder incorporated Lyon's preference for green into the playroom's design, using a forest-hued paint below the dado rail. The room underwent a significant transformation when it became Lyon's dedicated bedroom following the arrival of Celeste. A key feature of this transformation was the creation of a unique bed. During the pandemic, Corbett-Winder and her husband, Ned, constructed a high bed from scratch using materials from a local hardware store. This DIY project, initially a practical solution during lockdown, involved Lyon's participation and was finished with durable chalk paint, offering a custom piece at a fraction of the cost of a store-bought version. The bed evolved further when Lyon desired a "big boy" bed. Instead of discarding the handmade structure, Ned ingeniously adapted it to accommodate a new bed frame underneath. This created a cozy, cocoon-like sleeping area for Lyon and a top bunk that could be used by his sisters or even their sausage dog, Margaret, for sleepovers. This accidental design choice became the focal point of the room, showcasing a resourceful approach to interior design by repurposing existing elements. Another example of repurposing is the dresser in Lyon's room. A pre-owned piece from the couple's previous apartment, it was modified by Ned, who removed the internal dividers to create larger compartments suitable for children's toys. Corbett-Winder then painted the dresser in a gloss finish, giving it a fresh appearance and new functionality. Baskets of various sizes were added to organize the contents. The room's design continued to develop as Lyon matured. An "afterthought" decision to wallpaper the ceiling introduced a circus-like atmosphere. Rattan animal heads have become a recurring theme, with the family collecting them during vacations, allowing Lyon to connect memories with the decor. An armchair, previously used elsewhere in the house, found its permanent spot by the window, serving as a reading nook. A throw was added for comfort, a splash of color, and to help extend the chair's lifespan, acknowledging the natural wear and tear from children's activities. The room is designed not only for the children's enjoyment but also to be aesthetically pleasing for the parents, demonstrating a balance between child-friendly elements and adult design preferences. #KidsRooms #HomeDesign #InteriorDesign #DIYProjects #StripedDecor #SpaceEvolution #RepurposedFurniture #ChildrensBedroom #FamilyHome

Interior designer Susannah Talley, after moving from a 3,000-square-foot carriage house in Prides Crossing, Massachusetts, downsized to a 475-square-foot studio on the Upper East Side, which she affectionately refers to as her “treehouse.” This transition occurred 27 years ago. In 2008, Talley's experience with small-space living gained an additional dimension when she discovered an abandoned dollhouse and undertook its restoration. This project, detailed in her 2015 self-published book, *The Dollhouse: A Love Story*, became a shared creative endeavor with her husband, Truman “Mac” Talley, during his illness. The living room of Talley’s studio is designed to evoke the ambiance of a country home, featuring family portraits and comfortable chairs arranged around a decorative fireplace. This fireplace ingeniously conceals a flat-screen TV. The armchairs are upholstered in a mixed “Tree of Life” patterned fabric from Jofa, complemented by wall-to-wall carpeting from Patterson, Flynn & Martin. Talley offers practical advice for maximizing small spaces, such as utilizing floor-to-ceiling mirrored walls in strategic locations to create the illusion of greater depth. She emphasizes the importance of selecting furniture that is appropriately scaled for the space, advising against oversized sectional seating due to its potential to overwhelm a room and complicate the placement of reading lamps. Instead, she recommends comfortable club chairs paired with well-positioned reading lamps and movable ottomans over traditional sofas. Upon entering the studio, the inviting decor immediately conveys Talley's expertise in creating beautiful and welcoming environments. A notable design element is the decorative fireplace, which, upon closer inspection, reveals a crackling fire image displayed on a flat-screen TV. Above the fireplace hangs an unsigned family portrait. Talley ingeniously converted a closet space into a functional bar area. This space features checked skirting fabric from Schumacher, wallpaper from Cole and Sons at Jofa, and paint from Farrow & Ball. Talley advocates for varying wall surfaces through different wallpapers and paint colors to create the perception of distinct rooms within a small area. She also prefers wool wall-to-wall carpeting for its ability to hide dirt, eliminating the need for guests to remove their shoes, which she considers an imposition. Another clever design solution within the studio is a functional dressing table integrated into a deep window sill near the bed. This was achieved by inserting a “sandwich of decorative wallpaper within two curved pieces of glass,” with decorative trim providing a finished edge. Hidden right-angle brackets offer structural support for this feature. The dollhouse, found abandoned on the street, was a significant project for Talley. She recounts her immediate connection to the dollhouse, seeing it as an answer to her desire for a creative project. She meticulously sanded away crayon and marker scribbles, drilled holes for lighting using Christmas-tree lights, and painted the exterior a deep eggplant shade to harmonize with her apartment’s decor. Together with her husband, Mac, she embarked on furnishing and decorating the dollhouse’s rooms. Talley sourced miniature items for the dollhouse from The Tiny Dollhouse Store on East 78th Street, acquiring objects like a two-inch dog bed, a thimble-sized bunch of bananas, and a fist-sized baby grand piano. The dollhouse kitchen is meticulously detailed, complete with tiny pots, pans, plates, cookbooks, and a miniature bottle of wine. The dollhouse's boudoir features a black-and-gold japanned bed and matching chairs, a gift from her sister. The walls are adorned with deep pewter-blue damask, and the floor is covered with navy-blue felt serving as wall-to-wall carpeting. A purple cocktail coaster from India was repurposed as a bedspread, and an upside-down beaded votive holder functions as a perfectly scaled bedside table. A painting by Talley’s daughter, Expressionist painter Isabelle Peabody, hangs on the wall. The dollhouse also includes a miniature menagerie of four-legged friends, completing the domestic scene. This project became a poignant and creative outlet, providing a miniature world within their real-life small space. #homeDesign #smallSpaces #interiorDesign #studioApartment #dollhouseRenovation #decoratingTips #creativeLiving #upperEastSide #SusannahTalley

The Living Room Theatre in North Bennington, Vermont, is currently showcasing its new production, 'Get It Right,' a play written and directed by Randolyn Zinn. The show, which runs through August 3, is set in a swimming pool at the historic Park-McCullough mansion, offering a distinctive theatrical experience. The play draws from Zinn's personal encounters with the Hollywood industry, providing a narrative imbued with authenticity regarding the struggles and realities faced by artists pursuing careers in the arts. The central character, Ivy Foster, portrayed by Valeri Mudek, is a New York playwright who travels to California for a speculative job. She arrives prepared, having already completed the required work, but soon discovers that the challenges she faces are beyond her expectations. Mudek’s portrayal of Ivy is characterized by a strong voice and dynamic stage presence, effectively conveying Ivy's journey from confronting unforeseen obstacles to gradually accepting her circumstances. Her narrative segments are delivered with clarity, reminiscent of classic storytelling, and her interactions with other characters highlight her grace and resilience. The comedic elements of the play are largely driven by the characters of Phil and Larry, two film producers played by Allen McCullough and Richard Howe. They are depicted as unscrupulous figures who prioritize superficiality over genuine talent. Their interactions with Ivy, marked by their dismissal of her prepared work and their decision not to hire her, underscore their disingenuous nature. Despite their questionable ethics, McCullough and Howe manage to make these characters amusing, contributing significantly to the play's humorous undertones. Adding to the ensemble is Matt Dallal as Sam, a director whose immense ego and lack of talent are evident. Sam's disparaging remarks toward Ivy, targeting her New York background, gender, talent, and intentions, paint him as a stereotypical Hollywood figure, both despicable and entertaining. His character's motivations become clearer when his wealthy father's involvement is revealed, shedding light on the industry's often nepotistic structures. George Olesky plays Bill Mason, a movie star facing career troubles who finds renewed purpose through Ivy. Olesky delivers a sincere performance, portraying a character who struggles with his career choices until Ivy's influence offers him a new perspective. Supporting roles include Janis Young as Ivy's mother, providing remote emotional support through phone calls, and Elizabeth Kenney as Chloe, a New York actress with a keen sense of style, whose costumes were designed by Cynthia Flint. Kenney’s performance is noted for its multiple opportunities to shine, adding depth to the supporting cast. The play is described as opening a new avenue into the theatrical experience, blending the serious themes of artistic decision-making with humor derived from real-life experiences. The setting within the swimming pool of the Park-McCullough mansion is highlighted as a unique and enjoyable aspect of the production. While the play has a limited run, the review encourages attendance, suggesting that the drive to North Bennington is worthwhile for this memorable experience. The combination of a compelling story, strong performances, and an unusual venue contributes to a distinctive and engaging theatrical event. #TheaterReview #GetItRight #LivingRoomTheatre #RandolynZinn #ValeriMudek #ArtsAndEntertainment #HollywoodSatire #VermontTheater #NewPlay