WEBVTT 1 00:00:00.480 --> 00:00:04.040 KFI AM six forty. You're listening to Dean Sharp the 2 00:00:04.080 --> 00:00:10.480 House Whisper on demand on the iHeart Radio app. Today 3 00:00:10.519 --> 00:00:13.679 on the show, we're taking another big step in that direction. 4 00:00:13.919 --> 00:00:17.679 It's a Design Matters Most Morning here on the program. 5 00:00:17.960 --> 00:00:21.640 You know, Design Matters Most is kind of that. That 6 00:00:21.760 --> 00:00:24.800 is the underlying theme of all things that we discuss 7 00:00:24.879 --> 00:00:28.120 here on the programs. Why we are here, it's to 8 00:00:28.280 --> 00:00:33.679 help you understand that place of design in the crucial 9 00:00:33.880 --> 00:00:37.359 role that it plays in putting together a home that 10 00:00:37.520 --> 00:00:42.399 is truly, truly extraordinary and truly yours. And it's a 11 00:00:42.439 --> 00:00:46.000 difficult thing. It's a tricky thing for most people. If 12 00:00:46.000 --> 00:00:49.679 you're not a professional home designer, an architect or an 13 00:00:49.759 --> 00:00:54.880 architectural designer or a decorator, you may not you may 14 00:00:54.920 --> 00:00:58.679 really struggle with understanding where to start how to see 15 00:00:58.719 --> 00:01:02.159 a house. In fact, I know a lot of architects 16 00:01:02.200 --> 00:01:07.760 and decorators and designers who struggle with how to start 17 00:01:07.879 --> 00:01:10.760 and where to see a house. Well, I want to 18 00:01:10.799 --> 00:01:14.280 approach the whole subject with you today in a way 19 00:01:14.319 --> 00:01:19.519 that I hope helps liberate your thinking and get you 20 00:01:20.200 --> 00:01:22.640 kind of in the groove on how to see your home. 21 00:01:22.680 --> 00:01:26.079 And that is that we're going to present a truth 22 00:01:26.159 --> 00:01:29.439 which I have understood for many a year now and 23 00:01:29.599 --> 00:01:33.400 has helped to guide me. Guides me through every whisper 24 00:01:33.480 --> 00:01:36.480 that we do, on every home consult, it guides me 25 00:01:36.640 --> 00:01:40.799 through every project that we do. It is a fundamental 26 00:01:40.959 --> 00:01:45.000 truth to architecture and architectural design, and it is very 27 00:01:45.000 --> 00:01:52.640 simply this, great architecture is theater. Great architecture is theater. Now, 28 00:01:52.920 --> 00:01:56.680 don't be dismayed. That may make you think at first, 29 00:01:56.920 --> 00:01:59.840 oh great, Well that's even more complex because I don't 30 00:01:59.879 --> 00:02:03.519 know understand theater either. Yeah, you do. You understand theater 31 00:02:03.680 --> 00:02:06.840 far more I would say than you understand home design. 32 00:02:07.239 --> 00:02:10.719 And because of that, we're going to break these things apart. 33 00:02:10.960 --> 00:02:14.120 Use that metaphor use that analogy for all that it's 34 00:02:14.240 --> 00:02:18.719 worth today to help you better understand how to start 35 00:02:19.240 --> 00:02:23.560 understanding every space in your house. It doesn't mean that 36 00:02:23.879 --> 00:02:26.520 we're going to turn you into a home designer today. 37 00:02:26.520 --> 00:02:30.680 It doesn't mean that we're going to bypass the creativity 38 00:02:30.719 --> 00:02:35.080 and the gifting of those who are do this professionally. 39 00:02:35.240 --> 00:02:37.639 I don't. I'm not putting myself out of a job here, 40 00:02:38.199 --> 00:02:42.439 but what I am doing is hoping to center you 41 00:02:43.039 --> 00:02:47.199 in your understanding of exactly what we're trying to do 42 00:02:47.719 --> 00:02:50.840 with every space, every room, every approach to your home. 43 00:02:50.960 --> 00:02:55.560 So today on the program, it is a Design Matters 44 00:02:55.719 --> 00:03:00.560 most morning, and we are taking on the whole subject 45 00:03:00.680 --> 00:03:06.800 that great architecture is theater, all right, so go nowhere, 46 00:03:06.840 --> 00:03:09.680 and of course we're gonna be taking your calls as well. 47 00:03:10.000 --> 00:03:12.319 The phone lines are open right now, and when it 48 00:03:12.360 --> 00:03:15.319 comes to calls, you can call me about anything you want. 49 00:03:15.479 --> 00:03:20.199 So we're talking architecture as theater today. You can call 50 00:03:20.240 --> 00:03:23.120 me about that leaky toilet or the weird thing that's 51 00:03:23.159 --> 00:03:27.080 going on with your roof, or anything else construction DIY, 52 00:03:27.840 --> 00:03:30.680 design concerns, whatever the case may be. When it comes 53 00:03:30.719 --> 00:03:33.319 to calls, you set the agenda. Here is the number 54 00:03:33.360 --> 00:03:38.120 to reach me. Eight three three two ask Dean eight 55 00:03:38.159 --> 00:03:41.879 three three to ask Dean A three three the numeral 56 00:03:41.960 --> 00:03:46.159 two ask Dean. The phone lines are open now. And 57 00:03:46.199 --> 00:03:50.240 speaking of that, let me introduce our awesome team. Elmer, 58 00:03:50.319 --> 00:03:54.240 of course is on the board. Good morning, Elmer, what why? 59 00:03:54.479 --> 00:03:55.280 Good morning Dean? 60 00:03:55.759 --> 00:03:59.319 How you doing I'm good, I'm so good. Dean? Are 61 00:03:59.360 --> 00:04:06.240 you really really you've seen really enthused? What's going right 62 00:04:06.360 --> 00:04:14.120 for you this morning? Oh water, I guess hydrated. He's draded. 63 00:04:14.319 --> 00:04:17.519 This is elmert when he's hydrated. It's great, You're awesome, man. 64 00:04:18.279 --> 00:04:23.360 H also in studio with us today near microphones, which 65 00:04:23.439 --> 00:04:28.639 is always a treat. Producers Richie and Nicky standing by 66 00:04:28.839 --> 00:04:35.040 to take your calls. Good morning, y'all. I'm doing great, 67 00:04:35.439 --> 00:04:39.800 Nicki Nicki's uh that's the Nicky's voice there. That was 68 00:04:40.560 --> 00:04:47.600 that's born and raised in Bondai Beach. It is. It's 69 00:04:47.600 --> 00:04:52.319 one of the greatest beaches in the world. Ritchie, where's 70 00:04:52.360 --> 00:04:55.800 your uh where where's your accent? Uh? You know, cultivated 71 00:04:56.240 --> 00:04:57.199 San Fernando Valley. 72 00:04:58.079 --> 00:04:58.279 Yeah. 73 00:05:01.720 --> 00:05:04.040 Well you know what man, if you're if you're listening 74 00:05:04.079 --> 00:05:07.399 to us in uh, you know des Moines, Iowa, that 75 00:05:07.399 --> 00:05:14.480 that can that can sound pretty exotic, like totally. Ritchie 76 00:05:14.519 --> 00:05:19.399 is totally a valuable uh. And my buddy Eileen Gonzalez 77 00:05:19.439 --> 00:05:22.360 at the news desk, Good morning, Eileen, Good morning Dean. 78 00:05:22.600 --> 00:05:25.600 How's it going good? Good? Good? Do we have a 79 00:05:25.639 --> 00:05:28.160 tea of choice this morning? Loaded up and ready to go. 80 00:05:28.319 --> 00:05:31.720 It's the finest green tea you can get from the 81 00:05:31.800 --> 00:05:38.079 KFI break room. Oh, very exotic. Although when uh, when 82 00:05:38.240 --> 00:05:41.800 Elmer mentioned water, I did grab my water, and I'm 83 00:05:41.879 --> 00:05:44.199 very bad at doing that. So all right, well see 84 00:05:44.319 --> 00:05:47.959 soon you work on that water, and by maybe by 85 00:05:47.959 --> 00:05:51.079 the second break or so, you will be as charged 86 00:05:51.199 --> 00:05:55.839 up as Elmer is this morning, because you'll before. Yeah, 87 00:05:55.879 --> 00:05:59.279 sitting across the table from me, there she is. You 88 00:05:59.319 --> 00:06:00.920 know what she said right before we went on the air. 89 00:06:01.000 --> 00:06:04.160 She's like, so handsome. I did say that, you did. 90 00:06:04.439 --> 00:06:07.920 I did. That's why. That's why we keep you right there, 91 00:06:08.040 --> 00:06:10.199 right across the table. That's why we've been married for 92 00:06:10.240 --> 00:06:15.079 thirty My better half, my design partner, the co founder, 93 00:06:15.120 --> 00:06:19.000 co owner of House Whisper, and also the person who 94 00:06:19.000 --> 00:06:21.160 happens to be my best friend in all the world. 95 00:06:21.240 --> 00:06:29.839 Tina is here there you Yeah, I waited. I paused 96 00:06:29.879 --> 00:06:33.319 for the elephant. Tina loves elephants, loves them. I just 97 00:06:33.360 --> 00:06:38.560 watched an elephant on Instagram Save a gazelle. Save a gazelle. Yeah, 98 00:06:38.600 --> 00:06:41.160 it was drowning in the water, and it used its 99 00:06:41.240 --> 00:06:46.480 trunk to pull it out of the water. Oh oh, 100 00:06:46.519 --> 00:06:53.000 and then it used it to scratch its back. Elephants 101 00:06:53.000 --> 00:06:56.040 are the best. All right, We've already got calls showing 102 00:06:56.120 --> 00:07:00.360 up on the callboard. That's great, that's fantastic verying is 103 00:07:00.399 --> 00:07:03.040 falling into place for us this morning, for you and 104 00:07:03.079 --> 00:07:07.199 I now to enter into this time of thinking about 105 00:07:07.319 --> 00:07:12.279 home design. And honestly, I'm excited about today's show because 106 00:07:12.759 --> 00:07:17.920 I've used this, you know, in presentations, in conversations with 107 00:07:18.040 --> 00:07:22.240 clients before. I've used this metaphor often. You've heard me 108 00:07:22.319 --> 00:07:25.079 say it from time to time here on the show, 109 00:07:25.240 --> 00:07:28.360 that great design is theater. I'm going to break that 110 00:07:28.439 --> 00:07:32.240 apart for you this morning into real crunchy, practical bits 111 00:07:32.680 --> 00:07:35.759 so that you understand exactly what I mean by it. 112 00:07:36.000 --> 00:07:39.839 And if you hold on to that metaphor, you won't 113 00:07:39.920 --> 00:07:42.879 lose sight. I promise you won't lose sight of how 114 00:07:42.920 --> 00:07:48.240 to approach what's right, what's wrong, what's missing, what needs 115 00:07:48.319 --> 00:07:53.480 to change about that troublesome space or spaces in your home. 116 00:07:53.800 --> 00:07:55.600 I promise you. 117 00:07:55.600 --> 00:08:01.879 You're listening to Home with Dean Sharp on demand from KFI. AM. 118 00:08:02.079 --> 00:08:04.560 Hey, just a reminder follow us on show so media 119 00:08:04.680 --> 00:08:12.399 social so social soosha media social media social media. We 120 00:08:12.519 --> 00:08:16.480 only do the good kind, uplifting, informative, inspiring stuff. We're 121 00:08:16.519 --> 00:08:20.759 on all the usual suspects Instagram, TikTok, Facebook x, whatever 122 00:08:20.800 --> 00:08:24.160 else is out there. We're there home with Dean. Same 123 00:08:24.199 --> 00:08:26.720 handle for them all. And uh, if your home is 124 00:08:26.759 --> 00:08:30.720 in need of some personal house whisper attention, you can 125 00:08:30.759 --> 00:08:33.679 always book an in home design consult with me and 126 00:08:33.759 --> 00:08:36.159 the t I'll be talking about those or referring to 127 00:08:36.200 --> 00:08:39.679 those throughout the show today, just to as we're discussing 128 00:08:40.440 --> 00:08:43.279 how we go about moving through a home and helping 129 00:08:43.320 --> 00:08:46.399 people understand what they need to change or what they 130 00:08:46.399 --> 00:08:49.399 could change or what they could improve. But if if 131 00:08:49.399 --> 00:08:51.879 you're looking for that for your project, then you can 132 00:08:51.919 --> 00:08:54.039 get me and Tea over there. Just go to house 133 00:08:54.200 --> 00:09:00.600 Whisperer dot design and you'll get more information. Okay. Oh 134 00:09:00.639 --> 00:09:02.679 and by the way, the number to reach me because 135 00:09:02.679 --> 00:09:04.360 we will be going to the phones in a bit 136 00:09:04.840 --> 00:09:08.919 eight three three two ask Dean. It's just that simple 137 00:09:08.960 --> 00:09:11.600 to ask Dean. Eight three to three the numeral two. 138 00:09:12.399 --> 00:09:18.200 Ask Dean. Okay, let us begin, shall we? All the 139 00:09:18.279 --> 00:09:22.639 world is a stage. That's what Shakespeare wrote in Hamlet. 140 00:09:23.639 --> 00:09:28.200 I would change that to all your home is a stage. 141 00:09:28.559 --> 00:09:33.919 And I don't mean this in the flippant, artificial, superficial 142 00:09:35.080 --> 00:09:39.960 kind of facebookie everything in my life is glorious kind 143 00:09:39.960 --> 00:09:43.799 of way. I mean in a very very real sense 144 00:09:44.200 --> 00:09:48.279 that our homes have the potential of being stages. That 145 00:09:48.399 --> 00:09:51.679 they are theater in the best of ways, in that 146 00:09:51.759 --> 00:09:56.159 they can tell stories that thrill us, that comfort us, 147 00:09:56.279 --> 00:10:00.440 that wrap themselves around us, and that we can and 148 00:10:00.440 --> 00:10:06.279 that affect us every day. My family room is a 149 00:10:06.320 --> 00:10:09.639 lovely stage that Tina and I have designed for us, 150 00:10:09.960 --> 00:10:12.879 just for us. It fits us well. I was up 151 00:10:12.919 --> 00:10:17.000 this morning. It's overcast, it was cool, very very misty. 152 00:10:17.120 --> 00:10:20.639 The house was kind of cool this morning, and the 153 00:10:20.679 --> 00:10:23.919 sun was not up yet, and it was a great 154 00:10:24.039 --> 00:10:28.279 time to pour myself a cup of coffee and go 155 00:10:28.480 --> 00:10:31.000 over to where our fireplace sits in the corner of 156 00:10:31.039 --> 00:10:33.360 the family room and a little seating area that we've 157 00:10:33.399 --> 00:10:36.720 created there, a little set, a little stage. There's two 158 00:10:36.799 --> 00:10:41.360 beautiful leather club chairs that sit there and swivel in 159 00:10:41.399 --> 00:10:45.960 one of them. My beagle, Samuel, Sammy the beagle sitting 160 00:10:45.960 --> 00:10:48.799 there sleeping in one club chair. I took the other. 161 00:10:49.320 --> 00:10:52.600 I lit the fireplace, I sipped my coffee, ate a 162 00:10:52.600 --> 00:10:56.240 little oatmeal, and had thoughts about the day. And at 163 00:10:56.240 --> 00:10:58.159 one point, as I was thinking about the show, I 164 00:10:58.279 --> 00:11:02.200 paused and I thought, yeah, eggs exactly right here, sitting 165 00:11:02.240 --> 00:11:07.399 next to this beautiful, not awesome, not awe inspiring. Because 166 00:11:07.440 --> 00:11:10.960 I live in a cottage. I'm not trying to drop 167 00:11:11.080 --> 00:11:14.559 jaws with what happens in my house. But it's lovely 168 00:11:14.759 --> 00:11:18.279 and it's beautiful, and it's warm and it's inviting. And 169 00:11:18.639 --> 00:11:21.399 I was the recipient of all of that this morning. 170 00:11:21.440 --> 00:11:24.399 I was in the middle of it all. And that's 171 00:11:24.440 --> 00:11:27.159 the kind of experience that I want you and your 172 00:11:27.200 --> 00:11:30.759 guests and your family and everybody who moves through your 173 00:11:30.799 --> 00:11:34.120 home to have when it comes to your home as well. 174 00:11:34.159 --> 00:11:37.879 And that's what I mean that great architecture is truly theater. 175 00:11:38.080 --> 00:11:41.399 I'm going to use an example later of a story 176 00:11:41.440 --> 00:11:45.679 that we all know, and it's not an example of 177 00:11:45.720 --> 00:11:49.240 a home. It's an example of some greater piece of architecture. 178 00:11:49.279 --> 00:11:52.759 But instead of trying to find out a house that 179 00:11:52.919 --> 00:11:56.759 everybody who's listening to me has been through, been to, 180 00:11:57.080 --> 00:11:59.480 or seen or understand, I'm going to use something a 181 00:11:59.519 --> 00:12:02.679 little bit more or grand. But the point is we're 182 00:12:02.679 --> 00:12:06.919 gonna illustrate how powerful a story can be when it 183 00:12:06.960 --> 00:12:10.120 comes to architecture. Every space is a stage, every angle 184 00:12:10.360 --> 00:12:15.480 of view is a scene. Every element of a space 185 00:12:15.799 --> 00:12:19.159 is either a leading actor or a supporting actor or 186 00:12:19.279 --> 00:12:22.919 some part of the setting behind it all. They're not 187 00:12:23.039 --> 00:12:26.159 competing for center stage when it's done properly, but they 188 00:12:26.159 --> 00:12:30.399 are complementing each other, each in its place, working to 189 00:12:30.440 --> 00:12:33.480 tell the story. The house. Your house is never about 190 00:12:33.720 --> 00:12:39.000 one scene or one actor. It's always about the story, 191 00:12:39.440 --> 00:12:43.559 and the presence or the absence of every element is 192 00:12:44.120 --> 00:12:46.879 all about telling that story. Every scene has a purpose, 193 00:12:47.000 --> 00:12:50.159 and therefore every scene has a setting. It has a 194 00:12:50.200 --> 00:12:54.320 focal point, a hierarchy of elements and actors, and a 195 00:12:54.480 --> 00:12:58.919 sequence of experiences. That's what we're going to try and 196 00:12:58.960 --> 00:13:02.879 deconstruct this morning. These ideas may seem too lofty for 197 00:13:03.039 --> 00:13:06.919 your humble place, but I promise you. I promise you 198 00:13:07.879 --> 00:13:10.200 that if you haven't looked at your house in this way, 199 00:13:10.279 --> 00:13:13.720 it will revolutionize the way you see it. And if 200 00:13:13.720 --> 00:13:16.679 you haven't looked at your house in this way and 201 00:13:16.840 --> 00:13:20.279 run it through this kind of filter, you haven't given 202 00:13:20.320 --> 00:13:22.759 it the chance to be all that it's capable of being. 203 00:13:22.879 --> 00:13:24.919 That's all I'm saying. So you hold with me and 204 00:13:25.000 --> 00:13:28.159 do this exercise with me as we go. Right now. 205 00:13:28.720 --> 00:13:34.799 When it comes to theater, there are advantages that theater 206 00:13:34.919 --> 00:13:41.720 directors and movie directors have over architects and designers, and 207 00:13:41.759 --> 00:13:46.799 the advantage is they have more control over your attention, 208 00:13:47.440 --> 00:13:51.600 over your direction. Right, a director can choose to center 209 00:13:51.679 --> 00:13:54.919 the subject in the frame and simply not move the camera, 210 00:13:55.039 --> 00:13:57.159 and if you're going to watch the film, you are 211 00:13:57.200 --> 00:14:00.480 there and you don't have the choice of looking left 212 00:14:00.679 --> 00:14:02.120 or right or all around. 213 00:14:03.159 --> 00:14:03.399 You know. 214 00:14:03.879 --> 00:14:07.360 In recent years, the discussion has come, especially now with 215 00:14:07.480 --> 00:14:14.639 the rise and or the massive popularity of first person perspective, 216 00:14:14.759 --> 00:14:20.960 first person player video games, you know, immersive worlds that well, 217 00:14:21.000 --> 00:14:23.279 wouldn't it be cool one day when you could sit 218 00:14:23.320 --> 00:14:26.440 in the theater and you're experiencing it all in three 219 00:14:26.639 --> 00:14:29.919 sixty And I'll tell you a lot of storytellers and 220 00:14:29.960 --> 00:14:32.759 a lot of directors are excited by that, and a 221 00:14:32.799 --> 00:14:36.679 lot of them are not, because then they are going 222 00:14:36.720 --> 00:14:40.960 to have to tell stories like architects and not like 223 00:14:41.600 --> 00:14:46.279 movie directors, because they will not have complete control over 224 00:14:46.360 --> 00:14:50.519 your attention by simply being able to limit your focus 225 00:14:50.600 --> 00:14:53.240 to what it is that they want you to see. 226 00:14:53.639 --> 00:14:56.360 They are going to have to compete with the entire 227 00:14:56.759 --> 00:14:59.639 variety of the environment and the fact that you can 228 00:14:59.639 --> 00:15:02.039 turn your head and look away from the story that 229 00:15:02.080 --> 00:15:05.600 they're trying to tell. But right now, as it stands, 230 00:15:06.639 --> 00:15:10.960 directors of stage and screen, they have more control. They 231 00:15:11.000 --> 00:15:13.360 can center the subject in the frame, they can hold 232 00:15:13.399 --> 00:15:18.320 you there. You know, A very popular move and technique 233 00:15:18.360 --> 00:15:22.960 in filmmaking is what we call focus pulling. You understand 234 00:15:22.960 --> 00:15:25.399 what that is. It's when we're using a very short 235 00:15:25.480 --> 00:15:27.960 depth of field in I say we as if I'm 236 00:15:27.960 --> 00:15:31.320 a director of a film. I'm not. It's when they 237 00:15:31.399 --> 00:15:34.679 use a very short depth of field of focus, meaning 238 00:15:35.000 --> 00:15:37.519 only one thing can be in focus and the background 239 00:15:37.600 --> 00:15:40.399 is not in focus. Right, and so maybe there's a 240 00:15:40.480 --> 00:15:44.080 character in the background having a conversation with our lead character. 241 00:15:44.440 --> 00:15:47.279 Our lead character is in focus and they're a little 242 00:15:47.279 --> 00:15:51.200 bit fuzzy, and then when they comment, the director pulls 243 00:15:51.240 --> 00:15:54.399 the focus from the front back to the back character 244 00:15:54.440 --> 00:15:58.559 and now they're in clear perspective and our other character 245 00:15:58.720 --> 00:16:01.399 is out of focus. That's pulling focus. That is a 246 00:16:01.480 --> 00:16:05.159 way of simply moving and forcing you to move your 247 00:16:05.159 --> 00:16:08.159 attention from one thing to the other. These are all 248 00:16:08.159 --> 00:16:14.679 control mechanisms that great directors use. On stage, we use spotlights, right. 249 00:16:14.720 --> 00:16:18.639 A spotlight isn't just to bring a lot of light 250 00:16:18.720 --> 00:16:23.000 onto somebody. It's really The purpose of a spotlight is 251 00:16:23.080 --> 00:16:27.360 to de emphasize everything else around it. Okay, it's just 252 00:16:27.399 --> 00:16:29.799 the opposite of what you would think. You would think. Ah, 253 00:16:30.080 --> 00:16:33.279 spotlight is to bring all is to light me up 254 00:16:33.440 --> 00:16:37.039 brighter than you know. Regular stage lighting light's an actor 255 00:16:37.120 --> 00:16:41.639 up just fine, But a spotlight darkens everybody else around 256 00:16:41.799 --> 00:16:45.759 so that your attention is where you want it to be. 257 00:16:46.360 --> 00:16:49.200 And then, of course there's editing in the process, especially 258 00:16:49.279 --> 00:16:52.720 editing when it comes to film, ruthless editing. All of 259 00:16:52.759 --> 00:17:01.679 these ideas have a corollary in our textual design, and 260 00:17:02.039 --> 00:17:04.599 all of them are the kinds of things that you 261 00:17:04.640 --> 00:17:08.400 can apply when it comes to looking at your space. 262 00:17:08.480 --> 00:17:12.720 And so that's where we're gonna begin. We're gonna take 263 00:17:12.799 --> 00:17:15.279 all of these ideas that I've just described to you, 264 00:17:16.160 --> 00:17:18.599 and we're gonna begin by walking into a space. So 265 00:17:18.640 --> 00:17:20.200 here's what I want you to do. I want you 266 00:17:20.319 --> 00:17:22.680 to think of the space in your home, any space 267 00:17:22.759 --> 00:17:26.119 at all, especially if one is troubling you. Okay, I 268 00:17:26.160 --> 00:17:28.279 want you to think of that space. And what we're 269 00:17:28.319 --> 00:17:31.119 gonna do right after the news is we're going to 270 00:17:31.160 --> 00:17:35.880 take one step into that space from its primary position 271 00:17:36.240 --> 00:17:39.640 of entry. Okay. The way that you enter that space, 272 00:17:39.640 --> 00:17:42.920 and we're gonna stop right there and we're gonna ask 273 00:17:43.000 --> 00:17:47.799 some theatrical questions about what it is that we see. 274 00:17:47.920 --> 00:17:51.119 All right, you hang tight, think of that space. Hang tight. 275 00:17:52.039 --> 00:17:55.359 You're listening to Home with Dean Sharp on demand from 276 00:17:55.480 --> 00:17:56.559 KFI AM six. 277 00:17:58.839 --> 00:18:02.880 Dean Sharp, the house Whisperer here for you this morning, 278 00:18:02.920 --> 00:18:05.680 as I am every Sunday morning from nine to noon, 279 00:18:06.319 --> 00:18:08.960 here to take that place where you live and turn 280 00:18:09.000 --> 00:18:12.559 it into something extraordinary. It doesn't matter whether you're in 281 00:18:12.599 --> 00:18:17.319 a cottage, castle, a condo. It matters not. And one 282 00:18:17.319 --> 00:18:21.839 of the points of today's program is the fact that 283 00:18:22.119 --> 00:18:27.000 architectural design great design. It doesn't have to do with 284 00:18:28.359 --> 00:18:34.599 the big house behind the big gates. Only it often 285 00:18:34.640 --> 00:18:37.440 appears there, but it doesn't always have to be there. 286 00:18:37.559 --> 00:18:42.000 It applies to everything across the board, be it ever 287 00:18:42.079 --> 00:18:45.079 so humble. There is no place like home, and there's 288 00:18:45.079 --> 00:18:48.119 no place like a home, even a humble home, that 289 00:18:48.200 --> 00:18:52.079 has been designed in such a way that it tells 290 00:18:52.279 --> 00:18:55.559 the beautiful story of your beautiful life in the most 291 00:18:55.599 --> 00:18:58.839 effective way possible. And that's what we're about here, talking 292 00:18:58.880 --> 00:19:03.720 about home as theater today. That great design is theater. 293 00:19:03.880 --> 00:19:07.920 So before the break. I said, here's the thing. Imagine 294 00:19:07.920 --> 00:19:10.160 that one place in your home. Maybe you're standing there. 295 00:19:10.160 --> 00:19:12.960 Maybe you just listen to me on the stream, or 296 00:19:13.039 --> 00:19:15.039 you've got the speaker playing in the bad maybe you're 297 00:19:15.119 --> 00:19:19.519 there right now, standing there. Here is the space that 298 00:19:19.559 --> 00:19:21.799 you've had trouble with. Here's the space that has not 299 00:19:21.920 --> 00:19:24.119 impressed you. Here's the space you wish you could do 300 00:19:24.200 --> 00:19:29.480 more with. And I want you to step up in 301 00:19:29.559 --> 00:19:32.920 your mind or in reality right now either way, step 302 00:19:33.519 --> 00:19:36.640 into it, just or maybe not even into it yet. 303 00:19:36.720 --> 00:19:42.519 Stand at the threshold of that space. From the direction 304 00:19:42.799 --> 00:19:45.759 or the way that you enter that space. So if 305 00:19:45.799 --> 00:19:48.559 it's the room like a bedroom or something like that, 306 00:19:48.759 --> 00:19:52.359 stand in the doorway. If it's a family room or 307 00:19:52.400 --> 00:19:55.240 a dining room or a kitchen, wherever it is. However, 308 00:19:55.279 --> 00:19:58.319 it is the primary way that you move into that space. 309 00:19:58.359 --> 00:20:01.279 And I understand, I fully underst there may be more 310 00:20:01.359 --> 00:20:03.480 than one way to move into that space. And we're 311 00:20:03.519 --> 00:20:06.480 going to do this. I'm going to tell you to 312 00:20:06.519 --> 00:20:10.559 apply these principles from every single angle of view that 313 00:20:10.599 --> 00:20:14.000 you approach a space from. Okay, that's what makes it 314 00:20:14.119 --> 00:20:16.799 tricky at times. But let's just talk about the primary 315 00:20:16.880 --> 00:20:21.839 way you enter a space. Okay, you're standing there and 316 00:20:22.640 --> 00:20:25.039 you've decided, Okay, this is how we enter a space. 317 00:20:25.079 --> 00:20:30.920 From where here we are, Now, now what do we see? 318 00:20:31.519 --> 00:20:34.759 What do we see? And this is asking you to 319 00:20:34.799 --> 00:20:38.839 have eyes beyond where your brain usually goes, because the 320 00:20:38.920 --> 00:20:42.319 problem that most of us have about our homes is 321 00:20:42.319 --> 00:20:45.240 that we're house blind to our homes. We've lived in 322 00:20:45.279 --> 00:20:49.359 our homes for so long we've moved through that it 323 00:20:49.359 --> 00:20:51.079 doesn't have to be years and years. It could just 324 00:20:51.119 --> 00:20:54.160 be weeks and months. Okay. The human brain is very 325 00:20:54.160 --> 00:20:58.119 plastic and it adapts very quickly. We move through a space, 326 00:20:59.480 --> 00:21:02.279 and when we move through a space time after time, 327 00:21:02.400 --> 00:21:06.599 day after day, hour after hour, then our brain starts 328 00:21:06.640 --> 00:21:09.799 to put our experience of that space, push it down 329 00:21:09.839 --> 00:21:13.039 into our subconscious. That's actually what we call mastery. You've 330 00:21:13.039 --> 00:21:15.920 started to master the space as far as movement and 331 00:21:16.440 --> 00:21:21.359 working with it, but you've very likely lost mastery over 332 00:21:21.960 --> 00:21:26.799 its actual appearance. For that, we need fresh eyes, new eyes. Okay, 333 00:21:26.920 --> 00:21:29.920 So we're standing there in the entry to the space 334 00:21:29.960 --> 00:21:34.160 and we're asking ourselves what do we see? Now Here 335 00:21:34.240 --> 00:21:38.160 is where we apply the rules of theater. Is there 336 00:21:38.640 --> 00:21:42.920 a focal point like I was talking about earlier, where 337 00:21:43.000 --> 00:21:46.400 a film director centers the subject in the middle of 338 00:21:45.839 --> 00:21:51.240 the screen, so you can't you look away, or there's 339 00:21:51.359 --> 00:21:54.880 some things in focus and everything else is blurred out, 340 00:21:55.039 --> 00:21:59.960 or something is there's some technique for bringing your attention 341 00:22:00.240 --> 00:22:05.240 to a particular place, you know, And again in the movies, 342 00:22:05.599 --> 00:22:08.559 there's a million ways to do this. Maybe the entire 343 00:22:08.640 --> 00:22:12.240 scene is black and white except for the little girl 344 00:22:12.440 --> 00:22:16.000 in the little red coat, like Stephen Spielberg did in 345 00:22:16.079 --> 00:22:18.799 Shindler's List, and it doesn't matter where she is on 346 00:22:18.880 --> 00:22:22.240 the frame. It is simply the only dot of color 347 00:22:22.720 --> 00:22:26.079 in the entire view, and therefore your eyes are just 348 00:22:26.359 --> 00:22:29.240 drawn to it. So we don't have that level of 349 00:22:29.279 --> 00:22:34.079 control in that simplistic way. Not to diss on movie directors, 350 00:22:34.079 --> 00:22:38.519 it's just harder with architecture. But the question remains, when 351 00:22:38.559 --> 00:22:42.319 you stand in this space, is there a focal point? 352 00:22:42.599 --> 00:22:45.079 In other words, you may have a lot of actors 353 00:22:45.359 --> 00:22:47.680 on this stage. There may be a lot of things 354 00:22:47.680 --> 00:22:50.960 that we're looking at, but you know when it comes 355 00:22:51.039 --> 00:22:55.240 to theater that there's a hierarchy of things happening on 356 00:22:55.279 --> 00:22:58.960 a stage. Right. Not every actor is a leading actor, 357 00:22:59.559 --> 00:23:02.119 Not every body on state. There are leading actors, and 358 00:23:02.160 --> 00:23:04.519 they've got the most lines. They are the ones who 359 00:23:04.559 --> 00:23:08.480 are carrying the story the most. There are supporting actors 360 00:23:08.480 --> 00:23:12.599 who come and go and help support the story. There 361 00:23:12.640 --> 00:23:16.160 are extras, which are just bodies in the background. They're 362 00:23:16.200 --> 00:23:19.480 not actually you know, they're murmuring or eating dinner or blah. 363 00:23:20.480 --> 00:23:24.160 They are not driving the story forward, but they're supporting 364 00:23:24.240 --> 00:23:27.720 the general ambiance of the scene. And then there's the 365 00:23:27.799 --> 00:23:32.079 setting itself. Okay, there are layers, aren't there? And the 366 00:23:32.160 --> 00:23:35.400 question is this space that you're staring at right now, 367 00:23:35.480 --> 00:23:40.559 are those kinds of layers there or is everything kind 368 00:23:40.599 --> 00:23:45.920 of set up in one flat plane where everything and 369 00:23:46.000 --> 00:23:52.079 anything could be drawing your attention and there's no focal point. Okay, Now, 370 00:23:52.160 --> 00:23:55.480 doesn't mean that every room has to have a show stopper, 371 00:23:55.599 --> 00:23:58.039 or that every room has to have some super fancy, 372 00:23:58.200 --> 00:24:02.960 artsy expensive thing. It's just a question of what is 373 00:24:03.000 --> 00:24:06.920 the focal point. We were just at a home on Friday. 374 00:24:06.960 --> 00:24:10.359 On Friday, I promised them that this show was not 375 00:24:10.480 --> 00:24:12.559 about them because I wrote it before them, but I'm 376 00:24:12.559 --> 00:24:17.240 going to mention them. We're in this home and beautiful folks, 377 00:24:17.319 --> 00:24:20.839 and as you walk down this hallway, you have no 378 00:24:20.960 --> 00:24:23.759 choice but to enter the living room through one portal, 379 00:24:24.039 --> 00:24:26.920 and when you stand on the threshold of that portal, 380 00:24:27.119 --> 00:24:30.000 there is no question that the far wall of the 381 00:24:30.039 --> 00:24:34.440 living room slash family room is a symmetrical image. There 382 00:24:34.480 --> 00:24:36.160 is a window on the left and a window on 383 00:24:36.200 --> 00:24:38.519 the right. And guess what's in the middle. It's a 384 00:24:38.519 --> 00:24:42.640 big vaulted room with a tall, tall ceiling, and smack 385 00:24:42.720 --> 00:24:46.160 dab in the middle is the fireplace. There is no 386 00:24:46.359 --> 00:24:52.559 way to deny that in that room, the fireplace is 387 00:24:53.039 --> 00:24:57.559 and should be the focal point. That only means that 388 00:24:57.599 --> 00:25:00.680 it's your leading actor. It only means that when you 389 00:25:00.720 --> 00:25:04.119 walk into this room, that's your best shot to put 390 00:25:04.200 --> 00:25:08.400 words in that actor's mouth. That is your best shot 391 00:25:08.519 --> 00:25:11.759 of beginning to tell the story of what this room 392 00:25:11.880 --> 00:25:15.119 is all about. You're vibeing with me. You're starting to 393 00:25:15.200 --> 00:25:16.640 understand what I'm saying. All right. 394 00:25:17.319 --> 00:25:20.599 You're listening to Home with Dean Sharp on demand from 395 00:25:20.720 --> 00:25:22.200 KFI Am six forty. 396 00:25:25.319 --> 00:25:29.759 Here we are talking about your home specifically. Did you 397 00:25:29.799 --> 00:25:32.079 know that. I'm sorry somebody should have called you to 398 00:25:32.160 --> 00:25:34.039 let you know we were talking about your home today. 399 00:25:34.039 --> 00:25:37.200 But we are talking about your home. We're talking about 400 00:25:37.279 --> 00:25:42.680 how great architecture and great design is truly theater. And 401 00:25:42.759 --> 00:25:49.319