St. Louis Kitchen Design: What Works in a Midwest Home (And What’s Just Instagram)

St. Louis Kitchen Design: What Works in a Midwest Home (And What’s Just Instagram)

The kitchen is the most remodeled room in America and the one where the gap between aspirational design content and practical reality is widest. The kitchens that photograph brilliantly—white marble, open shelving, industrial fixtures—are often kitchens designed to be looked at rather than cooked in. The kitchens I design in St. Louis are designed to be used: daily, intensively, by people who actually cook, who have children and dogs, who host with genuine hospitality. There’s a significant difference, and it shows up in the decisions.

At a glance

  • Best countertop for a working kitchen: quartzite, such as Taj Mahal
  • Best two-tone pairing: Benjamin Moore White Dove (OC-17) uppers with Benjamin Moore Hale Navy (HC-154) on the island
  • Island clearance: 42 inches for one cook, 48 inches for two
  • Pendant height: 30 to 36 inches above the countertop
  • Hardware finish: unlacquered brass

Countertops: what actually holds up

Carrara marble is beautiful. It is also soft, porous, acid-sensitive, and will show every lemon squeeze, every wine spill, and every sharp object interaction within the first year of use. In a working St. Louis kitchen, marble is a maintenance burden that most clients eventually regret.

What I actually specify:

  • Quartzite (not quartz—quartzite, the natural stone) for clients who want the marble look with far better durability. Taj Mahal is the one I return to: warm, soft veining that sits beautifully beside wood and brass. Seal it once a year.
  • Engineered quartz for clients who want near-zero maintenance and a consistent appearance from slab to slab.
  • Honed or leathered granite for clients who want natural stone with less reflection. Absolute Black in a leathered finish hides fingerprints and crumbs better than anything polished.

The exception: a marble pastry slab in a dedicated baking area. Marble genuinely excels for pastry work.

Cabinet color: moving past all-white

White kitchen cabinets have been the default for so long that they now signal a lack of commitment. What I’m specifying in St. Louis kitchens right now is a warm white on the uppers with a deeper color on the island or lowers. The two-tone kitchen reads as intentional and layered, and the darker base forgives scuffs from shoes, dogs and vacuum cleaners.

  • Uppers: Benjamin Moore White Dove (OC-17), a warm white that stays soft in gray winter light
  • Island in navy: Benjamin Moore Hale Navy (HC-154)
  • Island in a muted green-gray: Farrow & Ball Pigeon (No. 25)
  • Island in a deeper green: Sherwin-Williams Pewter Green (SW 6208)
  • Island in sage: Benjamin Moore October Mist (1495)

Always test a large painted board on the cabinet itself, morning and evening. For more on how kitchen colors behave, see my guide to kitchen colors that work.

Layout: the triangle still matters

The kitchen work triangle—the relationship between the refrigerator, sink, and range—has been declared dead by design media several times and continues to be the most reliable measure of kitchen functionality. The total distance between these three points should ideally be between 13 and 26 feet, with each leg between 4 and 9 feet. Kitchens where these relationships are wrong exhaust their users.

  • Island aisles: 42 inches if one person cooks, 48 inches if two do.
  • Seating at the island: about 24 inches of counter per stool, with a 15-inch overhang for counter-height seating.
  • Older St. Louis homes: many brick homes from the 1920s and 1930s have narrow kitchens. If you can’t keep 42 inches on all sides, a peninsula usually works better than a squeezed-in island. I compare the two in kitchen island vs. peninsula.

Open shelving: honest about the commitment

Open kitchen shelving looks extraordinary in editorial photographs and requires more maintenance than most people are prepared for in real life. Everything on open shelves collects grease and dust. The compromise I frequently recommend: open shelving in one carefully chosen location—a floating shelf above the coffee station, a single shelf beside the range for oils and spices—with closed cabinetry handling everything else.

Lighting and ventilation: the parts nobody photographs

  • Pendants: hang them 30 to 36 inches above the countertop. Over a typical island, two larger pendants look calmer than three small ones.
  • Bulbs: 2700K to 3000K. Cooler bulbs make a kitchen feel clinical, especially in short winter days.
  • Under-cabinet lighting: the single most useful light in a kitchen. Plan it, with outlets, during the renovation.
  • Range hood: duct it to the outside, and size it to your range. A common rule of thumb for gas ranges is about 100 CFM for every 10,000 BTUs.

If you are working with an older kitchen, read renovating an old kitchen the right way before you demo anything.

Hardware: where personality lives

Cabinet hardware is the jewelry of the kitchen—the smallest investment with the most outsized visual impact. I consistently find that upgrading hardware transforms an average kitchen more cost-effectively than almost any other change. My current recommendation: unlacquered brass or warm bronze for kitchens with warm wood tones and warm white cabinets, and matte black for more contemporary, high-contrast kitchens. Avoid satin nickel, which is the kitchen hardware equivalent of greige paint—it goes with everything and elevates nothing.

Pulls on drawers, knobs on doors is the classic rule, and it still looks right. You can see the brass and marble pieces I specify in my hardware collection.

St. Louis kitchen questions I hear most

Is quartzite worth it over quartz?

If you want natural stone that looks like marble, yes. Quartzite is harder than marble and stands up to heat better than engineered quartz. If you never want to think about sealing, choose quartz.

What cabinet color won’t look dated?

A warm white on the uppers with a deeper, muted color on the island. Navy, green-gray and sage have staying power because they behave like neutrals beside wood and stone.

Island or peninsula?

If you can keep at least 42 inches of walkway on every side, an island. If not, a peninsula gives you the same seating and storage without the bottleneck.

Does a kitchen renovation pay off in St. Louis?

Kitchens are among the renovations buyers notice most. I break down which projects return the most in St. Louis renovation ROI.

Rachel Blindauer is an award-winning interior designer with 15+ years designing kitchens and full residential interiors.

Finish the Kitchen

Crescent Brass Cabinet Pull

Crescent Brass Cabinet Pull
From $45

Isla Rattan Counter Stool

Isla Rattan Counter Stool
$771

Bellagio Twisted Brass Lantern Pendant

Bellagio Twisted Brass Lantern Pendant
$3,795

2 Hour Interior Design Virtual or In Person Consultation

SOMETHING FOR EVERYONE

THE PIECES RACHEL RETURNS TO, AGAIN AND AGAIN

The Home Office That Doesn’t Look Like a Home Office

The Home Office That Doesn’t Look Like a Home Office

Home office designed as a real room

The home office became, through necessity, one of the most important rooms in the American house. And yet most home offices are an afterthought—a desk pushed into a corner, a chair that came from somewhere else, a backdrop of chaos visible on every video call. They are designed for function in the narrowest sense: a place to open a laptop. The home office I design for clients is a room that functions as a brilliant workspace and also feels like a room you’d want to be in if you weren’t working. Those two things are not in conflict. In fact, achieving both is the point.

Workplace wellness in office design

Why the Room Changes How You Work

Everything above is about how the room looks to someone walking past it. This part is about what it does to you while you are sitting in it — which is the part most home office advice skips entirely.

Start with the light—natural first, artificial second

Natural light is the most significant variable in workspace quality. Position your desk to receive natural light from the side—not directly behind your monitor (which creates glare) and not directly in front of you from a window behind the screen (which backlights your face on video calls). Side light is the designer’s and the photographer’s preferred light source: even, directional, and flattering without blinding.

For artificial light: a desk lamp at eye level with a 3000K bulb for task lighting, and a warmer ambient source (floor lamp, table lamp across the room) for the surrounding environment. Overhead lighting alone in a home office creates the institutional feeling of a corporate cubicle. Layer your lighting.

Desk placement in a considered home office

The desk: size, surface, and position

Most desks sold as home office desks are too small. The standard 47-inch desk gives you barely enough room for a monitor, a keyboard, and a notebook. If you work with physical materials or simply like the psychological spaciousness of room to spread out, go wider. A 60-inch desk is meaningfully better. A 72-inch desk, in a room that can accommodate it, transforms the workspace from cramped to generous.

Surface material matters. Glass desks look clean but are cold to the touch, difficult to write on, and show every fingerprint. Wood desks—solid wood or good veneer—are warmer, more pleasant to work on, and read better on video calls.

Shop Writing Desks

Alderley Washed Oak & Brass Writing Desk

Alderley Washed Oak & Brass Writing Desk
$3,295

Hartwell Walnut Writing Desk

Hartwell Walnut Writing Desk
$4,584

Corsica Brass & Glass Writing Desk

Corsica Brass & Glass Writing Desk
$3,495

Home office with an intentional background

Make the background intentional

Video calls have made the space behind your desk one of the most-seen aspects of your professional identity. The best video call backgrounds: a single piece of art or a small curated gallery hung intentionally; a bookshelf organized by color or subject with a few beautiful objects interspersed; a painted wall in a strong, interesting color; or simply a clean, painted wall with good light. Any of these communicates care and intentionality.

View from behind an ergonomic leather desk chair across a walnut and brass desk to two guest armchairs and a fireplace in an elegant home office

The chair: the one place not to economize

The chair is the object in the home office that your body is in contact with for the most hours. Its ergonomic quality affects your physical health, your energy level, and your concentration. A beautiful but uncomfortable chair will cost you more in back pain and fatigue than you saved on the chair. Excellent ergonomic chairs now exist in aesthetically sophisticated designs. This is the one piece of office furniture I recommend buying well and buying once.

How to tell a chair is truly ergonomic:

  • Adjustable seat height: feet flat on the floor, knees at about 90 degrees, thighs parallel to the floor.
  • Lumbar support: the backrest should meet the natural curve of your lower back. If it does not, add a firm lumbar pillow.
  • Seat depth: two to three finger-widths between the front edge of the seat and the back of your knees, with a rounded waterfall edge so circulation is not cut off.
  • Armrests: at or just below desk height so your shoulders stay relaxed and your elbows rest near 90 degrees.
  • Swivel and casters: so you turn your whole body instead of twisting your spine.

Then set up the rest of the desk around your body: a work surface 28 to 30 inches high, the top of your screen at or slightly below eye level about an arm’s length away, and a task lamp on the side opposite your writing hand so you are never working in your own shadow.

Seating for Guests Across the Desk

Positano Accent Chair

Positano Accent Chair
$455

Cortona Barrel Lounge Chair

Cortona Barrel Lounge Chair
$460

Solaire Upholstered Dining Chair

Solaire Upholstered Dining Chair
$1,315

Shop the Ergonomic Desk Setup

Arden Swivel Desk Chair in Mink Performance Fabric

Arden Swivel Desk Chair in Mink Performance Fabric
$1,523

Cascata Marble Buffet Lamp

Cascata Marble Buffet Lamp
$1,200

Vesper Marble Desk Lamp

Vesper Marble Desk Lamp
$1,299

The detail that separates a home office from a corporate workspace: the room should contain at least one element that has nothing to do with work. A plant. A piece of art you love. A beautiful lamp. These signal to your brain that this is a human space—a place where a whole person works, not just a function being performed.

Rachel Blindauer is an award-winning interior designer based in St. Louis with projects across the United States and internationally. Book a 2-hour design consultation at rachelblindauer.com.

Designing for Deep Work: The Home Office as a Performance Space

The pandemic permanently changed how many high performers work, and with it came a long-overdue reckoning with the home office. A desk in the bedroom corner is not a home office. A dining table with a laptop is not a home office. A performance workspace requires, at minimum, four things: dedicated space that signals transition into work mode, excellent task lighting that doesn’t cause eye strain over long periods, ergonomics that protect the body across extended sessions, and freedom from the visual cues of domestic life that continuously pull focus away from deep work.

The research on this is unambiguous. Psychological distance — the sense that you have “arrived” somewhere to do focused work — measurably increases both the duration and quality of concentrated effort. This is why the office door, the separate entrance, the bespoke built-in shelving that frames the space as professional: these are not affectations. They are cognitive signals that allow the focused, deliberate thinking that produces results.

Natural light is the single most impactful upgrade in any work environment. Exposure to daylight during work hours improves alertness, mood, and cognitive performance, and reduces the kind of end-of-day fatigue that makes evenings difficult to enjoy. Where a window is available, the desk belongs near it. Where it is not, a well-curated combination of task and ambient lighting — layered, warm-to-neutral in color temperature, without the harsh overhead fluorescence that signals institutional space — can meaningfully approximate the quality of natural illumination.

A walnut chest, branches and art — storage that reads as furniture, not filing

Order, Beauty, and the Psychology of Identity

There is a concept in behavioral psychology called behavioral congruence: the tendency to act in ways that are consistent with our sense of who we are. A home that reflects your highest values — that is ordered, beautiful, and genuinely expressive of the person you are becoming rather than the person you have been — functions as a continuous identity signal. Every time you walk through the door, it tells you who you are.

I have watched this phenomenon play out in project after project. A client who felt scattered and overwhelmed redesigns her home office and suddenly works with focus and clarity she hadn’t experienced in years. A couple who renovates their bedroom into a genuine sanctuary reports sleeping better, fighting less, and feeling more connected. A man who transforms a cluttered basement into a proper training space starts exercising consistently for the first time in a decade. The environment did not make these things possible. But it made them much, much easier.

Biophilic Design: The Performance Science of Nature

The research is unambiguous: human beings function better in the presence of natural light, natural materials, plants, and views of nature. Studies across office environments, hospitals, schools, and homes consistently show that exposure to natural elements reduces cortisol, lowers blood pressure, improves attention, and accelerates recovery from stress. Biophilic design — the intentional incorporation of nature into built environments — is perhaps the most evidence-based design philosophy currently in practice.

In a home, this translates to maximizing natural light through window placement, window treatments that can fully open, and mirrors that amplify daylight deeper into the space. It means choosing natural materials — stone, wood, linen, leather, ceramic — over synthetic ones whenever possible. It means maintaining at least a few living plants, whose benefits extend beyond aesthetics to measurable improvements in air quality and psychological wellbeing. It means giving priority to views: positioning seating near windows, keeping sightlines to gardens or trees clear, and resisting the urge to fill every surface with objects that obstruct the natural view.

A slim console desk in a living room — a workspace that disappears when the laptop closes

The Question of Clutter

Clutter is not a housekeeping problem. It is a cognitive one. Each object in your visual field that is out of place, unresolved, or unintentional creates a micro-demand on working memory — a small but real fragment of attention that is no longer available for the task at hand. In an environment where hundreds of such objects are present, the cumulative cognitive load is significant. This is why people reliably report feeling calmer, more focused, and more capable after organizing a cluttered space — not because the work itself is satisfying, but because the cognitive friction has been reduced.

The solution is not minimalism for its own sake. It is intentionality: ensuring that every object in your home is either beautiful, functional, or meaningful — and that those which are none of these things are removed. The homes I design for high-performing clients are not bare. They are curated: rich in quality, deliberate in arrangement, and free of the visual noise that invisibly taxes attention around the clock.

2 Hour Interior Design Virtual or In Person Consultation
Marlowe Boucle Bench, Ivory/Natural

Marlowe Boucle Bench, Ivory/Natural
$700

Marais Chandelier

Marais Chandelier
$2,300

Isla Dot Pillow

Isla Dot Pillow
$297

SOMETHING FOR EVERYONE

THE PIECES RACHEL RETURNS TO, AGAIN AND AGAIN

Montessori-Inspired Kids’ Room Design: Spaces That Support Development

Montessori-Inspired Kids’ Room Design: Spaces That Support Development

Every parent wants their child to thrive — to be curious, confident, focused, and resilient. What most don’t realize is that the physical environment where a child sleeps, plays, and learns plays a profound role in shaping those very qualities. As an interior designer who has spent over fifteen years crafting thoughtful spaces — from Nantucket beach houses to St. Louis family homes — I’ve seen firsthand how a well-designed child’s room can nurture concentration, spark creativity, and support the kind of deep, restorative sleep that growing minds require.

The research backs this up. Studies in environmental psychology consistently show that spatial organization, light quality, color saturation, and access to natural elements all measurably affect a child’s cognitive performance, emotional regulation, and sense of agency. Designing a child’s room isn’t just a decorating exercise. It is, in the most literal sense, an investment in your child’s future.

Child’s room with abundant natural light

Light: The Most Powerful Design Tool in a Child’s Room

Before choosing a paint color or a bed frame, consider the light. Natural light governs a child’s circadian rhythm — the internal clock that regulates sleep, mood, hormones, and even immune function. A room flooded with morning light helps a child wake naturally and start the day energized. Blackout shades or drapery that can fully darken the room at nap and bedtime protect the quality of sleep that is essential for memory consolidation and growth.

For artificial lighting, layer your sources: overhead ambient light for general tasks, a warm-toned reading lamp that can be easily switched on and off by the child (fostering independence), and soft nightlights that don’t disrupt melatonin production. Avoid cool-blue LED bulbs in the hours before bed. The best children’s rooms I’ve designed treat lighting as an active, adjustable tool rather than a fixed overhead fixture.

Calm colour palette in a child’s room

Color Psychology: Calm Over Chaos

The instinct to fill a child’s room with primary reds and electric yellows is understandable — and almost always wrong. Highly saturated, high-contrast colors are visually stimulating and can increase cortisol levels, making it harder for children to settle and focus. The research points toward muted, complex hues: sage greens, soft terracottas, warm taupes, dusty blues, and broken whites with undertones that shift in natural light.

These are the same tones that appear in nature — in stone, in bark, in sea glass — and they carry an inherent calming frequency. A child surrounded by thoughtfully chosen color feels contained and secure rather than overstimulated. One caveat: a single wall in a deeper, richer tone — a moody indigo reading nook, a forest green closet interior — can add the sense of magic and wonder that children’s spaces deserve without overwhelming the whole room.

Low open storage in a child’s room

Organization That Builds Independence

A high-performing child is, above all, a capable child — one who can make choices, solve problems, and take ownership of their environment. Storage systems designed for adult convenience — high shelving, opaque bins, closet rods the child can’t reach — undermine that autonomy without realizing it. When I design children’s rooms, I ask: can this child access, use, and put away everything they need without asking for help?

Open, labeled bins at floor level for toys. A low hanging rod in the closet for tomorrow’s clothes. A pegboard at child height for school bags and art supplies. Surfaces clear enough to spread out a project and a system simple enough to actually maintain. When children can manage their own space, they develop executive function — the capacity to plan, organize, and self-regulate — that pays dividends for decades.

A dedicated desk for focused work

A Dedicated Space for Deep Work

Long before the concept of a “home office” entered the adult lexicon, children needed what researchers now call a dedicated learning environment — a place that signals to the brain: this is where we focus. The homework desk pushed against the wall under a single bare bulb is not that. The ideal study area has good natural or task lighting, sits apart from the bed (to avoid the brain associating study with sleep), and is free of screens and visual clutter during work time.

Consider the orientation of the desk. Facing a wall limits distraction but can feel oppressive for extended periods. Facing a window offers visual rest between focus bursts — research shows that even a brief look at a natural scene resets attention. A window view with trees or sky is, neurologically speaking, a better study companion than a poster of a favorite sports team.

A child’s room with plants and natural materials

Biophilic Design: Nature as a Learning Partner

Children have an innate attraction to the natural world — what biologist E.O. Wilson called biophilia. When we incorporate natural materials and living elements into children’s rooms, we’re not just creating visual interest; we’re engaging an ancient neural pathway that reduces stress and enhances creativity. A small plant the child is responsible for watering. A collection of stones, shells, or feathers arranged on a shelf. Wood-grain surfaces rather than plastic laminate. Woven textures. Cotton and linen instead of synthetic blends.

Nature-connected children show higher levels of curiosity and lower rates of anxiety. In practical design terms, this means choosing natural material toys over plastic when possible, introducing a terrarium or a simple herb garden on the windowsill, and resisting the urge to make the room feel like a theme park. The most extraordinary children’s rooms I’ve ever designed feel, above all, like calm and natural places to be.

A restful bedroom designed for sleep

The Sleep Environment: Designing for Restoration

Sleep is not passive. During sleep, a child’s brain consolidates the day’s learning, repairs tissue, regulates emotion, and produces the growth hormone that drives physical development. Designing for optimal sleep is therefore the highest-leverage thing you can do in a child’s room. Beyond darkness and lighting, consider temperature (the ideal sleep environment is 65–68°F), sound (soft white noise or the quiet of a well-insulated room), and the bed itself.

The mattress and bedding are not places to cut corners. Natural fibers — organic cotton, linen, wool — breathe better than synthetic blends and regulate temperature more effectively. A bed frame that feels solid and grounding — rather than a loft configuration that leaves children sleeping suspended in air — provides a greater sense of security for anxious sleepers. The bed should be the undisputed focal point of the room: inviting, peaceful, and clearly associated with rest rather than play.

A bedroom designed to grow with a child

Designing a Room That Grows With Your Child

The most common mistake in children’s room design is creating a space that is perfect for one age and obsolete two years later. The child who loved dinosaurs at four will feel mortified by them at nine. Good design anticipates this by building in neutrality at the permanent layer — walls, flooring, furniture — and allowing personality to live at the changeable layer: bedding, art, accessories, and small accent pieces that can evolve without a renovation.

A classic white or natural wood bed frame, a well-made desk that works from age six to sixteen, quality storage that adapts as needs change — these are the investments that hold. The room’s personality can shift dramatically season to season just by changing the art, the throw, the lamp shade. Teaching a child that their room is theirs to curate — that their changing interests deserve a changing space — is one of the most powerful lessons you can deliver through design.

What Changes at Each Age

Age The one change that matters What to skip
0–12 months Floor bed and a low mirror. Nothing above waist height. The crib-plus-changing-table-plus-glider set. You will replace it within a year.
1–3 years Everything reachable: low hooks, low shelves, a step stool at the sink. Toy boxes. Children do not retrieve from a pile.
3–6 years A real work surface at their height, and shelves that hold eight things rather than forty. Themed furniture. It dates within eighteen months.
6–9 years A storage system they can maintain without you. Open shelving above the desk. It becomes visual noise they stop seeing.
9–12 years Give over the wall. Let them choose the color. Anything you chose for them at three.
A children’s art wall

What to Do With the Space Between the Bed and the Bookshelf

In the most developmentally rich children’s rooms, the floor is treated as a room within the room. A generous, well-defined floor space for imaginative play — bounded by a good rug and filled with open-ended materials like blocks, drawing supplies, dress-up items, and books — is where some of the most important cognitive work of childhood happens. This isn’t playtime as indulgence. It is, by every measure developmental scientists apply, a child’s primary work.

Design the floor space intentionally: a rug that anchors the play area, low shelves along the perimeter that make materials visible and accessible, and enough open space in the center to spread out, build, pretend, and create. The most beautifully designed children’s rooms I’ve produced have been the ones where, years later, a parent tells me their child still wants to spend all their time in there. That’s the measure of a room done right.

The Kids’ Room Edit

Rattan Roadster Kids' Rocker

Rattan Roadster Kids’ Rocker
$375

Celeste Blue Lacquer Nightstand

Celeste Blue Lacquer Nightstand
$2,530

Colette Cloud Pillow

Colette Cloud Pillow
$297

2 Hour Interior Design Virtual or In Person Consultation
Tulum Seagrass Baskets

Tulum Seagrass Baskets
$115

Marisol Table Lamp

Marisol Table Lamp
$225

Reed Rattan Box

Reed Rattan Box
$350

SOMETHING FOR EVERYONE

THE PIECES RACHEL RETURNS TO, AGAIN AND AGAIN

Why I Keep Coming Back to Travertine (And Where I Won’t Use It)

Why I Keep Coming Back to Travertine (And Where I Won’t Use It)

Travertine and brass table lamp on a console against grasscloth

Every designer has a material they reach for without thinking. For some it is oak, for some it is unlacquered brass. For me it has been travertine for the better part of fifteen years, and the longer I work the less I apologize for it.

Travertine is limestone that formed in and around hot springs, laid down in layers as mineral-rich water cooled and left its calcium behind. That is why it looks the way it does: banded, pitted, never quite uniform. The holes are not flaws. They are the record of gas escaping through the sediment before it hardened. A slab of travertine is, quite literally, a fossil of moving water.

I bring that up because it explains everything I like about the material, and everything clients sometimes worry about.

What travertine does that marble doesn’t

Marble is a performance. It wants the light, it wants the spotlight, and in the wrong room it can feel like a hotel lobby. Travertine is the opposite temperament. Its palette sits in a narrow band of ivory, bone, wheat and, in the darker cuts, a walnut brown that reads almost like leather. The veining runs in soft horizontals rather than dramatic diagonals. Put a piece of it in a room and the room gets calmer, not louder.

That is why it works in so many settings. On the Gulf Coast it picks up the warm afternoon light and holds it into the evening. In a St. Louis brick colonial it warms up a room that might otherwise go cold and formal. It is one of the very few materials I would put in both places without changing a thing.

Where I use it, and where I don’t

Coffee tables. This is where I start with most clients. A travertine coffee table is a low, heavy, honest object; it anchors a seating group the way a rug does, but you can put a drink on it. My standard recommendation is a rectangular slab on plinth legs, so the veining runs across the top and down the sides in one continuous story. The Amalfi coffee table in the shop is that idea exactly, and it is the piece I am asked about most often.

Lamps. Travertine takes light beautifully because the surface is matte and slightly porous; there is no glare, just a soft bloom around the base. The Monolith table lamp, a tapered travertine column under a brass cone, is what I put on a console when the console needs one perfect thing and nothing else.

Bowls and vessels. A carved stone bowl on a dining table is the most efficient styling move I know. It is sculptural, it is useful, and it never goes out of season. I keep the Abbey bowl on my own table; the faceted Strata bowl is the dressier cousin for a room that can take a little drama.

Where I hold back. Kitchen counters, unless the client understands what they are signing up for. Travertine is softer than granite and more absorbent than quartz. It will etch from lemon juice and stain from red wine if it is not sealed and wiped promptly. On a coffee table that is a patina. On a work surface it is a maintenance schedule. Floors are fine (honed and filled, please, not polished); showers are fine if sealed on a calendar; bar tops are a judgment call.

Living With Travertine

Amalfi Rectangle Travertine Coffee Table

Amalfi Rectangle Travertine Coffee Table
$2,616

Biarritz Round Travertine Coffee Table

Biarritz Round Travertine Coffee Table
$2,658

Capri Travertine Accent Table

Capri Travertine Accent Table
$1,464

Solenne Travertine Pedestal Table

Solenne Travertine Pedestal Table
$355

Monolith Table Lamp

Monolith Table Lamp
$1,164

Sable Travertine Buffet Lamp

Sable Travertine Buffet Lamp
$813

Luna Travertine Table Lamp

Luna Travertine Table Lamp
$665

Abbey Travertine Bowl

Abbey Travertine Bowl
$813

Abbey Travertine Bowl

Abbey Travertine Bowl
$1,300

Drift Form Bowls

Drift Form Bowls
$768

Terra Travertine Box

Terra Travertine Box
$387

Travertine Trove Box

Travertine Trove Box
$348

Filled or unfilled, honed or polished

You will see these words on every spec sheet, so here is the plain version. Filled means the natural pits have been packed with resin or grout so the surface is flat; unfilled leaves them open. Honed is a matte finish; polished is glossy. For furniture I almost always choose honed and filled: matte enough to feel like stone rather than tile, smooth enough that a glass sits flat. Unfilled is beautiful on a wall or a garden piece, less practical where you set things down.

How to pair it

Travertine is a neutral, but it is a warm neutral, and that decides its company. It likes linen in oatmeal and putty, wool in camel, leather in cognac, and wood with visible grain: white oak, walnut, cerused ash. It likes brass more than chrome. It looks wonderful against a plaster wall and slightly cheap against a glossy white one. If you are working in a cool grey scheme, choose the darker walnut-toned travertine so the stone reads as a deliberate contrast rather than a mismatch.

Color-wise, it is the quiet ground under almost any palette I use. Blush and rose sit on it beautifully. So does olive. So does the deep marine blue of a framed abstract above a console. The one thing I would avoid is pairing it with a lot of cool white and stainless steel, which makes the travertine look dusty instead of warm.

Honed, filled travertine laid in a checkerboard with Viola marble

Buying it well

Three things to check. First, weight: a real stone coffee table is heavy, which is why the shop delivers the larger pieces white glove, inside the house and placed. Second, consistency: ask to see the actual slab or a photo of the actual piece, because two travertine tables from the same maker can differ as much as two pieces of wood. Third, sealing: a good maker seals furniture before it ships; if not, a penetrating sealer once a year is all it takes.

Everything travertine in the shop lives in one place: the Travertine collection. Coffee tables, lamps, bowls and boxes, each one chosen because I have specified it, or something very like it, in a real room for a real client.

And if you are not sure whether your home leans coastal, traditional or something in between, the two-minute Style Quiz will tell you, and point you toward the pieces that fit.

2 Hour Interior Design Virtual or In Person Consultation
Sculptural Serenity Off-White Ceramic Bowl

Sculptural Serenity Off-White Ceramic Bowl
$352

Anchor Coffee Table

Anchor Coffee Table
$3,464

Vitruvian Travertine & Brass Bookends

Vitruvian Travertine & Brass Bookends
$98

SOMETHING FOR EVERYONE

THE PIECES RACHEL RETURNS TO, AGAIN AND AGAIN

Nantucket Window Boxes: How to Get the Island Look at Home

Nantucket Window Boxes: How to Get the Island Look at Home

by Rachel Blindauer

Walk any lane on Nantucket in July and you will see why the island is famous for its window boxes. Against weathered cedar shingles and crisp white trim, boxes spill over with flowers on houses, shops and tiny ‘Sconset cottages alike. They make a house look cared for and welcoming, which is the best thing curb appeal can do. I photographed these on the island, and each one teaches a different lesson you can bring home, wherever you live.

Gray cedar-shingle Nantucket cottage with white window boxes of purple and pink flowers above blue and lavender hydrangeas

Why Nantucket Window Boxes Look So Good

The secret is the backdrop. Silvery shingles and clapboard are neutral enough to let any flower color sing, and white or black trim frames the picture. Notice how this cottage repeats the purple and pink of its window boxes in the hydrangeas below, so the whole facade reads as one composition. If your exterior is busy or warm-toned, simplify the planting so it doesn’t compete.

All-white window box with white petunias, silver foliage and trailing greens beneath black shutters on gray clapboard

Recipe 1: The All-White Box

My favorite Nantucket boxes stay with one color. An all-white planting reads as elegant, glows at dusk and works on every house color. This one layers white petunias and small white blooms with soft silver leaves and trailing greens that spill over a black box beneath black shutters. The silver foliage is what makes it look expensive: it adds texture and keeps the white from feeling flat.

Window box on a Nantucket shop with deep burgundy foliage, white blooms and purple salvia spikes

Recipe 2: Moody Burgundy and White

For a deeper, more dramatic look, let foliage do the heavy lifting. This shop box pairs dark burgundy leaves with white blooms blushed pink at the center, a few purple salvia spikes for height and trailing greens for softness. Dark foliage stays handsome all season, even between flushes of flowers.

White window box of chartreuse creeping jenny, white petunias and peach flowers above a brick sidewalk

Recipe 3: Chartreuse and Peach

Chartreuse is the color that makes a box glow. Here, golden creeping jenny cascades down the front of a white box while white petunias and a few soft peach blooms fill the top. It is a cheerful, sunny combination that pops against gray siding and old brick.

Bold window box of red coleus, coral geraniums, pink flowers and purple verbena on a gray shingle house with hydrangeas

Recipe 4: Bold Red and Coral

When you want a box that stops people on the sidewalk, go bold. Red coleus anchors the center, coral geraniums and pink blooms fill in, airy purple verbena floats above and chartreuse trailers soften the edges. Paired with dark green shutters and a white picket fence, it is classic island color at full volume.

White window box with sweet alyssum, white blooms and silver leaves under black shutters

Design It Like a Pro: Tall, Full, Trailing

Build each box in three layers. Place something upright at the back center, such as angelonia, salvia or an ornamental grass. Fill the middle with mounding bloomers like petunias, geraniums or sweet alyssum. Let trailing plants such as creeping jenny, verbena or sweet potato vine spill over the front edge. Aim for an even balance of flowers and foliage, and step back as you plant so it doesn’t get too busy.

Match the plants to the light

Check which way the window faces before you shop. South-facing boxes need full-sun plants like petunias and geraniums. North-facing boxes want shade lovers like begonias and coleus. East and west windows give you room to experiment.

Soil, Water and Feeding

Use a quality potting mix, never garden soil, and make sure the box drains well. Expect to water at least twice a week, and daily in a heat wave; wind dries boxes out quickly. Starting in early July, feed every two weeks with a liquid fertilizer so the flowers keep coming.

Choose the box itself

A painted box that matches your trim or shutters looks built-in rather than added on. Size it to the full width of the window, and mount it on sturdy brackets set a few inches below the sill.

Keep It Going Through the Seasons

On the island, summer boxes run roughly from Memorial Day to Columbus Day. When summer annuals fade, swap in mums, ornamental kale and grasses for fall, then evergreen boughs and berries for winter. Replacing a tired plant beats nursing it along.

A beautiful window box is one of the simplest ways to make a house feel loved. Pick one color story, plant in three layers and give it a little care each week. For more of the island, read my Nantucket designer’s guide.

Bring the Island Home

Nantucket style doesn’t stop at the window box. Natural textures like seagrass, rattan and woven wicker carry that relaxed, sun-washed feeling indoors. Here are three of my favorite pieces for a coastal entry or living room.

Palma Rattan Gold Vanity Mirror

Palma Rattan Gold Vanity Mirror
$555

Sanctuary Candle

Sanctuary Candle
$45

Hamptons Wicker Scallop Console Table

Hamptons Wicker Scallop Console Table
$1,893

2 Hour Interior Design Virtual or In Person Consultation
Anchor Coffee Table

Anchor Coffee Table
$3,464

Marisol Tray

Marisol Tray
$280

Avalon Square Mirror

Avalon Square Mirror
$1,995

SOMETHING FOR EVERYONE

THE PIECES RACHEL RETURNS TO, AGAIN AND AGAIN