June 11, 2025 • 35 mins
Today, Dean talks about how design matters most when it comes to your home, and that great architecture should feel theatrical. Your home is like a stage -- it can be designed to fit the tastes of everyone who lives under the roof. Placing a spotlight on the stage darkens things up, and Dean explains how it has the opposite effect of what most people think it does. Dean also talks about cemeterial images and the fine arts, like the Mona Lisa.
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Episode Transcript
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Speaker 1 (00:00):
KFI AM six forty. You're listening to Dean Sharp the
House Whisper on demand on the iHeart Radio app. Today
on the show, we're taking another big step in that direction.
It's a Design Matters Most Morning here on the program.
You know, Design Matters Most is kind of that. That
(00:21):
is the underlying theme of all things that we discuss
here on the programs. Why we are here, it's to
help you understand that place of design in the crucial
role that it plays in putting together a home that
is truly, truly extraordinary and truly yours. And it's a
(00:42):
difficult thing. It's a tricky thing for most people. If
you're not a professional home designer, an architect or an
architectural designer or a decorator, you may not you may
really struggle with understanding where to start how to see
a house. In fact, I know a lot of architects
and decorators and designers who struggle with how to start
(01:07):
and where to see a house. Well, I want to
approach the whole subject with you today in a way
that I hope helps liberate your thinking and get you
kind of in the groove on how to see your home.
And that is that we're going to present a truth
which I have understood for many a year now and
(01:29):
has helped to guide me. Guides me through every whisper
that we do, on every home consult, it guides me
through every project that we do. It is a fundamental
truth to architecture and architectural design, and it is very
simply this, great architecture is theater. Great architecture is theater. Now,
(01:52):
don't be dismayed. That may make you think at first,
oh great, Well that's even more complex because I don't
know understand theater either. Yeah, you do. You understand theater
far more I would say than you understand home design.
And because of that, we're going to break these things apart.
Use that metaphor use that analogy for all that it's
(02:14):
worth today to help you better understand how to start
understanding every space in your house. It doesn't mean that
we're going to turn you into a home designer today.
It doesn't mean that we're going to bypass the creativity
and the gifting of those who are do this professionally.
(02:35):
I don't. I'm not putting myself out of a job here,
but what I am doing is hoping to center you
in your understanding of exactly what we're trying to do
with every space, every room, every approach to your home.
So today on the program, it is a Design Matters
(02:55):
most morning, and we are taking on the whole subject
that great architecture is theater, all right, so go nowhere,
and of course we're gonna be taking your calls as well.
The phone lines are open right now, and when it
comes to calls, you can call me about anything you want.
So we're talking architecture as theater today. You can call
(03:20):
me about that leaky toilet or the weird thing that's
going on with your roof, or anything else construction DIY,
design concerns, whatever the case may be. When it comes
to calls, you set the agenda. Here is the number
to reach me. Eight three three two ask Dean eight
three three to ask Dean A three three the numeral
(03:41):
two ask Dean. The phone lines are open now. And
speaking of that, let me introduce our awesome team. Elmer,
of course is on the board. Good morning, Elmer, what why?
Speaker 2 (03:54):
Good morning Dean?
Speaker 1 (03:55):
How you doing I'm good, I'm so good. Dean? Are
you really really you've seen really enthused? What's going right
for you this morning? Oh water, I guess hydrated. He's draded.
This is elmert when he's hydrated. It's great, You're awesome, man.
(04:18):
H also in studio with us today near microphones, which
is always a treat. Producers Richie and Nicky standing by
to take your calls. Good morning, y'all. I'm doing great,
Nicki Nicki's uh that's the Nicky's voice there. That was
(04:40):
that's born and raised in Bondai Beach. It is. It's
one of the greatest beaches in the world. Ritchie, where's
your uh where where's your accent? Uh? You know, cultivated
San Fernando Valley.
Speaker 2 (04:58):
Yeah.
Speaker 1 (05:01):
Well you know what man, if you're if you're listening
to us in uh, you know des Moines, Iowa, that
that can that can sound pretty exotic, like totally. Ritchie
is totally a valuable uh. And my buddy Eileen Gonzalez
at the news desk, Good morning, Eileen, Good morning Dean.
(05:22):
How's it going good? Good? Good? Do we have a
tea of choice this morning? Loaded up and ready to go.
It's the finest green tea you can get from the
KFI break room. Oh, very exotic. Although when uh, when
Elmer mentioned water, I did grab my water, and I'm
very bad at doing that. So all right, well see
(05:44):
soon you work on that water, and by maybe by
the second break or so, you will be as charged
up as Elmer is this morning, because you'll before. Yeah,
sitting across the table from me, there she is. You
know what she said right before we went on the air.
She's like, so handsome. I did say that, you did.
(06:04):
I did. That's why. That's why we keep you right there,
right across the table. That's why we've been married for
thirty My better half, my design partner, the co founder,
co owner of House Whisper, and also the person who
happens to be my best friend in all the world.
Tina is here there you Yeah, I waited. I paused
(06:29):
for the elephant. Tina loves elephants, loves them. I just
watched an elephant on Instagram Save a gazelle. Save a gazelle. Yeah,
it was drowning in the water, and it used its
trunk to pull it out of the water. Oh oh,
and then it used it to scratch its back. Elephants
(06:53):
are the best. All right, We've already got calls showing
up on the callboard. That's great, that's fantastic verying is
falling into place for us this morning, for you and
I now to enter into this time of thinking about
home design. And honestly, I'm excited about today's show because
I've used this, you know, in presentations, in conversations with
(07:18):
clients before. I've used this metaphor often. You've heard me
say it from time to time here on the show,
that great design is theater. I'm going to break that
apart for you this morning into real crunchy, practical bits
so that you understand exactly what I mean by it.
And if you hold on to that metaphor, you won't
(07:39):
lose sight. I promise you won't lose sight of how
to approach what's right, what's wrong, what's missing, what needs
to change about that troublesome space or spaces in your home.
I promise you.
Speaker 2 (07:55):
You're listening to Home with Dean Sharp on demand from KFI. AM.
Speaker 1 (08:02):
Hey, just a reminder follow us on show so media
social so social soosha media social media social media. We
only do the good kind, uplifting, informative, inspiring stuff. We're
on all the usual suspects Instagram, TikTok, Facebook x, whatever
else is out there. We're there home with Dean. Same
(08:24):
handle for them all. And uh, if your home is
in need of some personal house whisper attention, you can
always book an in home design consult with me and
the t I'll be talking about those or referring to
those throughout the show today, just to as we're discussing
how we go about moving through a home and helping
people understand what they need to change or what they
(08:46):
could change or what they could improve. But if if
you're looking for that for your project, then you can
get me and Tea over there. Just go to house
Whisperer dot design and you'll get more information. Okay. Oh
and by the way, the number to reach me because
we will be going to the phones in a bit
eight three three two ask Dean. It's just that simple
(09:08):
to ask Dean. Eight three to three the numeral two.
Ask Dean. Okay, let us begin, shall we? All the
world is a stage. That's what Shakespeare wrote in Hamlet.
I would change that to all your home is a stage.
And I don't mean this in the flippant, artificial, superficial
(09:35):
kind of facebookie everything in my life is glorious kind
of way. I mean in a very very real sense
that our homes have the potential of being stages. That
they are theater in the best of ways, in that
they can tell stories that thrill us, that comfort us,
(09:56):
that wrap themselves around us, and that we can and
that affect us every day. My family room is a
lovely stage that Tina and I have designed for us,
just for us. It fits us well. I was up
this morning. It's overcast, it was cool, very very misty.
(10:17):
The house was kind of cool this morning, and the
sun was not up yet, and it was a great
time to pour myself a cup of coffee and go
over to where our fireplace sits in the corner of
the family room and a little seating area that we've
created there, a little set, a little stage. There's two
beautiful leather club chairs that sit there and swivel in
(10:41):
one of them. My beagle, Samuel, Sammy the beagle sitting
there sleeping in one club chair. I took the other.
I lit the fireplace, I sipped my coffee, ate a
little oatmeal, and had thoughts about the day. And at
one point, as I was thinking about the show, I
paused and I thought, yeah, eggs exactly right here, sitting
(11:02):
next to this beautiful, not awesome, not awe inspiring. Because
I live in a cottage. I'm not trying to drop
jaws with what happens in my house. But it's lovely
and it's beautiful, and it's warm and it's inviting. And
I was the recipient of all of that this morning.
I was in the middle of it all. And that's
(11:24):
the kind of experience that I want you and your
guests and your family and everybody who moves through your
home to have when it comes to your home as well.
And that's what I mean that great architecture is truly theater.
I'm going to use an example later of a story
that we all know, and it's not an example of
(11:45):
a home. It's an example of some greater piece of architecture.
But instead of trying to find out a house that
everybody who's listening to me has been through, been to,
or seen or understand, I'm going to use something a
little bit more or grand. But the point is we're
gonna illustrate how powerful a story can be when it
(12:06):
comes to architecture. Every space is a stage, every angle
of view is a scene. Every element of a space
is either a leading actor or a supporting actor or
some part of the setting behind it all. They're not
competing for center stage when it's done properly, but they
are complementing each other, each in its place, working to
(12:30):
tell the story. The house. Your house is never about
one scene or one actor. It's always about the story,
and the presence or the absence of every element is
all about telling that story. Every scene has a purpose,
and therefore every scene has a setting. It has a
focal point, a hierarchy of elements and actors, and a
(12:54):
sequence of experiences. That's what we're going to try and
deconstruct this morning. These ideas may seem too lofty for
your humble place, but I promise you. I promise you
that if you haven't looked at your house in this way,
it will revolutionize the way you see it. And if
you haven't looked at your house in this way and
(13:16):
run it through this kind of filter, you haven't given
it the chance to be all that it's capable of being.
That's all I'm saying. So you hold with me and
do this exercise with me as we go. Right now.
When it comes to theater, there are advantages that theater
directors and movie directors have over architects and designers, and
(13:41):
the advantage is they have more control over your attention,
over your direction. Right, a director can choose to center
the subject in the frame and simply not move the camera,
and if you're going to watch the film, you are
there and you don't have the choice of looking left
or right or all around.
Speaker 2 (14:03):
You know.
Speaker 1 (14:03):
In recent years, the discussion has come, especially now with
the rise and or the massive popularity of first person perspective,
first person player video games, you know, immersive worlds that well,
wouldn't it be cool one day when you could sit
in the theater and you're experiencing it all in three
(14:26):
sixty And I'll tell you a lot of storytellers and
a lot of directors are excited by that, and a
lot of them are not, because then they are going
to have to tell stories like architects and not like
movie directors, because they will not have complete control over
your attention by simply being able to limit your focus
(14:50):
to what it is that they want you to see.
They are going to have to compete with the entire
variety of the environment and the fact that you can
turn your head and look away from the story that
they're trying to tell. But right now, as it stands,
directors of stage and screen, they have more control. They
(15:11):
can center the subject in the frame, they can hold
you there. You know, A very popular move and technique
in filmmaking is what we call focus pulling. You understand
what that is. It's when we're using a very short
depth of field in I say we as if I'm
a director of a film. I'm not. It's when they
(15:31):
use a very short depth of field of focus, meaning
only one thing can be in focus and the background
is not in focus. Right, and so maybe there's a
character in the background having a conversation with our lead character.
Our lead character is in focus and they're a little
bit fuzzy, and then when they comment, the director pulls
the focus from the front back to the back character
(15:54):
and now they're in clear perspective and our other character
is out of focus. That's pulling focus. That is a
way of simply moving and forcing you to move your
attention from one thing to the other. These are all
control mechanisms that great directors use. On stage, we use spotlights, right.
(16:14):
A spotlight isn't just to bring a lot of light
onto somebody. It's really The purpose of a spotlight is
to de emphasize everything else around it. Okay, it's just
the opposite of what you would think. You would think. Ah,
spotlight is to bring all is to light me up
brighter than you know. Regular stage lighting light's an actor
(16:37):
up just fine, But a spotlight darkens everybody else around
so that your attention is where you want it to be.
And then, of course there's editing in the process, especially
editing when it comes to film, ruthless editing. All of
these ideas have a corollary in our textual design, and
(17:02):
all of them are the kinds of things that you
can apply when it comes to looking at your space.
And so that's where we're gonna begin. We're gonna take
all of these ideas that I've just described to you,
and we're gonna begin by walking into a space. So
here's what I want you to do. I want you
to think of the space in your home, any space
(17:22):
at all, especially if one is troubling you. Okay, I
want you to think of that space. And what we're
gonna do right after the news is we're going to
take one step into that space from its primary position
of entry. Okay. The way that you enter that space,
and we're gonna stop right there and we're gonna ask
(17:43):
some theatrical questions about what it is that we see.
All right, you hang tight, think of that space. Hang tight.
Speaker 2 (17:52):
You're listening to Home with Dean Sharp on demand from
KFI AM six.
Speaker 1 (17:58):
Dean Sharp, the house Whisperer here for you this morning,
as I am every Sunday morning from nine to noon,
here to take that place where you live and turn
it into something extraordinary. It doesn't matter whether you're in
a cottage, castle, a condo. It matters not. And one
of the points of today's program is the fact that
(18:22):
architectural design great design. It doesn't have to do with
the big house behind the big gates. Only it often
appears there, but it doesn't always have to be there.
It applies to everything across the board, be it ever
so humble. There is no place like home, and there's
(18:45):
no place like a home, even a humble home, that
has been designed in such a way that it tells
the beautiful story of your beautiful life in the most
effective way possible. And that's what we're about here, talking
about home as theater today. That great design is theater.
So before the break. I said, here's the thing. Imagine
(19:07):
that one place in your home. Maybe you're standing there.
Maybe you just listen to me on the stream, or
you've got the speaker playing in the bad maybe you're
there right now, standing there. Here is the space that
you've had trouble with. Here's the space that has not
impressed you. Here's the space you wish you could do
more with. And I want you to step up in
(19:29):
your mind or in reality right now either way, step
into it, just or maybe not even into it yet.
Stand at the threshold of that space. From the direction
or the way that you enter that space. So if
it's the room like a bedroom or something like that,
stand in the doorway. If it's a family room or
(19:52):
a dining room or a kitchen, wherever it is. However,
it is the primary way that you move into that space.
And I understand, I fully underst there may be more
than one way to move into that space. And we're
going to do this. I'm going to tell you to
apply these principles from every single angle of view that
you approach a space from. Okay, that's what makes it
(20:14):
tricky at times. But let's just talk about the primary
way you enter a space. Okay, you're standing there and
you've decided, Okay, this is how we enter a space.
From where here we are, Now, now what do we see?
What do we see? And this is asking you to
(20:34):
have eyes beyond where your brain usually goes, because the
problem that most of us have about our homes is
that we're house blind to our homes. We've lived in
our homes for so long we've moved through that it
doesn't have to be years and years. It could just
be weeks and months. Okay. The human brain is very
plastic and it adapts very quickly. We move through a space,
(20:59):
and when we move through a space time after time,
day after day, hour after hour, then our brain starts
to put our experience of that space, push it down
into our subconscious. That's actually what we call mastery. You've
started to master the space as far as movement and
working with it, but you've very likely lost mastery over
(21:21):
its actual appearance. For that, we need fresh eyes, new eyes. Okay,
So we're standing there in the entry to the space
and we're asking ourselves what do we see? Now Here
is where we apply the rules of theater. Is there
a focal point like I was talking about earlier, where
(21:43):
a film director centers the subject in the middle of
the screen, so you can't you look away, or there's
some things in focus and everything else is blurred out,
or something is there's some technique for bringing your attention
to a particular place, you know, And again in the movies,
(22:05):
there's a million ways to do this. Maybe the entire
scene is black and white except for the little girl
in the little red coat, like Stephen Spielberg did in
Shindler's List, and it doesn't matter where she is on
the frame. It is simply the only dot of color
in the entire view, and therefore your eyes are just
(22:26):
drawn to it. So we don't have that level of
control in that simplistic way. Not to diss on movie directors,
it's just harder with architecture. But the question remains, when
you stand in this space, is there a focal point?
In other words, you may have a lot of actors
on this stage. There may be a lot of things
(22:47):
that we're looking at, but you know when it comes
to theater that there's a hierarchy of things happening on
a stage. Right. Not every actor is a leading actor,
Not every body on state. There are leading actors, and
they've got the most lines. They are the ones who
are carrying the story the most. There are supporting actors
(23:08):
who come and go and help support the story. There
are extras, which are just bodies in the background. They're
not actually you know, they're murmuring or eating dinner or blah.
They are not driving the story forward, but they're supporting
the general ambiance of the scene. And then there's the
setting itself. Okay, there are layers, aren't there? And the
(23:32):
question is this space that you're staring at right now,
are those kinds of layers there or is everything kind
of set up in one flat plane where everything and
anything could be drawing your attention and there's no focal point. Okay, Now,
doesn't mean that every room has to have a show stopper,
(23:55):
or that every room has to have some super fancy,
artsy expensive thing. It's just a question of what is
the focal point. We were just at a home on Friday.
On Friday, I promised them that this show was not
about them because I wrote it before them, but I'm
going to mention them. We're in this home and beautiful folks,
(24:17):
and as you walk down this hallway, you have no
choice but to enter the living room through one portal,
and when you stand on the threshold of that portal,
there is no question that the far wall of the
living room slash family room is a symmetrical image. There
is a window on the left and a window on
the right. And guess what's in the middle. It's a
(24:38):
big vaulted room with a tall, tall ceiling, and smack
dab in the middle is the fireplace. There is no
way to deny that in that room, the fireplace is
and should be the focal point. That only means that
it's your leading actor. It only means that when you
(25:00):
walk into this room, that's your best shot to put
words in that actor's mouth. That is your best shot
of beginning to tell the story of what this room
is all about. You're vibeing with me. You're starting to
understand what I'm saying. All right.
Speaker 2 (25:17):
You're listening to Home with Dean Sharp on demand from
KFI Am six forty.
Speaker 1 (25:25):
Here we are talking about your home specifically. Did you
know that. I'm sorry somebody should have called you to
let you know we were talking about your home today.
But we are talking about your home. We're talking about
how great architecture and great design is truly theater. And
I'm using this metaphor this analogy as a way of
(25:50):
helping to illustrate to you what it is exactly that
we're looking for when we start wrestling with that space,
that troublesome space in your home. And it could be anywhere,
could be everything, could be each room that's been neglected
in these terms. It could be the front of the house,
the back of that. It doesn't matter. These rules apply
(26:11):
every time that we give somebody a view of any
part of your house, honestly, and I don't want you
to be overwhelmed by that. I just want you to
know because we're breaking it apart room for room, space
for space as we go. But the rules apply, the
rules of really good theater apply. So I've had you
imagine whatever that troubling space is or the place that
(26:35):
you wish you could do more with. And we've been
talking about the fact that a focal point is your
first hit. It's your first hit as you enter that
room or even when you stand at the threshold of
that room, asking the question is there a focal point? Now,
in architectural terms, we call this hierarchy of elements, and
(26:58):
that sounds all very you know, academic. I just want
it to be clear to you that we're talking about
a focal point. We're talking about what is it that
directs you, as somebody experiencing the room, to look where
the room wants you to look first. And it should
be said, just like on a stage, just like on
(27:20):
the screen, that all the actors, all the elements, they
all can't be talking at the same time. They all
can't be crowding for the front of the stage. They
all can't be taking center stage. That's why there are
lead actors and supporting actors and extras and scenes and
sets and all of these things. And they are all
in layers, and they are all very intentionally ordered. And
(27:43):
by the way, the same holds true for all art.
All art, whether it's music, you know, there is that
one driving melody or rhythm that's running through the whole thing.
There's one voice, or there's voices in sync with each other,
you know, in music, or even in fine art. Now
let's talk about fine art for a second. Okay, as
(28:05):
an example, let's talk about something that everybody has seen, right,
maybe not in person, most of us not in person,
but the Mona Lisa. Right arguably the most famous painting
in the world. The Mona Lisa is set up for
you to look at certain things in a certain order.
(28:27):
And if you have never realized that, it's just simply
a subconscious thing. And no, it's not her face that
you actually go to first. It is actually literally when
you look at the Mona Lisa, it is her upper chest. Okay,
not her breasts that those are all covered up and
you know, dark, but right here, like where a necklace
(28:49):
would be or should be, like right where her collarbones are. Okay,
right there it is then, And by the way, there's
nothing there. There's nothing there. It's just there's no jewelry,
there's no anything there. Right, But it is the brightest
spot in the painting, literally the brightest area the painting,
(29:10):
A large bright spot in the painting. You can go
check this out. You'll know that I'm telling you the truth.
It's a large bright spot in the painting. And there's
not much going on there, okay, but it's large and
it's literally centered in the entire frame of the artwork.
When you look at the Mona Lisa, your eyes go
(29:33):
there first, because it's a bright spot in the center
of a relatively dark painting. And then since there's nothing there,
where do you go next? Well, you go to the
next most interesting place, which is her face, and your
eyes trail up. See they trail up. So here's the trick. Right,
(29:56):
when this painting gets painted, the brilliant genius who did this.
What he wants you to focus on is her mouth first,
not her eyes, right, not her nose. So how does
he get you to her mouth? Well, he comes from underneath,
comes from her collarbones, which is where he zips your
(30:19):
eyes first, and then you trail up to the next
most interesting thing, and you hit her mouth before you
hit her nose and her eyes. And therefore the intrigue
of the Mona Lisa, famously historically is that smile. Is
she smirking? Is she smiling? All of the emotion of
(30:39):
her face is piled into this tiny, subtle, strange, questioning expression,
the way she's holding her lips. This is the star
of the show. Here is the leading actor in the view, right,
And everybody talks about the Mona Lisa smile. Right. There
is a lot going on in the Mona Lisa, by
(31:01):
the way, a lot, right. Not only do you see
the rest of her face, but you can look down
at her hands. And in the background there are trees,
there's a river, there's a bridge. Yeah, all of these things.
There's a lot happening in that painting. But the very
(31:22):
first thing that your eyes go to is exactly where
he wanted you to go to, which is this bright
spot where nothing's happening. And then you trail up and
you start pondering what is with her and that mouth? Okay,
So the point is this, Yes, that's the end of
your fine art lesson for the day. The point is
(31:43):
very simply this, A really good artist, a really good
designer has exercises control over where its audience looks. Okay,
And the same is true with your room that you're
wrestling with, but the space that you're wrestling with. So
(32:03):
the question comes again, I will ask you where is
the focal point? So when I say that, I mean
it in two different ways. Number One, what in the
room is actually grabbing your attention? Is anything in the
room grabbing your attention? Maybe the answer is yes or no, okay,
(32:25):
And I mean it in the second way, which is
naturally speaking, by the shape and the contour and the
elements of the room. What should be grabbing your attention naturally,
like I said, in the home that we walked into
on Friday, the family room, there is no question that
between these two symmetrical windows there is this. The largest
(32:50):
single element in the room was the fireplace. And by
the way, not our homeowners who had beautiful sense of taste,
but the builders the original bills of this home, they
totally botched the fireplace, watched it. It is the central
element of the view. There's no way to enter this
(33:10):
room without the fireplace being the central element of the room.
Now you may say to me, well, that's the truth
with my house too, but I don't really do fireplaces.
Well it's time to do fireplaces. I don't mean that
you have to build a fire in the fireplace. What
I mean is that you need to recognize the lead actor.
(33:31):
You may not like the lead actor, you may want
to defer to somebody else, But the fact of the
matter is, if that's the central organizing principle of this
space visually, then you got to deal with it. You
got to deal with it and make the most of it.
You see, all the world is a stage, so is
(33:54):
your home. Great architecture is theater. And if we start
to understand that and parse that into its bits, then
you can understand that not everything in a room can
be the beginning of the story. Tina and I were
talking about this too. Caustina comes from the world of
graphic design and how quite often in the print of
(34:16):
a page, especially in an older work, or the beginning
of a chapter of an older book, we used to
use drop caps. You know what to drop cap is.
It's when that first letter of the first word of
the first paragraph on a page is like three lines tall, right,
like that extra big D or an extra big T
(34:38):
or whatever it is that starts that phrase. That's a
drop cap. And what does it do. It draws your
attention to this moment and it says to you something
new is a beginning here, This is a beginning. See
what I'm saying, ways of drawing attention the focal point?
Speaker 2 (34:55):
All right?
Speaker 1 (34:56):
When we return to this conversation, and oh yes we will,
then we're going to talk about two other elements that
we're going to talk about in this room. One is
there a path? And two how do we do editing
if we need to? Ruthless editing if necessary? Which is
(35:16):
something that a lot of folks struggle with editing the
story in the room, so we'll we'll hit it all.
But guess what, it's top of the hour. So when
we return from the news break, we are going to
the phones. Your home Dean Sharp, the House Whisper on KFI.
This has been Home with Dean Sharp, the House Whisper.
(35:36):
Tune into the live broadcast on KFI AM six forty
every Saturday morning from six to eight Pacific time and
every Sunday morning from nine to noon Pacific time, or
anytime on demand on the iHeartRadio app.
KFI AM six forty. You're listening to Dean Sharp the
House Whisper on demand on the iHeart Radio app. Today
on the show, we're taking another big step in that direction.
It's a Design Matters Most Morning here on the program.
You know, Design Matters Most is kind of that. That
(00:21):
is the underlying theme of all things that we discuss
here on the programs. Why we are here, it's to
help you understand that place of design in the crucial
role that it plays in putting together a home that
is truly, truly extraordinary and truly yours. And it's a
(00:42):
difficult thing. It's a tricky thing for most people. If
you're not a professional home designer, an architect or an
architectural designer or a decorator, you may not you may
really struggle with understanding where to start how to see
a house. In fact, I know a lot of architects
and decorators and designers who struggle with how to start
(01:07):
and where to see a house. Well, I want to
approach the whole subject with you today in a way
that I hope helps liberate your thinking and get you
kind of in the groove on how to see your home.
And that is that we're going to present a truth
which I have understood for many a year now and
(01:29):
has helped to guide me. Guides me through every whisper
that we do, on every home consult, it guides me
through every project that we do. It is a fundamental
truth to architecture and architectural design, and it is very
simply this, great architecture is theater. Great architecture is theater. Now,
(01:52):
don't be dismayed. That may make you think at first,
oh great, Well that's even more complex because I don't
know understand theater either. Yeah, you do. You understand theater
far more I would say than you understand home design.
And because of that, we're going to break these things apart.
Use that metaphor use that analogy for all that it's
(02:14):
worth today to help you better understand how to start
understanding every space in your house. It doesn't mean that
we're going to turn you into a home designer today.
It doesn't mean that we're going to bypass the creativity
and the gifting of those who are do this professionally.
(02:35):
I don't. I'm not putting myself out of a job here,
but what I am doing is hoping to center you
in your understanding of exactly what we're trying to do
with every space, every room, every approach to your home.
So today on the program, it is a Design Matters
(02:55):
most morning, and we are taking on the whole subject
that great architecture is theater, all right, so go nowhere,
and of course we're gonna be taking your calls as well.
The phone lines are open right now, and when it
comes to calls, you can call me about anything you want.
So we're talking architecture as theater today. You can call
(03:20):
me about that leaky toilet or the weird thing that's
going on with your roof, or anything else construction DIY,
design concerns, whatever the case may be. When it comes
to calls, you set the agenda. Here is the number
to reach me. Eight three three two ask Dean eight
three three to ask Dean A three three the numeral
(03:41):
two ask Dean. The phone lines are open now. And
speaking of that, let me introduce our awesome team. Elmer,
of course is on the board. Good morning, Elmer, what why?
Speaker 2 (03:54):
Good morning Dean?
Speaker 1 (03:55):
How you doing I'm good, I'm so good. Dean? Are
you really really you've seen really enthused? What's going right
for you this morning? Oh water, I guess hydrated. He's draded.
This is elmert when he's hydrated. It's great, You're awesome, man.
(04:18):
H also in studio with us today near microphones, which
is always a treat. Producers Richie and Nicky standing by
to take your calls. Good morning, y'all. I'm doing great,
Nicki Nicki's uh that's the Nicky's voice there. That was
(04:40):
that's born and raised in Bondai Beach. It is. It's
one of the greatest beaches in the world. Ritchie, where's
your uh where where's your accent? Uh? You know, cultivated
San Fernando Valley.
Speaker 2 (04:58):
Yeah.
Speaker 1 (05:01):
Well you know what man, if you're if you're listening
to us in uh, you know des Moines, Iowa, that
that can that can sound pretty exotic, like totally. Ritchie
is totally a valuable uh. And my buddy Eileen Gonzalez
at the news desk, Good morning, Eileen, Good morning Dean.
(05:22):
How's it going good? Good? Good? Do we have a
tea of choice this morning? Loaded up and ready to go.
It's the finest green tea you can get from the
KFI break room. Oh, very exotic. Although when uh, when
Elmer mentioned water, I did grab my water, and I'm
very bad at doing that. So all right, well see
(05:44):
soon you work on that water, and by maybe by
the second break or so, you will be as charged
up as Elmer is this morning, because you'll before. Yeah,
sitting across the table from me, there she is. You
know what she said right before we went on the air.
She's like, so handsome. I did say that, you did.
(06:04):
I did. That's why. That's why we keep you right there,
right across the table. That's why we've been married for
thirty My better half, my design partner, the co founder,
co owner of House Whisper, and also the person who
happens to be my best friend in all the world.
Tina is here there you Yeah, I waited. I paused
(06:29):
for the elephant. Tina loves elephants, loves them. I just
watched an elephant on Instagram Save a gazelle. Save a gazelle. Yeah,
it was drowning in the water, and it used its
trunk to pull it out of the water. Oh oh,
and then it used it to scratch its back. Elephants
(06:53):
are the best. All right, We've already got calls showing
up on the callboard. That's great, that's fantastic verying is
falling into place for us this morning, for you and
I now to enter into this time of thinking about
home design. And honestly, I'm excited about today's show because
I've used this, you know, in presentations, in conversations with
(07:18):
clients before. I've used this metaphor often. You've heard me
say it from time to time here on the show,
that great design is theater. I'm going to break that
apart for you this morning into real crunchy, practical bits
so that you understand exactly what I mean by it.
And if you hold on to that metaphor, you won't
(07:39):
lose sight. I promise you won't lose sight of how
to approach what's right, what's wrong, what's missing, what needs
to change about that troublesome space or spaces in your home.
I promise you.
Speaker 2 (07:55):
You're listening to Home with Dean Sharp on demand from KFI. AM.
Speaker 1 (08:02):
Hey, just a reminder follow us on show so media
social so social soosha media social media social media. We
only do the good kind, uplifting, informative, inspiring stuff. We're
on all the usual suspects Instagram, TikTok, Facebook x, whatever
else is out there. We're there home with Dean. Same
(08:24):
handle for them all. And uh, if your home is
in need of some personal house whisper attention, you can
always book an in home design consult with me and
the t I'll be talking about those or referring to
those throughout the show today, just to as we're discussing
how we go about moving through a home and helping
people understand what they need to change or what they
(08:46):
could change or what they could improve. But if if
you're looking for that for your project, then you can
get me and Tea over there. Just go to house
Whisperer dot design and you'll get more information. Okay. Oh
and by the way, the number to reach me because
we will be going to the phones in a bit
eight three three two ask Dean. It's just that simple
(09:08):
to ask Dean. Eight three to three the numeral two.
Ask Dean. Okay, let us begin, shall we? All the
world is a stage. That's what Shakespeare wrote in Hamlet.
I would change that to all your home is a stage.
And I don't mean this in the flippant, artificial, superficial
(09:35):
kind of facebookie everything in my life is glorious kind
of way. I mean in a very very real sense
that our homes have the potential of being stages. That
they are theater in the best of ways, in that
they can tell stories that thrill us, that comfort us,
(09:56):
that wrap themselves around us, and that we can and
that affect us every day. My family room is a
lovely stage that Tina and I have designed for us,
just for us. It fits us well. I was up
this morning. It's overcast, it was cool, very very misty.
(10:17):
The house was kind of cool this morning, and the
sun was not up yet, and it was a great
time to pour myself a cup of coffee and go
over to where our fireplace sits in the corner of
the family room and a little seating area that we've
created there, a little set, a little stage. There's two
beautiful leather club chairs that sit there and swivel in
(10:41):
one of them. My beagle, Samuel, Sammy the beagle sitting
there sleeping in one club chair. I took the other.
I lit the fireplace, I sipped my coffee, ate a
little oatmeal, and had thoughts about the day. And at
one point, as I was thinking about the show, I
paused and I thought, yeah, eggs exactly right here, sitting
(11:02):
next to this beautiful, not awesome, not awe inspiring. Because
I live in a cottage. I'm not trying to drop
jaws with what happens in my house. But it's lovely
and it's beautiful, and it's warm and it's inviting. And
I was the recipient of all of that this morning.
I was in the middle of it all. And that's
(11:24):
the kind of experience that I want you and your
guests and your family and everybody who moves through your
home to have when it comes to your home as well.
And that's what I mean that great architecture is truly theater.
I'm going to use an example later of a story
that we all know, and it's not an example of
(11:45):
a home. It's an example of some greater piece of architecture.
But instead of trying to find out a house that
everybody who's listening to me has been through, been to,
or seen or understand, I'm going to use something a
little bit more or grand. But the point is we're
gonna illustrate how powerful a story can be when it
(12:06):
comes to architecture. Every space is a stage, every angle
of view is a scene. Every element of a space
is either a leading actor or a supporting actor or
some part of the setting behind it all. They're not
competing for center stage when it's done properly, but they
are complementing each other, each in its place, working to
(12:30):
tell the story. The house. Your house is never about
one scene or one actor. It's always about the story,
and the presence or the absence of every element is
all about telling that story. Every scene has a purpose,
and therefore every scene has a setting. It has a
focal point, a hierarchy of elements and actors, and a
(12:54):
sequence of experiences. That's what we're going to try and
deconstruct this morning. These ideas may seem too lofty for
your humble place, but I promise you. I promise you
that if you haven't looked at your house in this way,
it will revolutionize the way you see it. And if
you haven't looked at your house in this way and
(13:16):
run it through this kind of filter, you haven't given
it the chance to be all that it's capable of being.
That's all I'm saying. So you hold with me and
do this exercise with me as we go. Right now.
When it comes to theater, there are advantages that theater
directors and movie directors have over architects and designers, and
(13:41):
the advantage is they have more control over your attention,
over your direction. Right, a director can choose to center
the subject in the frame and simply not move the camera,
and if you're going to watch the film, you are
there and you don't have the choice of looking left
or right or all around.
Speaker 2 (14:03):
You know.
Speaker 1 (14:03):
In recent years, the discussion has come, especially now with
the rise and or the massive popularity of first person perspective,
first person player video games, you know, immersive worlds that well,
wouldn't it be cool one day when you could sit
in the theater and you're experiencing it all in three
(14:26):
sixty And I'll tell you a lot of storytellers and
a lot of directors are excited by that, and a
lot of them are not, because then they are going
to have to tell stories like architects and not like
movie directors, because they will not have complete control over
your attention by simply being able to limit your focus
(14:50):
to what it is that they want you to see.
They are going to have to compete with the entire
variety of the environment and the fact that you can
turn your head and look away from the story that
they're trying to tell. But right now, as it stands,
directors of stage and screen, they have more control. They
(15:11):
can center the subject in the frame, they can hold
you there. You know, A very popular move and technique
in filmmaking is what we call focus pulling. You understand
what that is. It's when we're using a very short
depth of field in I say we as if I'm
a director of a film. I'm not. It's when they
(15:31):
use a very short depth of field of focus, meaning
only one thing can be in focus and the background
is not in focus. Right, and so maybe there's a
character in the background having a conversation with our lead character.
Our lead character is in focus and they're a little
bit fuzzy, and then when they comment, the director pulls
the focus from the front back to the back character
(15:54):
and now they're in clear perspective and our other character
is out of focus. That's pulling focus. That is a
way of simply moving and forcing you to move your
attention from one thing to the other. These are all
control mechanisms that great directors use. On stage, we use spotlights, right.
(16:14):
A spotlight isn't just to bring a lot of light
onto somebody. It's really The purpose of a spotlight is
to de emphasize everything else around it. Okay, it's just
the opposite of what you would think. You would think. Ah,
spotlight is to bring all is to light me up
brighter than you know. Regular stage lighting light's an actor
(16:37):
up just fine, But a spotlight darkens everybody else around
so that your attention is where you want it to be.
And then, of course there's editing in the process, especially
editing when it comes to film, ruthless editing. All of
these ideas have a corollary in our textual design, and
(17:02):
all of them are the kinds of things that you
can apply when it comes to looking at your space.
And so that's where we're gonna begin. We're gonna take
all of these ideas that I've just described to you,
and we're gonna begin by walking into a space. So
here's what I want you to do. I want you
to think of the space in your home, any space
(17:22):
at all, especially if one is troubling you. Okay, I
want you to think of that space. And what we're
gonna do right after the news is we're going to
take one step into that space from its primary position
of entry. Okay. The way that you enter that space,
and we're gonna stop right there and we're gonna ask
(17:43):
some theatrical questions about what it is that we see.
All right, you hang tight, think of that space. Hang tight.
Speaker 2 (17:52):
You're listening to Home with Dean Sharp on demand from
KFI AM six.
Speaker 1 (17:58):
Dean Sharp, the house Whisperer here for you this morning,
as I am every Sunday morning from nine to noon,
here to take that place where you live and turn
it into something extraordinary. It doesn't matter whether you're in
a cottage, castle, a condo. It matters not. And one
of the points of today's program is the fact that
(18:22):
architectural design great design. It doesn't have to do with
the big house behind the big gates. Only it often
appears there, but it doesn't always have to be there.
It applies to everything across the board, be it ever
so humble. There is no place like home, and there's
(18:45):
no place like a home, even a humble home, that
has been designed in such a way that it tells
the beautiful story of your beautiful life in the most
effective way possible. And that's what we're about here, talking
about home as theater today. That great design is theater.
So before the break. I said, here's the thing. Imagine
(19:07):
that one place in your home. Maybe you're standing there.
Maybe you just listen to me on the stream, or
you've got the speaker playing in the bad maybe you're
there right now, standing there. Here is the space that
you've had trouble with. Here's the space that has not
impressed you. Here's the space you wish you could do
more with. And I want you to step up in
(19:29):
your mind or in reality right now either way, step
into it, just or maybe not even into it yet.
Stand at the threshold of that space. From the direction
or the way that you enter that space. So if
it's the room like a bedroom or something like that,
stand in the doorway. If it's a family room or
(19:52):
a dining room or a kitchen, wherever it is. However,
it is the primary way that you move into that space.
And I understand, I fully underst there may be more
than one way to move into that space. And we're
going to do this. I'm going to tell you to
apply these principles from every single angle of view that
you approach a space from. Okay, that's what makes it
(20:14):
tricky at times. But let's just talk about the primary
way you enter a space. Okay, you're standing there and
you've decided, Okay, this is how we enter a space.
From where here we are, Now, now what do we see?
What do we see? And this is asking you to
(20:34):
have eyes beyond where your brain usually goes, because the
problem that most of us have about our homes is
that we're house blind to our homes. We've lived in
our homes for so long we've moved through that it
doesn't have to be years and years. It could just
be weeks and months. Okay. The human brain is very
plastic and it adapts very quickly. We move through a space,
(20:59):
and when we move through a space time after time,
day after day, hour after hour, then our brain starts
to put our experience of that space, push it down
into our subconscious. That's actually what we call mastery. You've
started to master the space as far as movement and
working with it, but you've very likely lost mastery over
(21:21):
its actual appearance. For that, we need fresh eyes, new eyes. Okay,
So we're standing there in the entry to the space
and we're asking ourselves what do we see? Now Here
is where we apply the rules of theater. Is there
a focal point like I was talking about earlier, where
(21:43):
a film director centers the subject in the middle of
the screen, so you can't you look away, or there's
some things in focus and everything else is blurred out,
or something is there's some technique for bringing your attention
to a particular place, you know, And again in the movies,
(22:05):
there's a million ways to do this. Maybe the entire
scene is black and white except for the little girl
in the little red coat, like Stephen Spielberg did in
Shindler's List, and it doesn't matter where she is on
the frame. It is simply the only dot of color
in the entire view, and therefore your eyes are just
(22:26):
drawn to it. So we don't have that level of
control in that simplistic way. Not to diss on movie directors,
it's just harder with architecture. But the question remains, when
you stand in this space, is there a focal point?
In other words, you may have a lot of actors
on this stage. There may be a lot of things
(22:47):
that we're looking at, but you know when it comes
to theater that there's a hierarchy of things happening on
a stage. Right. Not every actor is a leading actor,
Not every body on state. There are leading actors, and
they've got the most lines. They are the ones who
are carrying the story the most. There are supporting actors
(23:08):
who come and go and help support the story. There
are extras, which are just bodies in the background. They're
not actually you know, they're murmuring or eating dinner or blah.
They are not driving the story forward, but they're supporting
the general ambiance of the scene. And then there's the
setting itself. Okay, there are layers, aren't there? And the
(23:32):
question is this space that you're staring at right now,
are those kinds of layers there or is everything kind
of set up in one flat plane where everything and
anything could be drawing your attention and there's no focal point. Okay, Now,
doesn't mean that every room has to have a show stopper,
(23:55):
or that every room has to have some super fancy,
artsy expensive thing. It's just a question of what is
the focal point. We were just at a home on Friday.
On Friday, I promised them that this show was not
about them because I wrote it before them, but I'm
going to mention them. We're in this home and beautiful folks,
(24:17):
and as you walk down this hallway, you have no
choice but to enter the living room through one portal,
and when you stand on the threshold of that portal,
there is no question that the far wall of the
living room slash family room is a symmetrical image. There
is a window on the left and a window on
the right. And guess what's in the middle. It's a
(24:38):
big vaulted room with a tall, tall ceiling, and smack
dab in the middle is the fireplace. There is no
way to deny that in that room, the fireplace is
and should be the focal point. That only means that
it's your leading actor. It only means that when you
(25:00):
walk into this room, that's your best shot to put
words in that actor's mouth. That is your best shot
of beginning to tell the story of what this room
is all about. You're vibeing with me. You're starting to
understand what I'm saying. All right.
Speaker 2 (25:17):
You're listening to Home with Dean Sharp on demand from
KFI Am six forty.
Speaker 1 (25:25):
Here we are talking about your home specifically. Did you
know that. I'm sorry somebody should have called you to
let you know we were talking about your home today.
But we are talking about your home. We're talking about
how great architecture and great design is truly theater. And
I'm using this metaphor this analogy as a way of
(25:50):
helping to illustrate to you what it is exactly that
we're looking for when we start wrestling with that space,
that troublesome space in your home. And it could be anywhere,
could be everything, could be each room that's been neglected
in these terms. It could be the front of the house,
the back of that. It doesn't matter. These rules apply
(26:11):
every time that we give somebody a view of any
part of your house, honestly, and I don't want you
to be overwhelmed by that. I just want you to
know because we're breaking it apart room for room, space
for space as we go. But the rules apply, the
rules of really good theater apply. So I've had you
imagine whatever that troubling space is or the place that
(26:35):
you wish you could do more with. And we've been
talking about the fact that a focal point is your
first hit. It's your first hit as you enter that
room or even when you stand at the threshold of
that room, asking the question is there a focal point? Now,
in architectural terms, we call this hierarchy of elements, and
(26:58):
that sounds all very you know, academic. I just want
it to be clear to you that we're talking about
a focal point. We're talking about what is it that
directs you, as somebody experiencing the room, to look where
the room wants you to look first. And it should
be said, just like on a stage, just like on
(27:20):
the screen, that all the actors, all the elements, they
all can't be talking at the same time. They all
can't be crowding for the front of the stage. They
all can't be taking center stage. That's why there are
lead actors and supporting actors and extras and scenes and
sets and all of these things. And they are all
in layers, and they are all very intentionally ordered. And
(27:43):
by the way, the same holds true for all art.
All art, whether it's music, you know, there is that
one driving melody or rhythm that's running through the whole thing.
There's one voice, or there's voices in sync with each other,
you know, in music, or even in fine art. Now
let's talk about fine art for a second. Okay, as
(28:05):
an example, let's talk about something that everybody has seen, right,
maybe not in person, most of us not in person,
but the Mona Lisa. Right arguably the most famous painting
in the world. The Mona Lisa is set up for
you to look at certain things in a certain order.
(28:27):
And if you have never realized that, it's just simply
a subconscious thing. And no, it's not her face that
you actually go to first. It is actually literally when
you look at the Mona Lisa, it is her upper chest. Okay,
not her breasts that those are all covered up and
you know, dark, but right here, like where a necklace
(28:49):
would be or should be, like right where her collarbones are. Okay,
right there it is then, And by the way, there's
nothing there. There's nothing there. It's just there's no jewelry,
there's no anything there. Right, But it is the brightest
spot in the painting, literally the brightest area the painting,
(29:10):
A large bright spot in the painting. You can go
check this out. You'll know that I'm telling you the truth.
It's a large bright spot in the painting. And there's
not much going on there, okay, but it's large and
it's literally centered in the entire frame of the artwork.
When you look at the Mona Lisa, your eyes go
(29:33):
there first, because it's a bright spot in the center
of a relatively dark painting. And then since there's nothing there,
where do you go next? Well, you go to the
next most interesting place, which is her face, and your
eyes trail up. See they trail up. So here's the trick. Right,
(29:56):
when this painting gets painted, the brilliant genius who did this.
What he wants you to focus on is her mouth first,
not her eyes, right, not her nose. So how does
he get you to her mouth? Well, he comes from underneath,
comes from her collarbones, which is where he zips your
(30:19):
eyes first, and then you trail up to the next
most interesting thing, and you hit her mouth before you
hit her nose and her eyes. And therefore the intrigue
of the Mona Lisa, famously historically is that smile. Is
she smirking? Is she smiling? All of the emotion of
(30:39):
her face is piled into this tiny, subtle, strange, questioning expression,
the way she's holding her lips. This is the star
of the show. Here is the leading actor in the view, right,
And everybody talks about the Mona Lisa smile. Right. There
is a lot going on in the Mona Lisa, by
(31:01):
the way, a lot, right. Not only do you see
the rest of her face, but you can look down
at her hands. And in the background there are trees,
there's a river, there's a bridge. Yeah, all of these things.
There's a lot happening in that painting. But the very
(31:22):
first thing that your eyes go to is exactly where
he wanted you to go to, which is this bright
spot where nothing's happening. And then you trail up and
you start pondering what is with her and that mouth? Okay,
So the point is this, Yes, that's the end of
your fine art lesson for the day. The point is
(31:43):
very simply this, A really good artist, a really good
designer has exercises control over where its audience looks. Okay,
And the same is true with your room that you're
wrestling with, but the space that you're wrestling with. So
(32:03):
the question comes again, I will ask you where is
the focal point? So when I say that, I mean
it in two different ways. Number One, what in the
room is actually grabbing your attention? Is anything in the
room grabbing your attention? Maybe the answer is yes or no, okay,
(32:25):
And I mean it in the second way, which is
naturally speaking, by the shape and the contour and the
elements of the room. What should be grabbing your attention naturally,
like I said, in the home that we walked into
on Friday, the family room, there is no question that
between these two symmetrical windows there is this. The largest
(32:50):
single element in the room was the fireplace. And by
the way, not our homeowners who had beautiful sense of taste,
but the builders the original bills of this home, they
totally botched the fireplace, watched it. It is the central
element of the view. There's no way to enter this
(33:10):
room without the fireplace being the central element of the room.
Now you may say to me, well, that's the truth
with my house too, but I don't really do fireplaces.
Well it's time to do fireplaces. I don't mean that
you have to build a fire in the fireplace. What
I mean is that you need to recognize the lead actor.
(33:31):
You may not like the lead actor, you may want
to defer to somebody else, But the fact of the
matter is, if that's the central organizing principle of this
space visually, then you got to deal with it. You
got to deal with it and make the most of it.
You see, all the world is a stage, so is
(33:54):
your home. Great architecture is theater. And if we start
to understand that and parse that into its bits, then
you can understand that not everything in a room can
be the beginning of the story. Tina and I were
talking about this too. Caustina comes from the world of
graphic design and how quite often in the print of
(34:16):
a page, especially in an older work, or the beginning
of a chapter of an older book, we used to
use drop caps. You know what to drop cap is.
It's when that first letter of the first word of
the first paragraph on a page is like three lines tall, right,
like that extra big D or an extra big T
(34:38):
or whatever it is that starts that phrase. That's a
drop cap. And what does it do. It draws your
attention to this moment and it says to you something
new is a beginning here, This is a beginning. See
what I'm saying, ways of drawing attention the focal point?
Speaker 2 (34:55):
All right?
Speaker 1 (34:56):
When we return to this conversation, and oh yes we will,
then we're going to talk about two other elements that
we're going to talk about in this room. One is
there a path? And two how do we do editing
if we need to? Ruthless editing if necessary? Which is
(35:16):
something that a lot of folks struggle with editing the
story in the room, so we'll we'll hit it all.
But guess what, it's top of the hour. So when
we return from the news break, we are going to
the phones. Your home Dean Sharp, the House Whisper on KFI.
This has been Home with Dean Sharp, the House Whisper.
(35:36):
Tune into the live broadcast on KFI AM six forty
every Saturday morning from six to eight Pacific time and
every Sunday morning from nine to noon Pacific time, or
anytime on demand on the iHeartRadio app.
Home with Dean Sharp News
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