June 11, 2025 • 34 mins
Dean dives into how your home can tell a story—starting with the entryway. Learn why floor lines matter, what the Lincoln Memorial teaches us about design, and why the family room should steal the show. A must-listen for anyone planning a renovation or dreaming big.
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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 iHeartRadio app. This very
program is also the house Whisper podcast that you could
listen to anytime, anywhere on demand, hundreds of episodes, all
searchable by topic. It is a home improvement reference library
(00:24):
that we have built for you here year after year,
and it's all there waiting for you. And if you're thinking, hey,
that's been great. I love the conversation today, but we
probably need Dean and Tina standing in our home staring
at the problem, well you can do that too. You
can book an in home design consult with me and
the t Just go to house Whisper dot design for
(00:46):
more details. All right, it is time to return to
our conversation about great architecture and great design being theater.
And I'm not doing this just to you know, Ellude
Sedate and wax eloquent on what great architecture should be.
(01:07):
I'm doing this in order to give you more handles
to grab on to your home with because so many
people when they think about home design, architectural design, they're like,
I have no clue, I have no clue what I'm
doing Dean. I don't even know where to start. And
yet we're all fans of theater. We're all fans of cinema.
(01:29):
We all watch TV, we watch movies, we go to
plays at times, and so if you understand how theater works,
then my contention is you can start to do a
better job of understanding what your house needs. It doesn't
mean that you're going to be the creative idea that
(01:49):
solves the problem, but for you to see the problem
to begin with, to really identify what it is, that's
where everything changes. So we've talked so much about things
like how do we enter this space from where? What
do we see right? Focal points? Focal points are what
you know in architecture we call hierarchy of elements. Focal
(02:13):
Points are something that every great director, every great film,
every great stage play has. In other words, we've got
leading actors. We divide up the cast, we divide up
the elements. We've got leading actors. They have the most
lines and they are telling the lion's share of the
story that's happening. We have supporting actors that come in
(02:35):
behind them. They come in and out and they help
support that and undergird that story, and then there are,
like in a film, extras, just people in the background
giving atmospheric content. You know, you're in a cafe scene
and there's people in the restaurant eating and laughing and
enjoying their time, not competing for your attention, not taking
(03:00):
your attention away from the lead actors who are telling
the main story. So now you start to understand that,
and you understand that in a home, in any given
space architecturally, there are these elements at play, and quite
often the focal point that should be in a room
(03:23):
is not. Quite often there are too many voices speaking
too equally across the board, too many to tell a
story effectively. Quite often we aren't giving people direction as
to where they should look first and then second and
then third in a room. And when it comes to
(03:44):
a visual art, you get about three hits. Generally speaking,
you get about three hits. You get the first hit,
and then a second hit and a third and then
you kind of have to release people to sort of
explore the space. But if you aren't taking advantage of
the first three, now my mic just literally fell off
of the mic stand. If you aren't taking advantage of
(04:06):
those first three hits, then you aren't taking advantage of
telling the story as completely as you can tell the story.
Does that make sense? I hope. So let's talk about
I'm going to tell you a couple of stories. Now,
I'm going to tell you a story of the house
that does everything it can to frustrate me entering it. Okay, Now,
(04:28):
this is not one particular house that I have in
mind here. This is, in fact something that we see
maybe I don't know how often, Tina, eighty percent of
the time when we walk into a home, the entryway
is one of those hits that is usually not working,
not firing on all pistons. Okay. So and you're like, well,
(04:51):
I thought you were going to talk about my family
room or my dining room. Team. Now we can talk
about those, But here's the thing. How do we get
into this story, the story that is your home. Well,
we get into it usually if I'm your guest through
the front door. Everything starts from the street, and we
could talk about curb appeal, and that's a whole nother thing,
(05:12):
but I'm not doing a landscape design show, so I
just want to focus on this. I arrive at your
front door, I knock on the door, I ring the doorbell,
the door opens to me, and whatever it is that
I experience as I step into that entryway is in
fact the very first element of storytelling that happens in
(05:37):
a home. Okay, And the entryway is an important thing.
It's an important thing no matter where you live. In fact,
I would say the smaller your home is, the more
important a sense of entryway is. And why is that, Well,
that's because most of us don't want to just go
from outside to inside immediately. We like to be eased in. Okay,
(06:00):
and entryways are in fact, both entryways and hallways inside
a home are what we call transitional spaces. They are
a part of the story that gets told while you
are transitioning from one environment to the next. This is
why hallways are important inside a room, because the experience
(06:21):
you have walking down a hallway is what is getting
you out of where you were and setting up for
you or where you're going. But an entryway is even
more dramatic than that. An entryway is like an airlock.
When I step into the entryway of your home, hopefully
there is an entryway, And like if you live in
(06:43):
a condo or an apartment, quite often those areas struggle
to have this, but hopefully there is at least some
space where Yeah, technically I'm inside, but I'm not inside yet, right,
I'm not fully in your home. I mean you'reway, I'm
in the foyer. Okay, I am not fully inside, but
(07:04):
I'm not outside anymore. It's this liminal space in between
the two, right, And that's a very comfortable feeling, not
having to just go from outside to end. So here
I am. I step into an entryway. And so this
is the story of a house that does everything it
can to frustrate my entry. And I'm just gonna set
up the elements for you here and we'll talk about
(07:25):
it after the break. But here it is. I walk
up to a double door, lovely, beautiful double door on
your porch, right, and immediately that double door disappoints me. Well,
why is that? Well, we'll talk about it after the break.
And then when I stare down at the flooring underneath
(07:46):
my feet, I quite often see flooring planks or lines
of flooring that are set perpendicular to me as I
walk in. Okay, lines set perpendicular to my path, and
it really gives me paw. It halts me right, and
it doesn't draw me, and it halts me. And we'll
talk about that too. And then of course, again, what
(08:09):
do I see? What do I see from here? Normally? Well,
I would not say normally. I often will look for it.
I'll see a wall. There's a wall in front of me. Now,
I don't want you to move the wall if and
maybe I want you to move it, but I'm out
assuming you're going to move the wall. The question is
what's on this wall? Because it is straight ahead of
(08:29):
my face, it is the most natural focal point, it's
usually dark, it's usually underutilized, and quite often then the
view that I see from the entry away could be
if it's sort of an open plan, could be of
many many different things. And the question is is there
one of those things that is directing me? No, no, no,
(08:50):
look here first, I'm the main view versus seeing, for instance,
the living room and the kitchen and the set of
stairs and who knows what else all at the same time. Now,
if that house sounds anything like your house, then you
hang tight because we'll talk about why those things are
(09:12):
important to change. But we'll do it.
Speaker 2 (09:15):
You're listening to Home with Dean Sharp on Demand from
KFI AM six forty.
Speaker 1 (09:22):
I literally my mic arm literally just collapsed holding the
mic out. That whole last segment. I was holding this
whole thing of my microphone so that we could continue.
And during the break there I had to run got
some duct tape, and now, well it's not optimal, but
you know what, it's good enough. You know we're gonna
(09:43):
get the We're gonna finish the show without this thing
falling on my face again. How about that ya duct tape?
All right, let us continue this conversation about great design
being theater, and right before the break, I set you
up with this house that does everything it can to
(10:04):
frustrate my entry into it. Okay, So the double entry
door is a frustration, usually, the bare wall on the
other side of the entry a frustration, the flooring planks
that are going perpendicular to my path to frustration, and
(10:24):
the view an equal view of the living room, the kitchen,
and the stairs. Okay. So there's a particular house that
I'm actually drawing this from that has all of this
going for it, I should say, all of this working
against it. But you can pick out elements of your
entryway that are the same and I'm not just picking
on entryways. But it is the very first beginning of
(10:44):
the story, is it not. When you enter into somebody's home,
what's going on in the entryway sets you up? Or
you know who lives here? What are they like? What
is this house all about? How does this make me feel?
What do I see? These are all the things subconsciously
that people are picking up on, even if they're not
consciously asking the question. So this is where the story begins.
(11:08):
Double entry doors. You've probably heard me talk about this before,
and if you haven't, then very quickly, here's the thing
about double entry doors that I don't like. I like
the fact that they're grand and they're lovely and they
look good on a floor plan. But we all know,
we all know that a double entry door is not
(11:29):
a double entry door. We know that a double entry
door only opens on one side and that other side,
that other door. It stays fixed except for the day
that you move in and the day that you move out,
and anytime you change out the furniture or bring in
a large appliance. Okay, that's when that door gets opened,
otherwise for cargo purposes. Otherwise it remains shut. And so okay,
(11:53):
Dean so what's your beef man with the entry door. Well,
my beef is that a double entry door is centered
on the entryway, and it may be a relatively small entryway.
In most homes, it's modest. It's centered on the entryway,
and in the entryway, maybe there's a chandelier hanging down,
maybe there's a light fixture hanging down. Maybe the entryway
(12:15):
is not so large, and it's just nice to stand
in the center of your entryway. And yet the double
entry door puts me in all the way to the
left or all the way to the right, depending on
which door opens. In other words, it makes me a
promise that it doesn't keep, and you should be aware
of that too. So so often when when a client
(12:37):
will ask, well, what do we do with this double
entry door, Let's change it out to something else, And
I'm like, great, let's change it out to a single
entry door set in the center of the entryway with
maybe some sidelights to the left and the right of it. Why, well,
it can be big, it can be elegant, and yet
most importantly, it lets me in to the center line
(13:01):
of your entryway, so I don't have to immediately dodge
or step left or step right. That's the way to
tell the story. So first problem with this home, double
entry door into a relatively modest entryway. So I'm coming
in all the way on the right and that's not impressive.
Second problem, when I get in, I look down at
(13:23):
my feet and there's no nothing on the floor that
demarcates me standing in the entryway. It looks like I've
walked in on a hallway that's crossing me and the
flooring planks. In this case, it was a hardwood floor.
The flooring planks are running perpendicular to me. In other words,
there's just line after line after line confronting me, saying,
(13:45):
you know, halting me because I In artwork and in architecture,
we have these things called lead lines. A lead line
is any line or any linear element that, basically, because
it's moving from where you are away from you, it
leads you in in okay, it leads you into a
property or down a pathway. And in this case, all
(14:08):
the lead lines are perpendicular to me. They're all saying stop, stop,
stop stop, nothing exciting happening here. They're going the wrong way. Okay.
Third thing is after I look up from there, I'm
looking straight ahead, about five feet in front of me.
Six feet in front of me, just a flat wall, dark, unlit,
(14:29):
no artwork, no nothing, just a flat wall. That's about
twenty five percent of my viewing angle in this home.
And it's right in front of me, which means its
importance is greater than twenty five percent. Because it's right
in front of me, it is in fact the most
natural focal point. And since there's nothing to look at there,
(14:51):
then I kind of scan from left and right. And
because of where things are set up in this home,
and this is where I would want to move a
wall or at least a doorway. I am literally standing
and by the way, this is a lovely home. This
is a nearly five thousand square foot home with this entryway.
And when I'm standing in it and I haven't even
(15:13):
entered in fully to the house, I can see the
living room, the dining room, I can see a set
of stairs to the upstairs that isn't the main stairs really,
They're just sort of off to the side. And I
can see in through an open doorway into the kitchen
and see the toaster oven. I can see the toaster
oven from the entryway of the house in other words,
(15:36):
I have equal view of a utility space and your
groceries and your keys and your purse sitting on the countertop,
and your most formal, beautiful living room area and your
lovely dining room and then a set of stairs that
go up you know, and so, and they're all speaking equally,
(15:56):
and that, I hope you know at this point is
the whole point of what not to do. Okay, they
all have an equal voice, and I don't know where
to look. And the formality and the beauty that is
the living room and the dining room area of this
house is overtaken by this bare flat wall and a
(16:17):
view of the kitchen all at the same time. You
see what I'm saying. So there is such a thing
as an open plan being too open, but that's not
so much the issue. It's not about open plan versus
non open plan. It's about focal points in a scene
and whether anybody has given any thought. And the funny
thing is, these folks have lived in this home for
(16:40):
thirty plus years, never once have thought about what it's
like to walk in the front door, because they actually
come in through the garage. They park in the garage,
the groae, they always enter the house into the kitchen anyway,
because it's their home. Never given any serious thought to
the experience of a neighbor or a friend or a
(17:00):
guest coming in through the front door, and how it
either begins to tell their story or fails to tell
their story. You get it. You see what I'm saying.
All right, when we come back, I'm going to give
you an example of one of the most brilliantly well
told stories in our country. It's not a house, But
(17:22):
like I said at the very beginning of the show,
I don't think there's a house I can pick that
everybody will immediately identify with. But everybody can identify with
the Lincoln Memorial in Washington, d C. Let me tell
you how it tells its story and how that theater.
Not that you're going to have a you a thirty
(17:43):
foot tall statue of Abraham Lincoln sitting in your home,
not at all, but how the method of telling that
story via theater is what we apply to your humble home.
That makes all the difference. We'll do that.
Speaker 2 (17:58):
You're listening to Home with the Sharp on Demand from
KFI AM six forty.
Speaker 1 (18:05):
We're talking about the basics. We're talking about the fundamentals
of storytelling, and it can be applied to a condo,
a cottage, or a castle. It does not matter across
the board. These things are true, and that's why I'm
sharing them with you. If they weren't true for your house,
we would not be spending the time here on this
program talking about these ideas. Okay. If this was just
(18:30):
a program for a state level clients, then it would
be a very, very different thing. But take me seriously
when I tell you that you can learn some things
about your home if you apply the concept of theater
or good cinema to the spaces in your home. Now,
I promise you. I was going to give you an
(18:51):
example of this, and it's not a home, okay, Because
I was racking my brain this week thinking what house
can I refer everybody too that everybody has seen the
inside of. And I don't mean stuff like rooms in
the White House or something. I just mean, really understand
the flow, and I wanted to keep it simple. I
wanted to keep it as simple as possible, but tell
(19:13):
allow you to see what a dramatic storytelling can do.
So I'm going to give you an example from a
national monument that we are all familiar with whether or
not you've ever visited the Lincoln Memorial. You know of
the Lincoln Memorial, you've seen it. All you have to
do is pull out a five dollars bill and look
(19:34):
on the backside and there it is. Or a penny
and look on the back of a penny and there
is the Lincoln Memorial. Okay, But what most people don't
realize is that Lincoln Memorial in the architectural community is
one of the finest examples of storytelling that there is
all of the elements of approach to the payoff at
(19:58):
the end. Okay, So let me just le set that
scene for you. The Lincoln Memorial is sitting on the
National Mall in Washington, DC. It is positioned at the
western end of a one hundred and sixty seven foot
wide by two thousand foot long reflecting pool on the
National Mall. You've all seen it. You've seen it. You've
(20:19):
seen it in Forrest Gump, you've seen it in news clippings,
You've seen it all the time. The reflecting pool. At
one end of the reflecting pools the Washington Monument, whose
gigantic obelisk you can see beautifully in the water. If
you're standing at the Lincoln Memorial, and if you're standing
at the end of the Washington Monument, you see the
Lincoln Memorial in the reflecting pool. Mostly though you heard
(20:42):
me talking about lead lines when it comes to the
entryway of your home, the reflecting pool is a massive
lead line. It draws you out and says, follow me
down this path and look at what's at the end,
and what is at the end, arguably what has been
called America's temple, the Lincoln Memorial. Okay, one, because it's
(21:05):
a classical Greek temple. It's designed that way. It's covered
in white marble. It's ninety nine feet tall. It is
surrounded or the roof is supported by thirty eight doric columns,
each of these columns forty four feet tall, seven and
a half feet in diameter at the base, massive, massive columns.
That massiveness is made to make you feel something. Quite honestly,
(21:32):
it's made to make you feel small. It's made to
make you feel small. So are the eighty seven steps
that you have to walk up to reach the level
of what we call the shrine. Okay, So you walk
down this long pathway and you arrive at this Greek
temple that looms up above you, and as you walk
(21:55):
up eighty seven steps, you have to pass between these
massive marble columns, and what is sitting just inside these
massive marble columns a statue of a sitting Abraham Lincoln
rising twenty nine feet above your head. Okay, that is
(22:21):
amazing storytelling. By the time you arrive at that moment
where you're standing there in front of Abraham Lincoln's likeness,
you have gone through a journey that has affected you emotionally,
whether you have considered it or not. There's just simply
no way to walk up a series of steps and
(22:44):
in between those massive fillers and not feel subject to
that which is sitting there on the throne. And it's
not because we're deifying Abraham Lincoln. You know this intrinsically,
he is the focal point there. And you know it
intrinsically that it's not about Abe Lincoln that we've blown
(23:07):
up out of proportion, but it is about some visceral
experience of the spirit or the story that transcends the
image that is sitting on that throne. Whether it's equal rights,
whether it is freedom, whether it is unity of the Republic.
I mean whatever the case may be, there's something so
(23:30):
human about that experience. So, okay, why did I bring
that up? I brought it up as an example of
storytelling in architecture. The fact that this long lead line
that leads you to a very specific focal point, the
fact that there's a journey to take that you literally
have to walk up these steps, and that you're being
(23:51):
affected by it. The fact that you walk in between
these two massive or these these in between these massive
columns to arrive at your destination, and when you get
there it has the impact on you that it has.
We're not talking about you having the Lincoln Memorial at
(24:11):
your house or you turning your house into the Lincoln Memorial,
but if you can appreciate the storytelling elements there focal point,
every step is taken into consideration, every vista is taken
into consideration, Every experience that you have as you transition
from outside to inside is taken into consideration. All of
(24:34):
this is theater, and it's the same rules of theater
that can apply to your home. And there you go.
All right, when we come back, I will tell you
not a Lincoln Memorial story. I'm going to tell you
a story of a project that I'm working on right now,
and what I want to achieve out of one particular
element of that project. Just to underscore this whole conversation
(24:58):
yet again, we'll do that right after.
Speaker 2 (25:00):
You're listening to Home with Dean Sharp on demand from
KFI AM six forty.
Speaker 1 (25:08):
Here we are. We have arrived, yet again, the end
of another three hours together. I still have a few
items to share with you, so don't go anywhere. Just
remember follow us on social media at Home with Dean
or on all the usual suspects. You can find us
there across the board. Don't forget that this broadcast is
the House Whisper podcast. If you're just tuning in and
(25:30):
you're like, oh my gosh, I missed the show. No
you didn't. Just go and listen to it anytime you
wish wherever, however many times you wish on demand the
House Whisper podcast. Just search for Home with Dean Sharp
or the House Whisper on the free iHeartRadio app or
Apple Podcasts, Spotify, wherever your favorite podcasts are found. I
(25:51):
am there waiting for you. And again, if your home
is in need of some personal House Whisper attention. If
you're like yeah, I get it, Dean, I get what
you're talking about today. Still need some creative input on
how to solve the problem. Well, you can book an
in home design console with us. Just go to house
Whisperer dot design. All right, I told you we talked
(26:12):
about all sorts of art today because the theme of
today's show has been that great design, great architecture is theater.
I've talked about stage plays, I've talked about how movies
get made and how directors control the scene. Not to
get all fanciful, but actually to bring it home to
you so you can understand home design in a new light,
(26:33):
right and maybe get your arms around it. Everybody knows
when they watch a film that there are lead actors,
and then there are supporting actors behind them, and then
there are extras back there, and then there's the scene itself.
And everybody intrinsically in the twenty first century understands how
those things happen. It's just that when it comes to
their home, you don't think of your home in those sense,
(26:55):
and so you're staring around your living room and you're like,
I don't know what to do with this thing. I
don't know anything about home design, you know more than
you think if you think in terms of theater, because
the impact of telling that story and the process is very,
very similar. And that's why I've brought those metaphors to you.
I'll give you a real life example of a project
(27:15):
that we're currently working on, an aspirational element to this project.
It's a home. I'm not going to tell you where
it's at or what it's got to just know this.
It's a lovely home. But the most significant thing about
this home is that it's got a big old backyard
that rolls out and out and out and out, and
then it just drops off the end of a hillside.
(27:37):
And as a result, what you see from the rear
yard is a panoramic just big beautiful view of mountains
and canyons. I mean, you just see it is a view.
It's a view lot. Okay. Now why do I mention that,
Because everybody needs to evaluate the property they're sitting on
in terms of storytelling, and in terms of focal point,
(27:59):
and in terms of hierarchy. What's the most important thing?
And this is the big backyard. And we could go
crazy with all kinds of things in this backyard, and
we probably will have all sorts of elements in this backyard.
But what needs to control where we put these elements,
how we place them, and where they're pointing the view
(28:22):
in this yard. It's the view. The view is the
reason this piece of property is what it is. It
is as they say, the money shot. It is the thing.
It is the focal point. And so everything that I
intend to design into this home, on the backside of
(28:42):
the home, looking out and in the yard itself, is
all going to answer to the view, because that's the
story that we're telling, and that's the main line. You understand,
there has to be that focal point of importance and
other things, you know, significant but less important in this case,
(29:05):
just so you know, give you a little view of
how the sausage is made. I can't see this view
from the front door. I wish you could, and I'm
not going to change the house so radically in this
case because there's multiple layers in between the front entry
door and that view. But the front entry leads you
into this lovely part of the back of the house.
(29:28):
And once you get there, and there are other places
to stop along the way, but once you arrive, and
what is going to be this family room. The family
room right now takes virtually zero advantage of that view.
Is it is the room in the house that is
poised to take the best advantage, and it's not. And
so we're changing that for sure. Okay, we're changing the
(29:51):
backside of that family room so that it can embrace
when you're sitting in the family embrace the view. But
what do I want out there? I want to get
you out there, okay, and the view is not enough.
I actually want to draw your attention to it. So
currently my plan is to get out there right on
the edge of the hillside, right out as far as
(30:11):
we can go with the with the yard, and I'm
probably going to put a destination, well I know I'm
going to put a destination out there. It'll probably be
a deck or a platform or some kind of area
to sit and to experience something way out there on
the precipice, on the edge of the view. And I'm
(30:32):
going to make that destination very visible from the family
or in fact, I'm probably going to do a pathway
right up the center of the yard leading straight out
to that destination, a lead line that carries you out,
a lead line so that you see that there's a
pathway to get to this place, and I'm probably going
(30:52):
to emphasize the view by putting some kind of a
framed structure out there, a couple of posts or columns,
and a big beam across some kind of rectangular frame. Literally,
like you see directors sometimes they hold up their fingers
and they're like they're trying to frame the shot. I'm
not going to frame the entire view, but I'm going
(31:14):
to frame the most significant part, central of that view,
so that there's something there that draws you out. And
so in my mind, you wander into this part of
the house and you're going to see this lovely family room,
and you're going to be enchanted by what's going on.
That's where the trees are going that I mentioned in
the Aldic Home spot the trees are going. It's going
(31:34):
to be a lovely family room. But wait, right as
you get start to get settled in this family room,
like a captivating woman who steps into view, just moments
after you begin to feel settled, she's going to walk
out onto the lawn and you're going to want to
follow her. You're going to see that simple outline out there,
(31:55):
arresting your attention. Without blocking the view and the pathway
that leads you to it, and you want to follow
that path, you must follow that path out to that experience.
That's the kind of theater that I'm talking about. And
at the end of the day, what did I just describe? Well,
I'm going to build a thing out there and a
(32:15):
deck and a pathway to it, and maybe a window
looking out on it. You, so you can reduce it
to those elements. Those elements are very very simple. But
if you put them all together and you imagine the
sequence of experiencing it, boom, it's theater. Do you see
that in your mind? Walking out along that pathway, just
(32:36):
getting closer and closer and closer to that panorama, knowing
that you're being drawn out there because there's a destination
for you to visit. What if I put a fire
pit out there at night so that there's a flame
right on the edge of the what you know, on
and on week ago, good architecture and good design is theater.
And you know what, here's the thing. And I'm just
(32:57):
going to leave you with this simple thought today because
it applies now not only to just architecture, but all things.
If any of this seems groundbreaking to you, and I
hope it does feel that way to you. It's not
because these ideas are new. There's nothing here that isn't
a well established design fundamental. Okay, What gets taken is
(33:19):
groundbreaking is simply my unwavering commitment to consistently sift the
projects that I take on and my own design solutions
for those projects through the filter of these storytelling fundamental
and maybe also for the sake of our show. Here
what may be groundbreaking is that I have the audacity
(33:42):
of insisting that you do the same, whether you live
in a condo or a cottage or a castle. It's
all about the fundamentals, it really is. Isn't life about
the fundamentals as well? I think it is. It's always
been the case for me that at the end of
the day, our lives are just built brick by brick,
(34:04):
east by piece out of the bed. The best lives
are built out of the best fundamentals, bit by bit
by bit, with all that intentionality. And so here we are,
and uh, there's a beautiful weekend, uh Sunday afternoon ahead
of you. The question is what are you going to
do with it? I hope that you decide to get
(34:26):
out there and get busy building yourself a beautiful life,
and we will see you right back here next weekend.
This has been Home with Dean Sharp, the House Whisper.
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
(34:48):
anytime on demand on the iHeart Radio app
KFI AM six forty. You're listening to Dean Sharp the
house Whisper on demand on the iHeartRadio app. This very
program is also the house Whisper podcast that you could
listen to anytime, anywhere on demand, hundreds of episodes, all
searchable by topic. It is a home improvement reference library
(00:24):
that we have built for you here year after year,
and it's all there waiting for you. And if you're thinking, hey,
that's been great. I love the conversation today, but we
probably need Dean and Tina standing in our home staring
at the problem, well you can do that too. You
can book an in home design consult with me and
the t Just go to house Whisper dot design for
(00:46):
more details. All right, it is time to return to
our conversation about great architecture and great design being theater.
And I'm not doing this just to you know, Ellude
Sedate and wax eloquent on what great architecture should be.
(01:07):
I'm doing this in order to give you more handles
to grab on to your home with because so many
people when they think about home design, architectural design, they're like,
I have no clue, I have no clue what I'm
doing Dean. I don't even know where to start. And
yet we're all fans of theater. We're all fans of cinema.
(01:29):
We all watch TV, we watch movies, we go to
plays at times, and so if you understand how theater works,
then my contention is you can start to do a
better job of understanding what your house needs. It doesn't
mean that you're going to be the creative idea that
(01:49):
solves the problem, but for you to see the problem
to begin with, to really identify what it is, that's
where everything changes. So we've talked so much about things
like how do we enter this space from where? What
do we see right? Focal points? Focal points are what
you know in architecture we call hierarchy of elements. Focal
(02:13):
Points are something that every great director, every great film,
every great stage play has. In other words, we've got
leading actors. We divide up the cast, we divide up
the elements. We've got leading actors. They have the most
lines and they are telling the lion's share of the
story that's happening. We have supporting actors that come in
(02:35):
behind them. They come in and out and they help
support that and undergird that story, and then there are,
like in a film, extras, just people in the background
giving atmospheric content. You know, you're in a cafe scene
and there's people in the restaurant eating and laughing and
enjoying their time, not competing for your attention, not taking
(03:00):
your attention away from the lead actors who are telling
the main story. So now you start to understand that,
and you understand that in a home, in any given
space architecturally, there are these elements at play, and quite
often the focal point that should be in a room
(03:23):
is not. Quite often there are too many voices speaking
too equally across the board, too many to tell a
story effectively. Quite often we aren't giving people direction as
to where they should look first and then second and
then third in a room. And when it comes to
(03:44):
a visual art, you get about three hits. Generally speaking,
you get about three hits. You get the first hit,
and then a second hit and a third and then
you kind of have to release people to sort of
explore the space. But if you aren't taking advantage of
the first three, now my mic just literally fell off
of the mic stand. If you aren't taking advantage of
(04:06):
those first three hits, then you aren't taking advantage of
telling the story as completely as you can tell the story.
Does that make sense? I hope. So let's talk about
I'm going to tell you a couple of stories. Now,
I'm going to tell you a story of the house
that does everything it can to frustrate me entering it. Okay, Now,
(04:28):
this is not one particular house that I have in
mind here. This is, in fact something that we see
maybe I don't know how often, Tina, eighty percent of
the time when we walk into a home, the entryway
is one of those hits that is usually not working,
not firing on all pistons. Okay. So and you're like, well,
(04:51):
I thought you were going to talk about my family
room or my dining room. Team. Now we can talk
about those, But here's the thing. How do we get
into this story, the story that is your home. Well,
we get into it usually if I'm your guest through
the front door. Everything starts from the street, and we
could talk about curb appeal, and that's a whole nother thing,
(05:12):
but I'm not doing a landscape design show, so I
just want to focus on this. I arrive at your
front door, I knock on the door, I ring the doorbell,
the door opens to me, and whatever it is that
I experience as I step into that entryway is in
fact the very first element of storytelling that happens in
(05:37):
a home. Okay, And the entryway is an important thing.
It's an important thing no matter where you live. In fact,
I would say the smaller your home is, the more
important a sense of entryway is. And why is that, Well,
that's because most of us don't want to just go
from outside to inside immediately. We like to be eased in. Okay,
(06:00):
and entryways are in fact, both entryways and hallways inside
a home are what we call transitional spaces. They are
a part of the story that gets told while you
are transitioning from one environment to the next. This is
why hallways are important inside a room, because the experience
(06:21):
you have walking down a hallway is what is getting
you out of where you were and setting up for
you or where you're going. But an entryway is even
more dramatic than that. An entryway is like an airlock.
When I step into the entryway of your home, hopefully
there is an entryway, And like if you live in
(06:43):
a condo or an apartment, quite often those areas struggle
to have this, but hopefully there is at least some
space where Yeah, technically I'm inside, but I'm not inside yet, right,
I'm not fully in your home. I mean you'reway, I'm
in the foyer. Okay, I am not fully inside, but
(07:04):
I'm not outside anymore. It's this liminal space in between
the two, right, And that's a very comfortable feeling, not
having to just go from outside to end. So here
I am. I step into an entryway. And so this
is the story of a house that does everything it
can to frustrate my entry. And I'm just gonna set
up the elements for you here and we'll talk about
(07:25):
it after the break. But here it is. I walk
up to a double door, lovely, beautiful double door on
your porch, right, and immediately that double door disappoints me. Well,
why is that? Well, we'll talk about it after the break.
And then when I stare down at the flooring underneath
(07:46):
my feet, I quite often see flooring planks or lines
of flooring that are set perpendicular to me as I
walk in. Okay, lines set perpendicular to my path, and
it really gives me paw. It halts me right, and
it doesn't draw me, and it halts me. And we'll
talk about that too. And then of course, again, what
(08:09):
do I see? What do I see from here? Normally? Well,
I would not say normally. I often will look for it.
I'll see a wall. There's a wall in front of me. Now,
I don't want you to move the wall if and
maybe I want you to move it, but I'm out
assuming you're going to move the wall. The question is
what's on this wall? Because it is straight ahead of
(08:29):
my face, it is the most natural focal point, it's
usually dark, it's usually underutilized, and quite often then the
view that I see from the entry away could be
if it's sort of an open plan, could be of
many many different things. And the question is is there
one of those things that is directing me? No, no, no,
(08:50):
look here first, I'm the main view versus seeing, for instance,
the living room and the kitchen and the set of
stairs and who knows what else all at the same time. Now,
if that house sounds anything like your house, then you
hang tight because we'll talk about why those things are
(09:12):
important to change. But we'll do it.
Speaker 2 (09:15):
You're listening to Home with Dean Sharp on Demand from
KFI AM six forty.
Speaker 1 (09:22):
I literally my mic arm literally just collapsed holding the
mic out. That whole last segment. I was holding this
whole thing of my microphone so that we could continue.
And during the break there I had to run got
some duct tape, and now, well it's not optimal, but
you know what, it's good enough. You know we're gonna
(09:43):
get the We're gonna finish the show without this thing
falling on my face again. How about that ya duct tape?
All right, let us continue this conversation about great design
being theater, and right before the break, I set you
up with this house that does everything it can to
(10:04):
frustrate my entry into it. Okay, So the double entry
door is a frustration, usually, the bare wall on the
other side of the entry a frustration, the flooring planks
that are going perpendicular to my path to frustration, and
(10:24):
the view an equal view of the living room, the kitchen,
and the stairs. Okay. So there's a particular house that
I'm actually drawing this from that has all of this
going for it, I should say, all of this working
against it. But you can pick out elements of your
entryway that are the same and I'm not just picking
on entryways. But it is the very first beginning of
(10:44):
the story, is it not. When you enter into somebody's home,
what's going on in the entryway sets you up? Or
you know who lives here? What are they like? What
is this house all about? How does this make me feel?
What do I see? These are all the things subconsciously
that people are picking up on, even if they're not
consciously asking the question. So this is where the story begins.
(11:08):
Double entry doors. You've probably heard me talk about this before,
and if you haven't, then very quickly, here's the thing
about double entry doors that I don't like. I like
the fact that they're grand and they're lovely and they
look good on a floor plan. But we all know,
we all know that a double entry door is not
(11:29):
a double entry door. We know that a double entry
door only opens on one side and that other side,
that other door. It stays fixed except for the day
that you move in and the day that you move out,
and anytime you change out the furniture or bring in
a large appliance. Okay, that's when that door gets opened,
otherwise for cargo purposes. Otherwise it remains shut. And so okay,
(11:53):
Dean so what's your beef man with the entry door. Well,
my beef is that a double entry door is centered
on the entryway, and it may be a relatively small entryway.
In most homes, it's modest. It's centered on the entryway,
and in the entryway, maybe there's a chandelier hanging down,
maybe there's a light fixture hanging down. Maybe the entryway
(12:15):
is not so large, and it's just nice to stand
in the center of your entryway. And yet the double
entry door puts me in all the way to the
left or all the way to the right, depending on
which door opens. In other words, it makes me a
promise that it doesn't keep, and you should be aware
of that too. So so often when when a client
(12:37):
will ask, well, what do we do with this double
entry door, Let's change it out to something else, And
I'm like, great, let's change it out to a single
entry door set in the center of the entryway with
maybe some sidelights to the left and the right of it. Why, well,
it can be big, it can be elegant, and yet
most importantly, it lets me in to the center line
(13:01):
of your entryway, so I don't have to immediately dodge
or step left or step right. That's the way to
tell the story. So first problem with this home, double
entry door into a relatively modest entryway. So I'm coming
in all the way on the right and that's not impressive.
Second problem, when I get in, I look down at
(13:23):
my feet and there's no nothing on the floor that
demarcates me standing in the entryway. It looks like I've
walked in on a hallway that's crossing me and the
flooring planks. In this case, it was a hardwood floor.
The flooring planks are running perpendicular to me. In other words,
there's just line after line after line confronting me, saying,
(13:45):
you know, halting me because I In artwork and in architecture,
we have these things called lead lines. A lead line
is any line or any linear element that, basically, because
it's moving from where you are away from you, it
leads you in in okay, it leads you into a
property or down a pathway. And in this case, all
(14:08):
the lead lines are perpendicular to me. They're all saying stop, stop,
stop stop, nothing exciting happening here. They're going the wrong way. Okay.
Third thing is after I look up from there, I'm
looking straight ahead, about five feet in front of me.
Six feet in front of me, just a flat wall, dark, unlit,
(14:29):
no artwork, no nothing, just a flat wall. That's about
twenty five percent of my viewing angle in this home.
And it's right in front of me, which means its
importance is greater than twenty five percent. Because it's right
in front of me, it is in fact the most
natural focal point. And since there's nothing to look at there,
(14:51):
then I kind of scan from left and right. And
because of where things are set up in this home,
and this is where I would want to move a
wall or at least a doorway. I am literally standing
and by the way, this is a lovely home. This
is a nearly five thousand square foot home with this entryway.
And when I'm standing in it and I haven't even
(15:13):
entered in fully to the house, I can see the
living room, the dining room, I can see a set
of stairs to the upstairs that isn't the main stairs really,
They're just sort of off to the side. And I
can see in through an open doorway into the kitchen
and see the toaster oven. I can see the toaster
oven from the entryway of the house in other words,
(15:36):
I have equal view of a utility space and your
groceries and your keys and your purse sitting on the countertop,
and your most formal, beautiful living room area and your
lovely dining room and then a set of stairs that
go up you know, and so, and they're all speaking equally,
(15:56):
and that, I hope you know at this point is
the whole point of what not to do. Okay, they
all have an equal voice, and I don't know where
to look. And the formality and the beauty that is
the living room and the dining room area of this
house is overtaken by this bare flat wall and a
(16:17):
view of the kitchen all at the same time. You
see what I'm saying. So there is such a thing
as an open plan being too open, but that's not
so much the issue. It's not about open plan versus
non open plan. It's about focal points in a scene
and whether anybody has given any thought. And the funny
thing is, these folks have lived in this home for
(16:40):
thirty plus years, never once have thought about what it's
like to walk in the front door, because they actually
come in through the garage. They park in the garage,
the groae, they always enter the house into the kitchen anyway,
because it's their home. Never given any serious thought to
the experience of a neighbor or a friend or a
(17:00):
guest coming in through the front door, and how it
either begins to tell their story or fails to tell
their story. You get it. You see what I'm saying.
All right, when we come back, I'm going to give
you an example of one of the most brilliantly well
told stories in our country. It's not a house, But
(17:22):
like I said at the very beginning of the show,
I don't think there's a house I can pick that
everybody will immediately identify with. But everybody can identify with
the Lincoln Memorial in Washington, d C. Let me tell
you how it tells its story and how that theater.
Not that you're going to have a you a thirty
(17:43):
foot tall statue of Abraham Lincoln sitting in your home,
not at all, but how the method of telling that
story via theater is what we apply to your humble home.
That makes all the difference. We'll do that.
Speaker 2 (17:58):
You're listening to Home with the Sharp on Demand from
KFI AM six forty.
Speaker 1 (18:05):
We're talking about the basics. We're talking about the fundamentals
of storytelling, and it can be applied to a condo,
a cottage, or a castle. It does not matter across
the board. These things are true, and that's why I'm
sharing them with you. If they weren't true for your house,
we would not be spending the time here on this
program talking about these ideas. Okay. If this was just
(18:30):
a program for a state level clients, then it would
be a very, very different thing. But take me seriously
when I tell you that you can learn some things
about your home if you apply the concept of theater
or good cinema to the spaces in your home. Now,
I promise you. I was going to give you an
(18:51):
example of this, and it's not a home, okay, Because
I was racking my brain this week thinking what house
can I refer everybody too that everybody has seen the
inside of. And I don't mean stuff like rooms in
the White House or something. I just mean, really understand
the flow, and I wanted to keep it simple. I
wanted to keep it as simple as possible, but tell
(19:13):
allow you to see what a dramatic storytelling can do.
So I'm going to give you an example from a
national monument that we are all familiar with whether or
not you've ever visited the Lincoln Memorial. You know of
the Lincoln Memorial, you've seen it. All you have to
do is pull out a five dollars bill and look
(19:34):
on the backside and there it is. Or a penny
and look on the back of a penny and there
is the Lincoln Memorial. Okay, But what most people don't
realize is that Lincoln Memorial in the architectural community is
one of the finest examples of storytelling that there is
all of the elements of approach to the payoff at
(19:58):
the end. Okay, So let me just le set that
scene for you. The Lincoln Memorial is sitting on the
National Mall in Washington, DC. It is positioned at the
western end of a one hundred and sixty seven foot
wide by two thousand foot long reflecting pool on the
National Mall. You've all seen it. You've seen it. You've
(20:19):
seen it in Forrest Gump, you've seen it in news clippings,
You've seen it all the time. The reflecting pool. At
one end of the reflecting pools the Washington Monument, whose
gigantic obelisk you can see beautifully in the water. If
you're standing at the Lincoln Memorial, and if you're standing
at the end of the Washington Monument, you see the
Lincoln Memorial in the reflecting pool. Mostly though you heard
(20:42):
me talking about lead lines when it comes to the
entryway of your home, the reflecting pool is a massive
lead line. It draws you out and says, follow me
down this path and look at what's at the end,
and what is at the end, arguably what has been
called America's temple, the Lincoln Memorial. Okay, one, because it's
(21:05):
a classical Greek temple. It's designed that way. It's covered
in white marble. It's ninety nine feet tall. It is
surrounded or the roof is supported by thirty eight doric columns,
each of these columns forty four feet tall, seven and
a half feet in diameter at the base, massive, massive columns.
That massiveness is made to make you feel something. Quite honestly,
(21:32):
it's made to make you feel small. It's made to
make you feel small. So are the eighty seven steps
that you have to walk up to reach the level
of what we call the shrine. Okay, So you walk
down this long pathway and you arrive at this Greek
temple that looms up above you, and as you walk
(21:55):
up eighty seven steps, you have to pass between these
massive marble columns, and what is sitting just inside these
massive marble columns a statue of a sitting Abraham Lincoln
rising twenty nine feet above your head. Okay, that is
(22:21):
amazing storytelling. By the time you arrive at that moment
where you're standing there in front of Abraham Lincoln's likeness,
you have gone through a journey that has affected you emotionally,
whether you have considered it or not. There's just simply
no way to walk up a series of steps and
(22:44):
in between those massive fillers and not feel subject to
that which is sitting there on the throne. And it's
not because we're deifying Abraham Lincoln. You know this intrinsically,
he is the focal point there. And you know it
intrinsically that it's not about Abe Lincoln that we've blown
(23:07):
up out of proportion, but it is about some visceral
experience of the spirit or the story that transcends the
image that is sitting on that throne. Whether it's equal rights,
whether it is freedom, whether it is unity of the Republic.
I mean whatever the case may be, there's something so
(23:30):
human about that experience. So, okay, why did I bring
that up? I brought it up as an example of
storytelling in architecture. The fact that this long lead line
that leads you to a very specific focal point, the
fact that there's a journey to take that you literally
have to walk up these steps, and that you're being
(23:51):
affected by it. The fact that you walk in between
these two massive or these these in between these massive
columns to arrive at your destination, and when you get
there it has the impact on you that it has.
We're not talking about you having the Lincoln Memorial at
(24:11):
your house or you turning your house into the Lincoln Memorial,
but if you can appreciate the storytelling elements there focal point,
every step is taken into consideration, every vista is taken
into consideration, Every experience that you have as you transition
from outside to inside is taken into consideration. All of
(24:34):
this is theater, and it's the same rules of theater
that can apply to your home. And there you go.
All right, when we come back, I will tell you
not a Lincoln Memorial story. I'm going to tell you
a story of a project that I'm working on right now,
and what I want to achieve out of one particular
element of that project. Just to underscore this whole conversation
(24:58):
yet again, we'll do that right after.
Speaker 2 (25:00):
You're listening to Home with Dean Sharp on demand from
KFI AM six forty.
Speaker 1 (25:08):
Here we are. We have arrived, yet again, the end
of another three hours together. I still have a few
items to share with you, so don't go anywhere. Just
remember follow us on social media at Home with Dean
or on all the usual suspects. You can find us
there across the board. Don't forget that this broadcast is
the House Whisper podcast. If you're just tuning in and
(25:30):
you're like, oh my gosh, I missed the show. No
you didn't. Just go and listen to it anytime you
wish wherever, however many times you wish on demand the
House Whisper podcast. Just search for Home with Dean Sharp
or the House Whisper on the free iHeartRadio app or
Apple Podcasts, Spotify, wherever your favorite podcasts are found. I
(25:51):
am there waiting for you. And again, if your home
is in need of some personal House Whisper attention. If
you're like yeah, I get it, Dean, I get what
you're talking about today. Still need some creative input on
how to solve the problem. Well, you can book an
in home design console with us. Just go to house
Whisperer dot design. All right, I told you we talked
(26:12):
about all sorts of art today because the theme of
today's show has been that great design, great architecture is theater.
I've talked about stage plays, I've talked about how movies
get made and how directors control the scene. Not to
get all fanciful, but actually to bring it home to
you so you can understand home design in a new light,
(26:33):
right and maybe get your arms around it. Everybody knows
when they watch a film that there are lead actors,
and then there are supporting actors behind them, and then
there are extras back there, and then there's the scene itself.
And everybody intrinsically in the twenty first century understands how
those things happen. It's just that when it comes to
their home, you don't think of your home in those sense,
(26:55):
and so you're staring around your living room and you're like,
I don't know what to do with this thing. I
don't know anything about home design, you know more than
you think if you think in terms of theater, because
the impact of telling that story and the process is very,
very similar. And that's why I've brought those metaphors to you.
I'll give you a real life example of a project
(27:15):
that we're currently working on, an aspirational element to this project.
It's a home. I'm not going to tell you where
it's at or what it's got to just know this.
It's a lovely home. But the most significant thing about
this home is that it's got a big old backyard
that rolls out and out and out and out, and
then it just drops off the end of a hillside.
(27:37):
And as a result, what you see from the rear
yard is a panoramic just big beautiful view of mountains
and canyons. I mean, you just see it is a view.
It's a view lot. Okay. Now why do I mention that,
Because everybody needs to evaluate the property they're sitting on
in terms of storytelling, and in terms of focal point,
(27:59):
and in terms of hierarchy. What's the most important thing?
And this is the big backyard. And we could go
crazy with all kinds of things in this backyard, and
we probably will have all sorts of elements in this backyard.
But what needs to control where we put these elements,
how we place them, and where they're pointing the view
(28:22):
in this yard. It's the view. The view is the
reason this piece of property is what it is. It
is as they say, the money shot. It is the thing.
It is the focal point. And so everything that I
intend to design into this home, on the backside of
(28:42):
the home, looking out and in the yard itself, is
all going to answer to the view, because that's the
story that we're telling, and that's the main line. You understand,
there has to be that focal point of importance and
other things, you know, significant but less important in this case,
(29:05):
just so you know, give you a little view of
how the sausage is made. I can't see this view
from the front door. I wish you could, and I'm
not going to change the house so radically in this
case because there's multiple layers in between the front entry
door and that view. But the front entry leads you
into this lovely part of the back of the house.
(29:28):
And once you get there, and there are other places
to stop along the way, but once you arrive, and
what is going to be this family room. The family
room right now takes virtually zero advantage of that view.
Is it is the room in the house that is
poised to take the best advantage, and it's not. And
so we're changing that for sure. Okay, we're changing the
(29:51):
backside of that family room so that it can embrace
when you're sitting in the family embrace the view. But
what do I want out there? I want to get
you out there, okay, and the view is not enough.
I actually want to draw your attention to it. So
currently my plan is to get out there right on
the edge of the hillside, right out as far as
(30:11):
we can go with the with the yard, and I'm
probably going to put a destination, well I know I'm
going to put a destination out there. It'll probably be
a deck or a platform or some kind of area
to sit and to experience something way out there on
the precipice, on the edge of the view. And I'm
(30:32):
going to make that destination very visible from the family
or in fact, I'm probably going to do a pathway
right up the center of the yard leading straight out
to that destination, a lead line that carries you out,
a lead line so that you see that there's a
pathway to get to this place, and I'm probably going
(30:52):
to emphasize the view by putting some kind of a
framed structure out there, a couple of posts or columns,
and a big beam across some kind of rectangular frame. Literally,
like you see directors sometimes they hold up their fingers
and they're like they're trying to frame the shot. I'm
not going to frame the entire view, but I'm going
(31:14):
to frame the most significant part, central of that view,
so that there's something there that draws you out. And
so in my mind, you wander into this part of
the house and you're going to see this lovely family room,
and you're going to be enchanted by what's going on.
That's where the trees are going that I mentioned in
the Aldic Home spot the trees are going. It's going
(31:34):
to be a lovely family room. But wait, right as
you get start to get settled in this family room,
like a captivating woman who steps into view, just moments
after you begin to feel settled, she's going to walk
out onto the lawn and you're going to want to
follow her. You're going to see that simple outline out there,
(31:55):
arresting your attention. Without blocking the view and the pathway
that leads you to it, and you want to follow
that path, you must follow that path out to that experience.
That's the kind of theater that I'm talking about. And
at the end of the day, what did I just describe? Well,
I'm going to build a thing out there and a
(32:15):
deck and a pathway to it, and maybe a window
looking out on it. You, so you can reduce it
to those elements. Those elements are very very simple. But
if you put them all together and you imagine the
sequence of experiencing it, boom, it's theater. Do you see
that in your mind? Walking out along that pathway, just
(32:36):
getting closer and closer and closer to that panorama, knowing
that you're being drawn out there because there's a destination
for you to visit. What if I put a fire
pit out there at night so that there's a flame
right on the edge of the what you know, on
and on week ago, good architecture and good design is theater.
And you know what, here's the thing. And I'm just
(32:57):
going to leave you with this simple thought today because
it applies now not only to just architecture, but all things.
If any of this seems groundbreaking to you, and I
hope it does feel that way to you. It's not
because these ideas are new. There's nothing here that isn't
a well established design fundamental. Okay, What gets taken is
(33:19):
groundbreaking is simply my unwavering commitment to consistently sift the
projects that I take on and my own design solutions
for those projects through the filter of these storytelling fundamental
and maybe also for the sake of our show. Here
what may be groundbreaking is that I have the audacity
(33:42):
of insisting that you do the same, whether you live
in a condo or a cottage or a castle. It's
all about the fundamentals, it really is. Isn't life about
the fundamentals as well? I think it is. It's always
been the case for me that at the end of
the day, our lives are just built brick by brick,
(34:04):
east by piece out of the bed. The best lives
are built out of the best fundamentals, bit by bit
by bit, with all that intentionality. And so here we are,
and uh, there's a beautiful weekend, uh Sunday afternoon ahead
of you. The question is what are you going to
do with it? I hope that you decide to get
(34:26):
out there and get busy building yourself a beautiful life,
and we will see you right back here next weekend.
This has been Home with Dean Sharp, the House Whisper.
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
(34:48):
anytime on demand on the iHeart Radio app
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