Accomplished Washington DC designer, Mary Drysdale founded her namesake commercial and residential design firm, Drysdale Design Associates in 1980. Her numerous projects have extended throughout the United States and abroad. Her designs are frequently published and recognized both nationally and internationally. In fact her work has been featured on over sixty {that’s right 60} magazine covers!
In addition, Mary has received numerous design and achievement awards. Her work is best known for developing a traditional architectural background combined with a clean and sophisticated furnishings layout, typically featuring the work of well known contemporary artists. Her use of color {particularly yellow in the 90s} is recognized throughout the world of design. In fact Mary was recently included in a Huffington Post article by Barbara L. Dixon, Top Ten Designers Who Aren’t Afraid to Use Color.
Simplified Bee: Your designs are timeless, colorful and simply stunning. When did you know you wanted to be an interior designer?
Mary Drysdale: Thank you for the lovely words about my design work. It struck me when I read your question, “when did you know you wanted to be an interior designer”, that I am not sure that I ever imagined “being an interior designer”…Odd, as it may seem, it’s true. As a child, we lived in Charlottesville, Virginia and our street of houses backed up to the land which was part of a large historic house, and it made me feel as though I had a forest of my own! While my mother wanted me to work with her in her quite beautiful rock garden, I wanted to build tree houses. Building + form making was always what interested me. I made forts of bamboo, and forts with strong roofs that did not leak. I think that I worked independently and just liked to create. My parents collected art and painting interested me, but sculpture perhaps, even more. As the years went by, it became clear, even to me, that the “Tom Boy” phase of my life had come to an end. And that could have been the end of my design career… I wanted to be a lawyer like my father, grandfather and so many others in my family.
Except one night many moons ago, I met a young French Syrian Architecture student at a party passing through the city on his way back to France . We began talking about the history of building and how to use old buildings in a new way. I had never been so engrossed in a conversation. I became aware that the sun was coming up and we were still just sitting there, completely deserted by our conversation about the meaning of design.
It is not unrelated, I moved to Paris where my life metamorphosed over a period of three years. I made my own “Grand Tour” of the European countries in order to see their great architecture. Slowly, slowly, my entire vision of what design is and its role in creating quality of life took on a new understanding. I realized that design is a culture. There are cultures which are “Visually Literate” and others which are less inclined. In France, the buildings, furniture and city planning are good – so are the clothes and food; And you can get all of the above at almost any price. It does not have to be expensive to be well designed.
Coming to this realization was a “sea change” for me. First, I realized that all the design disciplines are related and that it goes well beyond that. Consciousness of aesthetics and beauty are part of a whole culture’s vision. In France, this awareness is honed.
As well, the obsession we have here with designer vs. architect and turf war fare does not exist to the same degree. I mean every body there has a high level of education and comes from a culture which has encouraged “seeing” from a young age.
I stopped separating the various tasks and disciplines. I realized that much of design has to do with seeing and understanding proportion, materials and how to draw. So I have seen myself as a designer really….a “generalist” and not an interior designer so much. It is a marketing label; it’s not how I really see what I do. I could be called an interior architectural specialist, kitchen designer, bathroom designer, furniture designer, textile designer or patternist. I have studied architecture, industrial design and decoration and bring those skills to my projects. I just love to design.
SB: How would you describe your personal style and how has it evolved over the years?
MD: I would say that I am not “style centric”; I am far more interested in problem solving. While I have done lots of commercial work, restaurants, stores, modern lobbies, lofts and farm houses, I have come to love the complexity of taking historic properties, and making them sync up with the program requirements and life style demands of today, and somehow making the work both appropriate to the original architecture of the house, and fresh. For the most part, I work on projects which combine architecture and often landscape issues and interior decoration. I also work often for major collectors or artists. I feel that for the work I want to do that there must be a balance of art, architecture and design.
I began as a Modernist, but living in Paris or DC, one can not ignore that the context is so often a traditional or historic building. So, I have become much more involved with traditional building while working with my clients to create uncluttered interiors which showcase fine art and crafts. But, really give me a good problem, and I am there.
SB: Recently on Facebook you posted the following quote from a recent presentation “Past Meets Present”, "The spirit of tradition goes deeper than surfaces and textures. Certain designs may at first look, speak the language of another time. But unfurl soundly, a rhythmic expression of new, derived from the embrace of the historic, colliding with the unexpected; sustenance for the soul, as well as, the senses." How do you blur the boundaries between past and present in your designs?
MD: I am very tight when it comes to the architectural detailing. I ensure the “backgrounds” are very well planned. My emphasis on alignment and classical guidelines allows for certain strength of order to emerge…without one stick of furniture. However, with color {which I feel is the most subjective tool in these projects} I will use tones which are more keyed to today. I may take an antique chair and upholster it in a fun way. And for the most part, my clients collect contemporary art. I am never afraid to put something into the mix which is unexpected…indeed I like to do that.
SB: You have said that the most complete and rich interiors include three elements: architecture, decoration and art. It seems architecture would always come first in a design process, but have you seen otherwise?
MD: Yes, art + architecture and design. And one does assume that the architecture comes first. I believe that “plan is generator” and then once the plan is developed the elevations and the details MUST be planned concurrent with the selection and design of furnishings. It would be dreadful to work with a box and told that no modifications or embellishments could be added. Well, come to think of it, I wouldn’t take the job.
SB: Many of your designs showcase beautiful antiques. Do you have a favorite period style?
MD: I do not have a favorite period style. Anything well done is interesting to me. Having said that, I do like of course American Georgian, Federal and Modern. French 18 &19 neoclassical and of course Swedish of the same period and English. I’ve started to learn about Mexican and Spanish period styles as well - there are so many beautiful graceful insightful types, it is hard to limit. The best pieces teach me something. Horrid out of scale reproductions in wrenched timber and bad joinery, make me dizzy.
SB: What type of architecture are you personally drawn to?
MD: When it comes to plan development, I am a pure classicist. I love the drama of a strong axis and the harmony of symmetry. Balance keeps me grounded, I guess. But, as to the details and materials which would make it either Federal, or Gustavian….that I care less about. I can clearly tell you what makes me cringe. A McMansion. A house of any sort that was designed and built, it would seem from a drop down computer menu and where there is no understanding of what the thing actually is.
But, anything which Thomas Jefferson designed and built, I would probably be very comfortable with. The man was a genius.
SB: In addition to designing, you are working on a book we are all anticipating. I hear we are going to see a range of your work. Can you tell us about it and when it will be released?
MD: I have four more projects which I have to be finished and will be part of the book. The economy has really made the completion of some projects very difficult. But we are very close.
SB: I have also heard that you are working on a furniture collection. Can you share more about this exciting venture?
MD: A furniture line…I would love to. I do not have a licensing agent, and that is what is required. I have designed hundreds of pieces and will tackle that next. I have just completed a line of colors for a wall covering manufacturer and I have been asked to co-brand with a textile designer who has a line already.
SB: It seems you are embracing social media. You are on LinkedIn, Facebook and Twitter. Do you prefer one over the other? What is your advice to other interior designers who are timid about trying social media marketing outlets?
MD: A year ago, I would not have been able to tell you what Facebook did, who used and why they did. Didn’t email do the job?
It took me about a week to become a real fan. Facebook is well designed, smart in so many ways is connecting the world, community by community. I use it because it’s picture oriented and because if you aren’t online when someone returns a message it will still be there when you return. I have met so many interesting people, business associates, staff, and old buddies on FB. …but only hope that it is not addictive!
I don’t understand Twitter because I feel as though I’m speaking to myself. I also belong to LinkedIn, but use it very little.
In closing I want to thank you for asking me to do this and want to share a short story. In 1998 I suffered a serious closed head injury, as a result of a fall from a horse at a gallop. I woke up in Neurological Intensive Care, and the prognosis’ about walking and taking was bad…. (I never believe bad news) and as a result of this accident I visited on many occasions a prominent neuro-surgeon. He told me how lucky I was, and if I could have talked clearly, I would have said – are you out of your mind? He said that I was luckier than so many people because I knew what I wanted to do, and that I had done it. When he said that it penetrated. As it turns out, my recovery was remarkable, and I rarely think of that accident now. But, what I do realize every day, is that I am so grateful to have the ability to do the projects that I do, and that I found what I was suppose to do.
* all photos used with permission via Mary Drysdale
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