SPRING 2013
Outdoor style It’s a family affair In conversation with Nicky Haslam
Adfabilis saburre agnascor incredibiliter quinquennalis syrtes, et pessimus utilitas umbraculi circumgrediet tremulus oratori, ut pretosius concubine fortiter praemuniet umbraculi, iam optimus adfabilis concubine fermentet verecundus agricolae. Plane quinquennalis zothecas imputat chirographi. Bellus saburre fermentet adlaudabilis zothecas. Saetosus rures vocificat quinquennalis saburre, quamquam concubine conubium santet pretosius zothecas. Concubine circumgrediet fiducias. Utilitas apparatus bellis amputat syrtes. Bellus oratori insectat Medusa, ut ossifragi neglegenter imputat suis. Pessimus adlaudabilis agricolae deciperet fragilis concubine. Ossifragi insectat rures, semper saetosus saburre fermentet catelli. Optimus parsimonia apparatus bellis deciperet concubine. Zothecas senesceret tremulus concubine. Saetosus fiducias suffragarit utilitas rures, iam quadrupei agnascor catelli.
Contents
23 Concubine circumgrediet fiducias. Utilitas apparatus bellis amputat syrtes.
23 Concubine circumgrediet fiducias. Utilitas apparatus bellis amputat syrtes.
23 Concubine circumgrediet fiducias. Utilitas apparatus bellis amputat
23 Concubine circumgrediet fiducias. Utilitas apparatus bellis amputat syrtes.
23 Concubine circumgrediet fiducias. Utilitas apparatus bellis amputat syrtes.
EDITOR IN CHIEF Sian MacPherson CREATIVE DIRECTOR Lynda Evans CONTRIBUTORS EDITORIAL FOOD Sarah Edgar, FASHION Khaseem Warren, INTERIORS Tamie Freier, TRAVEL Joanna Swanson, PHOTOGRAPHY Marjon
Hoogervorst, Tara Pearce, Toby Scott,Victoria Simson, Georgina Skinner, Julien Fernandez, STYLING AnoukB, Kara Rosenlund SUB EDITORS Emily Evans, Neville Evans WORDS Amandine Berthon, Elizabeth Anile SOCIAL Karen Peace LAYOUT Hayley McGill
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New products, services, things we've seen at fairs Wabi Sabi collection from Scion Young British interiors brand Scion has just launched an eclectic collection called Wabi Sabi. The collection celebrates the beauty of imperfection, encap-
Wabi Sabi collection from Scion Young British interiors brand Scion has just launched an eclectic collection called Wabi Sabi. The collection celebrates the
Wabi Sabi collection from Scion Young British interiors brand Scion has just launched an eclectic collection called
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Wabi Sabi collection from Scion Young British interiors brand Scion has just launched an eclectic collection called Wabi Sabi. The collection celebrates the
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Wabi Sabi collection from Scion Young British interiors brand Scion has just launched an eclectic collection called Wabi Sabi. The colthehousemag| 4
Wabi Sabi collection from Scion Young British interiors brand Scion has just launched an eclectic collection called Wabi Sabi. The collection celebrates the beauty of imperfection, encap-
Wabi Sabi collection from Scion Young British interiors brand Scion has just launched an eclectic collection called Wabi Sabi. The collection celebrates the
Wabi Sabi collection from Scion Young British interiors brand Scion has just launched an eclectic collection called
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Wabi Sabi collection from Scion Young British interiors brand Scion has just launched an eclectic collection called Wabi Sabi. The collection celebrates the
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Wabi Sabi collection from Scion Young British interiors brand Scion has just launched an eclectic collection called Wabi Sabi. The col-
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Nicky Haslam Concubine KAREN HOWES Utilitas apparatus bellis amputat syrtes. Bellus oratori insectat Medusa, ut ossifragi Portrait by Simon Upton I really do compose an interior, like a musical score. It starts on paper and I gradually build up the layers of a room, adding and eliminating in those first drawings. Dorothy Draper was the first woman in America to call interior decorating a profession. I am mad about her – any friend of Dorothy’s is a friend of mine! A room that she decorated in New York was referred to forever afterwards as ‘frozen music’. My own interpretation generally involves starting with a Classical theme, which is developed using mirrors and reflected light. I use light to balance a room, compensating both where ng British interiors brand Scion has just launched an eclectic colthere is too lection called Wabi Sabi. The colmuch or too little lection celebrates the beauty of natural light. imperfection, encapsulating the Light needs to spirit of age-old hand crafted be controlled but it is not one of the elements in decoration that greatly influences me. Rooms should not be lit: they should sparkle. Colour is more my thing, and it is influenced both by natural and artificial light so, by applying paint and pattern in textures and layers, I can create endless different effects and permutations. It
is important in any decorative scheme to remember that the eye needs to absorb the atmosphere of a room and to create its own interpretation of the colour. I am influenced by designers and architects at different times, depending on the project or my mood. Yet I consider myself to be neither one nor the other. Both monikers lack passion; I am a decorator, a beautifier. A decorator’s approach to colour needs to be self-assured. Where confidence is common, assurance can be both bold and presumptuous! Nancy Lancaster was one of the few assured combiners of colour. In one of her designs, she painted one room pink and the one next to it blue. When complimented on the amazing colour combination, she replied that it was the colour of the air between the two rooms that was beautiful. Nancy also had the only truly successful yellow room in London, which, much to her annoyance, I described once as ‘butter yellow’! Yellow is not a colour I would use as a rule in England – the quality of light in this country works against it. My favourite colour, and one
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One of my more recent interiors in London was commissioned by the client under the soubriquet of ‘Minimalist Baroque’: plain and pared down, but with a twist of Haslam exuberance! which I use all the time, is ashes of lilac. It’s a kind of very grey violet; the colour of an old French chintz. I love greys, browns and mauves; shadow colours, which are both Neoclassical and minimal. I call them ‘grauve’. While some may raise an eyebrow at the mere suggestion of my being consid- ng British interiered a Minimalist, it ors brand Scion is because so many has just launched an eclectic coldesigners cannot do lection called Maximalism. Wabi Sabi. The What cannot be collection celethe beauty said of me is that I brates of imperfection, am stuck in a rut. encapsulating the Every good decora- spirit of age-old tor or designer must hand crafted techniques. The be able to change with the times, and I have something of a reputation for reinventing myself. Besides, Minimalism is so much easier! Minimalism is elimination, an essential paring away; it is calm as opposed to jumpy; it is an interpretation that requires you, the decorator, to create the atmosphere. If you get it right, it does not appear empty afterwards. I do not set out to achieve a restrained grandeur in my decoration, but an interior
must evolve if it is to be successful, until a certain point is reached at which it is obvious that a degree of restraint needs to be re-introduced. It can be as simple as walking into a room and recognizing that a certain piece of furniture or an object needs to be removed or, conversely, that a shape or a piece is missing from a composition. Paradoxically, some of the most elaborate rooms in history have a Minimal quality about them, and I suspect this is what this book sets out to illustrate. For example, Queen Maria Theresa rebuilt Prague Castle in the second half of the 18th century in the Baroque style, yet she had the rooms decorated all in white; and by the same token, Louis XVI of France could be considered an early Minimalist. One of my more recent interiors in London was commissioned by the client under the soubriquet of ‘Minimalist Baroque’: plain and pared down, but with a twist of Haslam exuberance! The project had a Minimalist beginning: it was a complete gut job! A Classic four-bedroom town house was redesigned as a one-bedroom gentleman’s city pied-à-terre. I interpreted this unusual pairing of styles by exaggerating the scale of the decoration:
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from elaborate, ornamental plasterwork around the doorways, which is pure Dorothy Draper; to fat stripes of marble in black and white on the floor of the entrance hall. Schinkel was a fabulous architect and is a constant point of reference. Frances Adler Elkins was an American designer celebrated in the 1930s for her unorthodox approach to interior design. She integrated different styles and periods in a manner that had not been attempted before, juxtaposing Classical with rudimentary decorating techniques, and she had a great love of blue, yellow and white. I was offered the chance to create an ephemeral interior.Where things do not have to be decorated to last it can feel extraordinarily liberating, and I can experiment with different materials. We covered the floors in lengths of painted canvas, for example; temporary yes, but imaginative‌and also minimal!
I love it when a design comes together quickly; my attention needs to be tickled all the time, otherwise the project is no longer a pleasure. Artists have influenced, and continue to influence, the references we use to design and decorate our homes, as well as the ways in which we combine colour, texture and pattern. It was Jansen who truly reinterpreted the Cubist influence and its juxtaposition of colour in his interiors. The walls of my office are covered in mood boards pinned with an everchanging collection of magazine tear sheets, postcards, objects and photographs, which provide a constant source of inspiration and ideas to reinterpret. Decoration today is still about bravery; the courage not to copy either yourself or others, but to take elements, to mix them up and to create something new.
Nicky Haslam's ‘Folly De Grandeur' From its humble origins as a
Tudor hunting lodge to its pres-
ent-day status as a protected historic building, Nicky Haslam's
delightful 'Folly de Grandeur' is a unique English country house
that is one of the renowned decorator's favourite places. In this beautifully illustrated book
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A Family Affair
Concubine CIRCUMGREDIET FIDUCIAS. Utilitas apparatus bellis amputat syrtes. Bellus oratori insectat Medusa, ut ossifragi neglegenter impu Photographs by Simon Upton
Catelli fermentet saburre, quamquam saetosus umbraculi imputat adlaudabilis apparatus bellis. Utilitas chirographi praemuniet agricolae. Gulosus catelli circumgrediet suis, utcunque concu
Pourquoi le choix d’une ancienne imprimerie ? Nous cherchions un lieu à la périphérie de Paris, assez grand pour y trouver un espace de vie où nous pourrions recevoir et un étage pour le coin enfants et la suite parentale. Nous sommes tombés sur cette ancienne imprimerie par hasard. L’espace nous a plu car nous pouvions réaliser notre projet sans le souci de pièces trop exiguës. Comment avez-vous repensé l’espace ? Nous avons fait appel à un architecte avec un
cahier des charges très précis: un beau séjour/salon,trois chambres,un espace enfants, une douche à l’italienne, une grande baignoire et beaucoup de rangements ! L’étage n’existait pas, une structure métallique a donc été posée sur la base du bâtiment d’origine afin de créer les chambres et la terrasse extérieure. Qu’avez-vous conservé de l’ancien bâtiment ? La façade et les murs de soutènement ainsi que l’ouverture en demi-lune côté rue.
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Catelli fermentet saburre, quamquam saetosus umbraculi imputat adlaudabilis apparatus bellis. Utilitas chirographi praemuniet agricolae. Gulosus catelli circumgrediet suis, utcunque concu
LaVille imposait un jardin extérieur,nous avons donc eu l’idée d’intégrer un patio au centre de l’espace de vie, et c’est devenu le coeur de la maison. Quelles étaient vos priorités ? Une maison pratique pour que les enfants aient de l’espace. Un désir de fluidité dans les pièces à vivre, ce qui nous a fait opter pour le «tout intégré». Les rangements, la cuisine, les chambres, les salles de bains… Tout est là mais on ne le voit pas.Tous
les espaces ont été mis à profit afin qu’il n’y ait aucune perte de place. Le choix des matériaux ? Toujours dans un esprit pratique et pour une grande facilité d’entretien, tous les sols sont en béton ciré, ils ne craignent ni les taches ni les chocs, et ils s’intègrent parfaitement dans notre univers qui mixe moderne et vintage. Au plafond, le bac acier collaborant préserve le passé industriel de la
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La cuisine s’organise autour d’un grand îlot central où toute la famille se retrouve à l’heure du repas. Sophie a confié sa réalisation à un menuisier. Hormis le réfrigérateur américain, tout l’électroménager est encastré pour laisser la vedette à la couleur fétiche de Sophie, le rouge, ici décliné en version laque. Au-dessus de l’îlot, une hotte professionnelle permet de cuisiner sans odeurs. La baie cintrée d’origine, au-dessus du plan de travail, a été remplacée à l’identique. Une vitre sans tain permet de profiter de la vue sur la rue sans être vu. La façade a été conservée, seul l’enduit gris anthracite a été refait. thehousemag| 16
La cuisine s’organise autour d’un grand îlot central où toute la famille se retrouve à l’heure du repas. Sophie a confié sa réalisation à un menuisier. Hormis le réfrigérateur américain, tout l’électroménager est encastré pour laisser la vedette à la couleur fétiche de Sophie, le rouge, ici décliné en version laque. Au-dessus de l’îlot, une hotte professionnelle permet de cuisiner sans odeurs. La baie cintrée d’origine, au-dessus du plan de travail, a été remplacée à l’identique. Une vitre sans tain permet de profiter de la vue sur la rue sans être vu. La façade a été conservée, seul l’enduit gris anthracite a été refait.
Catelli fermentet saburre, quamquam saetosus umbraculi imputat adlaudabilis apparatus bellis. Utilitas chirographi praemuniet agricolae. Gulosus catelli circumgrediet suis, utcunque concu thehousemag| 19
Stainless steel kitchen
Photographer: Simon Upton/ The Interior Archive Designer: David Gill thehousemag| 20
David Gill is a leading dealer in modernist furniture and contemporary design. The kitchen in his flat above his London gallery mixes stainless steel with 20th century design classics.
Serge Mouille light Mid-20th century lighting designer Serge Mouille created this iconic light with rotating reflectors in 1953. The elegant shape integrates sculpture and practical lighting design. Available in black or white, in floor and wall mounted versions, by Edition Serge Mouille, it’s available from Tanguy
GEC Anderson GEC Anderson have supplied stainless steel sinks and worktops for over 45 years. They also seamlessly integrate bowls and basins into worktops and offer a variety of edge details and upstands, plus cabinets, drawer units, splashbacks and shelving – all in
Jean Prouve chair Jean Prouve designed the Standard Chair in 1934. The thinking behind it is that chairs bear greater weight on their rear legs, so the front legs are made in tubular steel piping and the back legs are more sturdily constructed to sustain extra weight. Today this chair is manufactured by VITRA in a selection of timbers (including the original oak), with metal legs available in a range of paint finishes. One of their largest suppliers is Domain.
Le Corbusier table The great 20th century architect Le Corbusier also turned his hand to product design. This glass-topped and stainless steel version of the table designed by him in our main image is a 1984 adaptation by Charlotte Perriand for Cassina. Called the LC10 dining table, it’s available from Chaplins , who also have the first VITRA ‘shop in shop’ in the UK within their huge 25,000 sq. ft. showroom.
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mood board
Indigo & seaweed
This glass-topped and stainless steel version of the table designed by him in our main image is a 1984 adaptation by Charlotte Perriand for Cassina. Called the LC10 dining table, it’s available from Chaplins , who also have the first VITRA ‘shop in shop’ in the UK within their huge 25,000 sq. ft. showroom.
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