ASPIRE DESIGN AND HOME Winter 2020 National Issue by aspire design and home magazine

ICONIC

ARCHITECTURE TRANSFORMED

REVELING IN BLACK AND WHITE INTERIORS

WINTER 2020/2021 SEEKING THE SUBLIME

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EDITOR’S LETTER WINTER 2020/2021 IT’S WRITTEN IN BLACK AND WHITE 2020 was the year our lives were confined by the quarantine but redefined by our ingenuity. We revisited our norm and created a new normal. This is very clear. PREAMBLE We were no longer just passing through our front doors at the end of a workday and fatiguing commute. We woke to witness the way the sunlight streamed throughout our homes. Perhaps we got to linger, and among many other personal and revelatory discoveries we reconfigured our notions of where we fit in the greater scheme of things. If we could not change the trajectory of the pandemic, damn it, we were gonna reshape our personal circumstances hoping our perseverance and sacrifices would lead to a 2021 when the country would right the ship. Many of us sought new ways to interpret, communicate and reimagine our personal and collective freedoms. This issue takes the liberty of illustrating the authenticity of artistic freedom during a worldwide pandemic. Goodbye 2020 Happy New Year! ‘Till we meet again in Spring –

Amy Sneider

amy@aspiremetro.com

“Our perfumes are inspired by Barcelona. They encapsulate the soul of the city.” Page 32 The Unbearable Lightness of a Perfumery

ARTIST BAHAR SABZEVARI’S SELF-PORTRAITS EXPLORE HER OWN PERSONAL STORIES.

O24 is a sink with a path marked by the rhythm of ingenuity, creativity and craftsmanship.

PAGE 37 MUSE

Page 40 GOODS

Designer Anna Gawlik takes an almost Surrealist approach when it comes to the headboard — a loose pillow grid that climbs the wall and floats across the ceiling. Page 51 A Graphic Account

“THESE WOODEN CABINS ARE OFTEN OVERLOADED WITH RUSTIC DECORATION. FOR US, IT WAS IMPORTANT TO RECOVER THE CLEAR AND SIMPLE VALUES OF THE OLD FARMHOUSES.” PAGE 68 AN AUSTRIAN AERIE

“THESE LITHOGRAPHS WERE MADE DURING THE FIRST MONTHS OF THE COVID-19 PANDEMIC. THEY EVOKE THE SENSE OF A COLLECTIVE AWAKENING TO OUR INDIVIDUAL PLACE IN THE WORLD AND AN INCIPIENT AWARENESS OF THE VULNERABILITY OF OUR SPECIES. “ PAGE 46 ART

When Andy Warhol said, “Art is something you can get away with,” he probably didn’t envision it as an appropriate design stratagem for an apartment in this 19th-century Manhattan building. Page 58 POP PAD

“The pull of the past can be hard to resist, yet it takes a solid footing in the here-and-now to embrace what has gone before without falling down the slippery slope of nostalgia.” Page 88 Truth or Dare

“WHEN SOMEONE BEGINS WORKING WITH OUR FIRM, THEY ARE TAKING STEPS TO GUIDE THE INNER WORKINGS OF THEIR DAILY ROUTINES.” PAGE 114 HAPPY MEDIUM

“The Signing,” by Jamaican-American artist Renee Cox, is a 12-foot-long photograph on view at the Boca Raton Museum of Art. As Americans reckon with the future (and history) of our nation, the artist glamourously re-imagines the signing of the U.S. Constitution with women and men of color in place of The Founding Fathers. bocamuseum.org

WINTER 2020/2021

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WINTER 2020/2021 VOL.12 NO.4 STEVEN MANDEL PRESIDENT | CEO

AMY SNEIDER EDITOR IN CHIEF | ART DIRECTOR

E D I T O R I A L CREATIVE DIRECTORS Laura Soles | Greg Cullen MARKET EDITOR Samantha Emmerling

MANAGING EDITOR Deborah L. Martin COPY EDITOR Kate J. King

P U B L I S H I N G GROUP PUBLISHER | CHIEF REVENUE OFFICER Janice Browne ASSOCIATE PUBLISHER Sophia Koutsiaftis

Kazimierz Project. Interior Design: Anke Design Studio. Photography: Hanna Dlugosz/Alicja Trusiewicz. Stylist: Urszula Niemiro. Article on page 51.

2021

MARKETING DIRECTOR Nancy Donovan Ganz EAST COAST SALES DIRECTORS Kara Pfeiffer | Stacey Piano

SOUTH EAST SALES DIRECTOR Suzanne Cooper

MIDWEST SALES DIRECTORS Steven Fisher | Susan Welter

WEST COAST SALES DIRECTOR Jo Campbell-Fujii

SPRING FORECAST

D I G I T A L WEB EDITOR Kelly Walters

P L AY FUL/ L U SH DE S I G N ISSU E “Purple Strawberry” 2019, 20 x 20 This wall hanging work with threedimensional relief elements is one of a series of Strawberries made entirely from Legos in various colors that represent love, equality and diversity. By British Lego artist Andre Veloux. veloux.com @andreveloux

DIGITAL CONTRIBUTING EDITORS Toma Clark Haines | Andrew Joseph Sherry Moeller | Raymond Schneider

A D M I N I S T R A T IV E CIRCULATION Thomas Smith

TRAFFIC & PRODUCTION Digital Workflow Solutions

CONTROLLER Kate Varela

Comments and suggestions: amy@aspiremetro.com For product or project consideration: submissions@aspiremetro.com Advertising rates, deadlines and information: advertising@aspiremetro.com Subscriptions: Call Toll Free 833.260.3379 or Email custsvc_aspire@fulcoinc.com Single Issue Copies and Past Issues: magdogs.com/aspire-design-and-home ASPIRE DESIGN AND HOME is published quarterly by: ASPIRE One Communications, Inc. 246 Main Street, Suite 8, Cornwall, NY 12518 845.534.6110

All rights reserved ©2020. Reproduction of the articles or photos contained herein without the express written consent of ASPIRE One Communications, Inc. is strictly prohibited. Not responsible for typographical errors.

ASPIRE DESIGN AND HOME (USPS 22790), Volume 12, Issue 4 Winter 2020-2021, is published quarterly by ASPIRE One Communications, Inc. 246 Main Street, Cornwall, NY, 12518. Periodical postage paid at Cornwall, NY 12518 and at additional mailing offices. POSTMASTER: Send address changes to ASPIRE DESIGN AND HOME, PO Box 3000, Denville, NJ 07834.

WINTER 2020/2021

A Feast of Flexibility Introducing the 36-inch Dual-Fuel Pro Range with sous vide and induction. For those of you who have admired the versatility of our 48-inch Dual-Fuel Pro Range but just didn’t have the space, your day has come. Our new 36-inch Dual-Fuel Pro Range comes with induction, Ultra-High ™ and Ultra-

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6 FROM THE EDITOR 14 CONTRIBUTORS

C O A S T O F S PA I N

32 THE UNBEARABLE LIGHTNESS OF A PERFUMERY An alternate olfactive universe JACKSON HOLE, WYOMING

51 A GRAPHIC ACCOUNT Designer Anna Gawlik is spot-on with this black-and-white space P R I N C E T O N, N E W J E R S E Y

54 SUMPTUOUS SERENITY ASPIRE HOUSE Drawing Room by Designer Alirio Pirela PA R I S, F R A N C E

47 APRÈS SKI There’s nothing wild about this artfully composed Western home from the team at CLB Architects H O H E TA U E R N R E G I O N, A U S T R I A

68 AN AUSTRIAN AERIE Get away. Log out.

L O N G I S L A N D, N E W Y O R K

70 LA DOLCE VITA A home animated in stone

56 PART AND PARCEL Designer Sébastien Caron’s revived apartment in the Opera district sings! NEW YORK, NEW YORK

58 POP PAD Primary colors and graphic furniture take their cue from American art’s most ebullient genre

S A N F R A N C I S C O, C A L I F O R N I A

C H I C A G O, I L L I N O I S

34 Entryway and Living Room Valerie Grant Interiors

60 LOFT REDUX When loft living is no longer “roughing it“ in the big city VA N C O U V E R , C A N A D A

82 HIGH MASS An ace team of designers and architects amass to create an exceptional home CAPETOWN, SOUTH AFRICA

88 TRUTH OR DARE Designer Nicky Tyers and her sculptor husband Philip respectively take an art-driven approach in their South African home

33 Game Room Kristen Peña

D U T C H E S S C O U N T Y, N E W Y O R K

S A N D P O I N T, N E W Y O R K

41 Cantilevered Staircase HMA2 Architects

FORT LEE, NEW JERSEY

42 Living Room Claire Zee Interiors

PAC I F I C PA L I S A D E S, C A L I F O R N I A

44 Dining Room Joyce Downing Pickens

B AY A R E A , C A L I F O R N I A

96 MIDCENTURY WIZARDRY The supernatural composition of the iconic McIntyre House by Joseph Esherick earns new praise

K L E I N K A R O O, S O U T H A F R I C A

106 PURE AND SIMPLE Snapshots of a heritage farmhouse AT L A N TA , G E O R G I A

114 HAPPY MEDIUM With a forbearance for quiet and graceful interiors, designer Seth van den Bergh fashions a classic Atlanta home

DA L L A S, T E X A S

122 CALIFORNIA DREAMING Chad Dorsey creates a chill “surf shack” in Dallas for his husband and dogs ON THE COVER: 1938 apartment in Warsaw, Poland. Interior Design: Katarzyna Woynowska. A portrait of Katarzyna’s great grandfather, the architect of Lviv Polytechnic, leans against this commode (here used as a table) from renowned Polish deco company Almi Decor, along with a mix of old and new things; family heirlooms, drawings, books, sketches and Katarzyna’s WOYNOWSKA handmade silk accessories. Photo: Jola Skóra / JAM KOLEKTYW / Alicja Trusiewicz, Stylist: Anna Olga Chmielewska / JAM KOLEKTYW

WINTER 2020/2021

CITYNG COLLECTION BY COSIMO DE VITA PRODUCED BY SAVIO INTERIORS FOR CHELINI FIRENZE AND SAVIO FIRMINO Top: Cityng San Miniato Chair Center: Cityng Sagrada Familia Chair Bottom: Cityng Santa Maria Del Fiore Chair artemest.com

THE CROSS COLLECTION Winner of the Archiproducts Design Awards 2020 Designed by Studio Tecnico Scarabeo The wooden base, with crossing elements joined by ceramic inserts, supports a round ceramic top that accommodates 14 types of washbasins from the Scarabeo collections. scarabeosrl.com

ARCHETYPES 26-29 Textile designers Erik Lindström and Kevin O’Brien share their fave pieces from their own collections BOOK NOOK 27 and 29 GOODS 30 and 31 Ringside Seats 36 and 39 Poised for action 40 Vessel of honor 45 Nature takes its course ART 37 MUSE Bahar Sabzevari’s Self-Portraits 46 Lithographs by Jebah Baum 66 EDITORS’ PICKS ROUNDUP 74 Cozy Quarters LAST WORDS A crossword puzzle

Ross Floyd

KRAKÓW, POLAND

FROM LAWN ROAD TO SOUTH CHICAGO: PROGRESSIVE PLYWOOD IN TIMES OF CHANGE Norman Teague and his Sinmi (“to relax” in Yoruba) Stools normanteaguedesignstudios.com

ELITIS

ERIC KUS TER

ROMO

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CISCO

CENTURY

AMERIC AN LE ATHER

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SCHWART Z DESIGN SHOWROOM A N I N T E R I O R S C O L L EC T I V E , C U R AT E D FO R T H E T R A D E SCHWART ZDE SIGNSHOWROOM.COM ASPIREDESIGNANDHOME.COM

ARCHETYPE

In this issue we spoke with two renowned textile designers: Erik Lindström, the LA-based rug specialist, and Kevin O’Brien, a painter-turned-textile-artist. These inventive style makers discussed everything from how their designs were inspired by international travels to favorite pieces from their own collections. GWEN DONOVAN

Erik Lindström

LAGUNA – Part of our Geode collection, I just love the details a precious stone can exude. This pattern in particular has astonishing movement both in shape and color gradation, allowing for a variety of vignettes in most interior spaces. Both my living and dining rooms are currently dressed in this rug, grounding each space as a stone does to the earth. PRINCIPAL

Erik Lindström eriklindstrom.com

PADDOCK – These retro 1970’s inspired lines offer both balance and flow, letting the eye wander from edge to edge of the pattern. The subtle gradations in color give a soft palette and calming mood, while the hand carved lines which divide them simultaneously create a multi-dimensional look and feel.

EMBRACE – Designed for us by renowned metal artist Rodger Stevens, this Pucci-esque pattern is a beautiful composition of line and shape, its muted color palette softening each room it lies in, while still playing the role of subtle impact.

OKTO – Animals, especially the more peculiar ones, are most attractive to me. By drenching an octopus in fine silk, we offer a sophisticated juxtaposition of these slithery (and smart) creatures, while staying intently balanced by its mirrored design.

WINTER 2020/2021

ANDREW MARTIN INTERIOR DESIGN REVIEW VOLUME 24 MODERN KOSHER: GLOBAL FLAVORS, NEW TRADITIONS Michael Gardiner Rizzoli • $40 100 original recipes showcase the breadth of flavors, textures and techniques available while keeping kosher.

Andrew Martin teNeues • $75 24th annual anthology of interior design. The definitive guide to the world’s top 100 designers. 1,000 photos of the latest decor trends.

SCANDI RUSTIC

Rebecca Lawson & Reena Simon Ryland Peters & Small • $26 Creating a cozy & happy home. A journey across the UK and Europe showcasing the very best in Scandi Rustic homes.

NAEEM KHAN: MODERNITY THROUGH COLOR AND EMBROIDERY

Naeem Khan Rizzoli • $85 Celebrated fashion designer Naeem Khan unveils a world of opulence and modern glamour featuring his embroidered statement pieces.

Q&A Erik Lindström’s strong family background in architecture and master’s degree in interiors and furniture design reflects a lifelong passion and deep understanding of the intricacies of custom handwoven rugs. After establishing relationships with his factories in Nepal, Thailand and India, he established Erik Lindström™ with the intention of designing rugs which evoke bespoke, timeless luxury. What textiles have you found on your travels that inspired you? My last trip to Japan uncovered a host of textiles (vintage and new) which resonated with me as their themes of water, plants and animals echo my own passion for creating designs which evoke naturally-inspired motifs. Do you recall watching a movie that showcased lush textiles? The show “Ratched” on Netflix is a recent find where I simultaneously enjoy both design and drama. The interiors offer a wide range of lavish textiles, mainly with solids and textures, but in the most unexpected color palettes. Part of the show is filmed at Tony Duquette’s Dawnridge house in Los Angeles, which is filled with the utmost textile glamour and oozes eclectic opulence throughout. If your life were a book, what would the title be? “Memoirs of an Amuse Bouche.” Currently, what are some of your favorite color combinations? Mauve and chestnut, mint and cream, aubergine and marigold.

INKBLOT #1 – Each Inkblot has their own personality, but I personally enjoy this one as the imagery creates more than just a singular meaning to me, and clients alike. Some days I see two women carrying baskets on their heads, another it’s elephants kissing or the face of a tiger. Applying a dated psychological test to the medium of rugs was also rewarding to make, as the kid-like process of making a book-matched ink drawing always carries an element of discovery and surprise.

ASPIREDESIGNANDHOME.COM

ARCHETYPE

Francesco Lagnese

BROCADE – Another fabric pattern now interpreted as a mosaic is called Brocade. Making velvet burnout brocade was already an interesting adaptation of the ancient weaving technique of damask. It’s known for its shimmer and soft hand as it drapes effortlessly. Shown: Brocade burnout velvet pillow in Moonstone velvet, 14 x 20 .

PRINCIPAL

Kevin O’Brien kevinobrienstudio.com

VINES – William Morris has an irresistible pull on any young textile designer; the challenge is to match the multi-layered complexity of his botanical designs. When I first started out, I did any number of complex vine designs. Vines capture that exuberance of nature with a modern flair. Shown: Vines burnout velvet textile in Wildberry (detail).

WILLOW – The willow pattern is a classic from Japanese art, but I also saw many beautiful compositions of willows overhanging a brook or making a tunnel along the pathway. Shown: Willow metallic velvet pillow in Lapis, 18 x 18 .

CLOUDS – Rather than a naturalistic sky, it’s really an interpretation of the way skies are realized in traditional Japanese painting. Shown: Clouds linen pillow with velvet appliqué in Blossom, 22 x 22 .

WINTER 2020/2021

WOOD GRAIN – The pattern is based on seeing many examples of the Japanese wood-burning technique called shou sugi ban. It originated in 18th-century Japan to protect the wood from rot, insects and fire. Right now, I am making shou sugi ban boards milled from my own trees; they will be used as a new façade on my building in Philadelphia. Shown: Woodgrain burnout velvet pillow in Cobalt Black, 14 x 20 .

Contemporary Artists series: YAYOI KUSAMA

Contemporary Artists series: ADAM PENDLETON

Alec Mapes-Frances, Adrienne Edwards, Andréa Picard PHAIDON • $50 Pendleton’s practice includes painting, collage, film and publishing and focuses on re-contextualizing historical and theoretical positions on abstraction, blackness and the avant-garde.

Akira Tatehata, Laura Hoptman, Udo Kultermann, Catherine Taft PHAIDON • $70 An updated edition of the acclaimed monograph, celebrating one of the most iconic and revolutionary artists of our time.

MORE THAN JUST A HOUSE: AT HOME WITH COLLECTORS AND CREATORS Contemporary Artists series: AI WEIWEI

Survey by Karen Smith, Interview by Hans Ulrich Obrist, Focus by Bernard Fibicher, Artist’s Choice by Ai Qing, Writings by Ai Weiwei PHAIDON • $45 The first monograph on the key figure in China’s fast-growing art scene.

Alex Eagle Rizzoli • $50 An exceptional group of creatives open the doors to their lush and layered homes – original, charming and above all authentic.

Q&A Philadelphia-based Kevin O’Brien believes that “with beauty and meaning, inspiration comes naturally, often, and from everywhere,” so it was a natural transition to move from traditional painting to textiles. Getting his start selling handpainted scarves 20 years ago, O’Brien’s line now includes handmade pillows, bedding, curtains, scarves, throws and more. What textiles have you found on your travels that inspired you? I spent nine months in Japan where there were thriving textile workshops making kimonos and obis, indigo dyers, thousandyear-old weaving factories and a population that really appreciated it all. When I came home, I started my company the very next month. Do you recall watching a movie that showcased lush textiles? Kurosawa’s movies of medieval Japan were full of costumes with amazing patterns and colors. Mostly it was the wildly dramatic shapes, from Samurai outfits that were supposed to make them look as big as possible, to the court ladies whose costumes were meant to look as impractical as possible. I saw that textiles set the mood and became signifiers of how lives were lived. If your life were a book, what would the title be? My book would have to be titled “Wait, Why Did I Just Do That?” It started with the constant moving that is part of a naval officer’s family life. So as an adult I tried on many different identities, from athlete to architect to painter to textile designer, and now design entrepreneur. The shifts seemed impulsive to many, even myself, but now I see the logical progression, getting me to a place that is finally a real home.

BRANCHING OUT Both a structural piece of art and a lighting design, Rinck presents their first chandelier: Félicité. The monumental structure, expanding some six feet, is made of brass with extending branches that hold individually carved illuminated leaves. This piece is truly stunning and catches the eye with every small detail, which is in Rinck’s DNA. rinck.fr

Currently, what are some of your favorite color combinations? Pink and gray, pink and brown are both classics. ASPIREDESIGNANDHOME.COM

kirkbydesign VOLUME Textured Weaves Fabrics designed to stimulate the senses with an out-of-this world feel, VOLUME is a study of oversized textures and haptic pleasure. Featuring 11 enticing qualities presented in a calming color palette with pops of bright pastels, VOLUME dares you to try not to touch. kirkbydesign.com

WINTER 2020/2021

CHAIRPEDIA 101 stories of chairs A unique encyclopedic work directed by Ramรณn ร beda, illustrated by Antonio Solaz and published by La Fรกbrica. Each chair tells its own story and they all fit in the Chairpedia. $35

MAISON POUENAT TRISTAN AUER, TWEED Armchair pouenat.fr

MAISON POUENAT FRANCOIS CHAMPSAUR UTO Armchair pouenat.fr

CURREY AND COMPANY GARSON KONA Chair curreyandcompany.com

YAKUSHA DOMNA Armchair yakusha.design

ASPIREDESIGNANDHOME.COM

The Unbearable Lightness of a

PERFUMERY

A fragrance flagship on the coast of Spain offers a modern update of Catalan vaults

Sara Carner launched her unisex perfume line in 2010, and now it is spritzed on pulse points in 40 countries and stocked in apothecaries from Beverly Hills to Cannes. Her new headquarters and store are a celebration of the perfumery’s 10th anniversary. She calls it “an olfactive universe – diaphanous, with white brick walls and an original vaulted ceiling that captures the vibrating Mediterranean.” “Our perfumes are inspired by Barcelona. They encapsulate the soul of our city,” Carner explains. (Best sellers include Latin Lover, with notes of bergamot and patchouli.) She was as exacting with her architect choice as she is with insistence on wood from sustainably managed forests for the solid bottle caps and candle bases. The design is a nod to “simplicity and effortless living.” Enter award-winning Jofre Roca Arquitectes, with a keen eye for clean lines and a commitment to renewable materials. Roca’s work has included a “beach bar” on the seashore and an apartment cerca de la playa. Both make beautiful use of wood. Here, the false ceilings were demolished, leaving views of the solid brick Catalan vaults, which were later whitened. So, what is this pure wash that creates a shade like clouds, or cotton? “We used natural lime paint for a neutral background,” notes Roca. “The lights are mostly hidden. Using a single hue throughout allows the eye to focus on the bottle shapes and colors. The breathable mineral paints create a healthy, comfortable space,” he adds. Roca chose materials with low environmental impact. The wood for the furniture and the flooring (Flanders pine, protected with water-based varnish) was carefully sourced. The window frames are painted steel. Saturday shopping is by appointment only. Shoppers can slow down, sit down and test many scents. What better space to clear your head and breathe in beauty? TEXT ALICE GARBARINI HURLEY PHOTOGRAPHY ADRIÀ GOULA ARCHITECTURE JOFRE ROCA ARQUITECTES

WINTER 2020/2021

R. Brad Knipstein

S A N F R A N C I S C O, C A L I F O R N I A

PROJECT Game Room, Designer’s Residence DESIGN Kristen Peña, K Interiors

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ASPIREDESIGNANDHOME.COM

WINTER 2020/2021

Photography: Antoine Bootz Stylist: Rebecca Omweg

DUTCHESS COUNTY, NEW YORK

PROJECT Entryway and Living Room DESIGN Valerie Grant Interiors ARCHITECT: Crisp Architects CONTRACTOR: Home Enrichment Company

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ASPIREDESIGNANDHOME.COM

EXPANDED COLLECTION: NEW CONSOLE AND SIDE TABLE

“CONTOUR” COLLECTION Designed by Bodo Sperlein, the “Contour” furniture collection draws inspiration from the clean-curved silhouettes of the 20thcentury Art Nouveau movement. The fluid curves of the piece result from the time-honored woodcraft techniques and painstaking work of London-based RASKL artisans. The finish is created using the traditional Japanese shou sugi ban technique. Originating in Japan in the 18th century and primarily used to treat cedar siding to make it weatherproof, shou sugi ban involves charring a wood surface to render it a deep charcoal-black. The process imparts

the resulting piece, called yakisugi, with an undeniable gravitas – a blackening of the wood that reveals clean, distinct lines and an inherent textural beauty, balanced by the impeccable fluidity of its mirrored curvature. Long drawn to Sperlein’s original “Contour” series (c.2009) which included a table, bench and chair, Melanie Courbet, of Atelier Courbet, encouraged the designer to expand Hello, here is the first sketch for the lamp. the collection with a new console, chair and side table developed Looking for your return, exclusively for the gallery. Each piece is available in black walnut, a great day.ateliercourbet.com black moire Have or solid oak. Florence

Il Bronzetto WORMHOLE A DOUBLE SYSTEM OF LIGHTS AMONG THE PAST AND THE FUTURE Freely inspired by a twentieth-century lamp model, the name of the collection, WORMHOLE, hides a very deep meaning for the company and its creative director. In astronomy, a wormhole is the space-time tunnel that connects one universe to another. It represents the temporal and conceptual passage between the artisan workshop Il Bronzetto, deeply connected in shapes and materials to its history and tradition. ilbronzetto.com

WINTER 2020/2021

“Untitled (Crown Series) 1” 30 x 24 inches, oil on wood panel, 2020

MUSE Many layers lurk behind gaze of Bahar Sabzevari’s self-portraits TEXT JORGE S. ARANGO

ASPIREDESIGNANDHOME.COM

Bahar Sabzevari

Self-portraits by women artists have become ubiquitous in contemporary art (behold Cindy Sherman and Carrie May Weems). But the tradition actually stretches much farther back. Renaissance painter Artemisia Gentileschi, like Sherman, depicted herself in different guises – St. Catherine of Alexandria, for instance, or a lute player. In the 18th century, Élisabeth Vigée Le Brun, Marie Antoinette’s favorite portraitist, also turned her focus onto herself (leading Simone de Beauvoir to brand her a narcissist in her 1949 book “The Second Sex”). “All of these women, and many others,” says Iranian-born painter Bahar Sabzevari, “have continually been a source of inspiration throughout my journey as an artist.” One of these, Frida Kahlo, has been particularly influential. “Looking at Frida’s work, you can perceive a lot of emotions and stories in addition to her self-portrait. Her deliberate exploration and biographical survey go beyond a brief flicker in the artist’s life.”

“Persian Medusa (Crown Series)” 30 x 30 inches, oil on wood panel, 2020

“Untitled (Crown Series)” 30 x 24 inches, oil on wood panel, 2020

Sabzevari’s self-portraits also explore her own personal stories. The first thing you notice is her gaze – steady and unflinching, though more curious than confrontational. “A direct gaze is considered rude in Eastern culture, especially for women,” she explains. “The women in my work are trying to express their courage and boldness, declaring visually that they are not afraid of being seen or judged. In exchange, the gaze is nonjudgmental and draws the audience closer, inviting them to discover the painting and the idea behind it.” “Self Portrait” Photograph by Behar Sabzevari

“Prehistoric Debate” 30 x 24 inches, oil on canvas, 2020

Of the “Crown Series” Sabzevari says, “I think every woman is a queen, which is why in my portraits I depict a crown…My personal story, my experiences in life and my lucid dreams all inform what the crown eventually morphs into.” Drawing from Persian mythology and her love of animals, the crowns can be writhing with colorful, fantastical creatures and deities, as well as figures from Persian literature. In other series, she herself becomes the protagonist in traditional myths, as with “Simorgh,” a work about the decidedly feminine representation of divinity. Some paintings dispense with her visage to depict imaginary animals that seem to be manifestations of Sabzevari’s inner states of being. They can appear dark and demonic, or simply exotic. Her work conjures an unmistakable sense of magical realism. “Drawing on reality alone may not arouse one’s curiosity,” she admits. “But when you tell a story within an unreal world, with symbols and colorful tales, then you may not be referring to one specific reality. That’s when the story becomes eternal and affects people in many places and times. This is the magic of story and imagination.” Leila Heller Gallery, New York leilahellergallery.com

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“Untitled (Crown Series) 4” 30 x 24 inches, oil on wood panel, 2020

CALYER Ceramics By Michelle McLaughlin Ash vase with copper green glaze and speckled white base. calyerceramics.com

HELIOS Chair By Christina Z Antonio Blown glass with neon, layered circular leather with brass feet. christinazantonio.com

WINDSOR Settee By Aspen Golann, in collaboration with master chairmaker Peter Galbert The design blends contemporary proportions with classical construction and ornamentation. The crest and spindles were hand split out of a single white oak log, and the seat was carved by hand from a massive slab of Eastern White Pine. Custom turnings and carvings complement the steam bent crest rail and curved stretchers. White oak, hard maple, eastern white pine, milk paint finish. aspengolann.com

EMA Trompe Lâ&#x20AC;&#x2122;Oeil Pitcher Ceramist Anne Krieg My work focuses on the darkness and texture of sandstone. Curves, thinness of walls and asymmetry are aimed at the functionality of the object: its capacity, lightness and flow from the beak. The EMA dinner service is contemporary and refined. Bowls and cups are also available. It is made to be used and enjoyed every day. The stoneware tableware is designed and fired in my studio in Toulouse. annekrieg.info

ORGANiC Collection by RYNTOVT DESIGN ROSEMARY Bench The integration of a tree trunk fragment into a bench emphasizes the organic fusion of urban and natural forms. In the space, the item not only fulfills its function but works as an art object. Materials: MDF, metal. maino-design.com

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“024 is a sink with a path marked by the rhythm of ingenuity, creativity and craftsmanship”suggests Gumdesign – designer of the sink – “As the hands of the clock mark the time, here each line marks the definition of an idea that becomes reality, in all its strength and complexity. The result is an object of architectural simplicity and beauty, which, leaving behind the executive and conceptual complexity that has shaped it, becomes a timeless and eternal object.”

RECYCLE, SUSTAINABILITY, INCREDIBLE LIGHTNESS

024 is the freestanding marble sink made from 24 segments of marble glued together with resin in a contrasting color. 024 is designed considering aspects related to environmental sustainability and using recycled materials. This sink is part of the Tra Le Righe collection by Gumdesign for antoniolupi. antoniolupi.it

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Chris Payne, ETO

S A N D S P O I N T, N E W Y O R K

PROJECT Sands Point Residence INTERIOR DESIGN/ARCHITECT HMA2 Architects Custom Fabricated Steel Stair | Costanza Fabrication • Handrails | Leather wrap at steel railing: Christopher Tekverk, Ghent, NY • Stair Treads | Cork Deco by Symmetry Natura/Natural Cork from Long Island Paneling, Ceilings & Floors

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FORT LEE, NEW JERSEY

Elisabeth Zee

PROJECT Living Room DESIGN Claire Zee, Claire Zee Interiors

•

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•

• Window Treatments | The Shade Store • • Fireplace | Fine’s Gallery

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Amy Bartlam

PA C I F I C PA L I S A D E S, C A L I F O R N I A

PROJECT Dining Room DESIGN Joyce Downing Pickens, JDP Interiors

| Vintage • Dining Chairs and Chandelier | Rejuvenation • • Chair • Art | Clients’ Own

Sconces | Thomas O’Brien, Circa Lighting Credenza and Dining Table | Custom Made

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SCOTT KILGOUR “HEARTLAND” SKETCH FOR 5 x 10 PAINTING Sennelier/Golden acrylic paint, Montana spray paint, Uni-Posca markers. Visit aspiremetro.com/scottkilgour for “Heartland” final piece. MANUKA TEXTILES “RIFT” SILKSCREEN WALLPAPER By Los Angeles-based textile designer Roxana Eslamieh A series of ink drawn cliffs that curve and dance to the tune of fate and fortune. Shown in metallic gold on matte black. manukatextiles.com

FOSCARINI “BUDS 1” SUSPENSION LIGHT By Rodolfo Dordoni Handblown satin glass. With its elongated diffuser, Buds 1 dons a warm brown hue or a warm white, which emphasizes the beam of light cast downwards. foscarini.com

STUDIO FOUR NYC EXCLUSIVE “SCARLET” WALLPAPER + FABRIC IN GOLD/DARK The Melbourne-based designer Louise Jones’ wallpaper features bursts of colors and bold botanical motifs inspired by Australia’s native wildlife. To achieve the almost 3D effect seen on the wallpapers and fabrics, Jones uses a combination of different mediums, including watercolor paintings and her own photography. The result is a vibrant collection that seemingly pops off of the paper and fabric! studiofournyc.com

THE VALE LONDON “TASSEL BERRY” WALLPAPER IN BERRY Handwoven sisal fiber. Designer and artist Melinda Marquardt created The Vale as a tribute to the street in Chelsea where she spent her childhood. Inspired by the interiors of townhouses she knew growing up, she designs with the comfortable elegance of South West London in mind. thevalelondon.co.uk

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ART L I T H O G R A P H S B Y J E B A H B AU M T E X T B Y E L L A B AU M Inspired Living Collection: Living in the Mountains: Contemporary Houses in the Mountains

Phaidon Editors PHAIDON • $50 A breathtaking survey of contemporary homes, each with a deep connection to the landscapes and vistas of the mountains. “Living in the Mountains” is the definitive global tour, showcasing the finest examples of architect-designed homes, whether furnished with impressive views, offering protection from harsh environments, or simply reveling in their extraordinary altitude.

“What Do They See”

“This Happened, Torsion Object”

“League”

“Drop (Conditional Response)”

“Gathering”

“Enclosure”

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Ever since I was a little girl I have anthropomorphized my father’s imagery, seeking something familiar within his compositions. I knew though, that these likenesses were just happy accidents, the unintended results of the extemporaneous processes of creation. Although we may see recognizable forms in the shadows of his abstractions, he has the uncanny ability to make pictures that appear familiar and yet do not represent anything except for the advent of their own arrival. His art inspires us to draw connections between the work and ourselves, to find resonances within our own lived experience and the one that he has created. Through his imagery we are able to appreciate the ineffable; the beauty or the feeling of a thing without fully comprehending it. Made during the first months of the COVID-19 Pandemic, Jebah Baum’s jebahbaum.com recent lithographs evoke the sense of a collective awakening to our individual place in the world and an incipient awareness of the vulnerability of our species. Substituting a paper matrix for traditional materials like stone or metal, Baum has produced a group of playfully poetic graphic images. His process is as fluid and spontaneous as it is fragile and thus he is only able to achieve a few unique impressions from each plate before they start to degrade. When viewed as a group, we observe a gridlike architecture – each frame a looking glass into a distinct environment. Much like in Hitchcock’s “Rear Window,” the rectangle acts like a portal into an encapsulated slice of reality.

ARCHITECTURE

A P R ÈS

S K I

There’s nothing wild about this artfully composed Western home from the team at CLB ARCHITECTS

TEXT THOMAS CONNORS PHOTOGRAPHY MATTHEW MILLMAN INTERIOR DESIGN PHILIP NIMMO

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The home’s simple forms are spun from a palette of limestone, glass and steel. A cool geometry defines the main entrance to the home. The imposing steel forms in the foyer serve as wardrobes, while directing one’s gaze farther into the home. The extensive use of white oak gives the interior – in architect Eric Logan’s words – a warm “cigar box” aspect. An open tread stairway off the foyer leads to guest rooms on the second floor. The living room furniture – including a custom coffee table by Philip Nimmo and a sectional sofa from Minotti – defer to the overscaled window and the view beyond. The custom made coyote fur rug by Wachtenheim Furs, Inc. complements the neutral palette of the home, while defining a comfortable space where residents can retreat from the common living areas. A towering, limestone fireplace anchors the living room. A chandelier from MASS Beverly dances over the expansive dining table, designed by Philip Nimmo. Pepper Counter Stools from Holly Hunt Studio nestle under the massive kitchen island.

JACKSON HOLE, WYOMING

THE AMERICAN FRONTIER was declared closed

in 1890. And while there remain vast tracks of open space – public and private – the lure of the West has led to considerable density, not only in places such as Denver, but anywhere a mountain scratches the sky. So when Eric Logan and the team at CLB Architects set about creating a home amid those already standing at the base of Wyoming’s Jackson Hole Mountain Resort, they knew they had to calibrate the project just so. “This house lives in a visually challenging context, with a number of large homes close by,” relates Logan. His solution – a compound of interconnected agrarian-inspired volumes – not only ran counter to the more conventionally conceived homes nearby, but also allowed him to strategically define views for his client – to crop and frame the natural vistas while also shaping appealing courtyards and terraces between the components of the house. Adhering to neighborhood building guidelines – multiple rooflines with two-foot overhangs and a palette of wood and stone – Logan devised a constellation of five structures whose outward simplicity makes a virtue of neutrality. While their pitched roofs and barn-like profile reference workaday buildings common across the Western landscape, there is nothing rough-hewn or lodge-like about them. Their silhouette – to borrow from fashion – engenders a response perhaps more visceral than purely visual, a recognition in the gut that these forms make sense here. Like most countryside homes, this Teton-shadowed residence is oriented to the outdoors by way of ample fenestration. But the vistas within are nothing to sneeze at. And those begin – as they should – at the foyer, which in this case has been executed with almost mathematic calculation. “Over and over again,” relates Logan, “we assessed the central point of entry and the flanking windows – how much stone and how much glass.” The double-height space, marked symmetrically with two steel forms that

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recall nothing so much as the mysterious shaft in Stanley Kubrick’s “2001: A Space Odyssey,” took its cue not from anything cinematic, but from the hospitality business. “The client and his family travel with a whole crew of friends,” shares Logan, “so he wanted aspects of the home to function along the lines of a luxury resort or hotel.” With its massive pivoting door and commodious proportions, the entryway not only allows for a crowd, but the dual steel structures provide a place to shed winter togs and head on in. “The whole backside of each is outfitted with open hangers, cubbies and a bench,” notes Logan. “You hang up your coat, take off your boots, store the hat and gloves, put on some soft shoes, and then trip on through the rest of the house.” Essentially minimalist and crisply linear, the home generates an undeniable optical magnetism. The interior vistas – punctuated with a window – draw one deeper and deeper into the compound. With floors, walls and ceilings clad in white oak (and a marked absence of decorative detail), these rooms form an all-encompassing envelope that clearly illustrates the idea of architecture as space made manifest. “This a bit more formal than an organic scheme, where one would wander and find one’s way,” explains Logan. “This is more structured than that.” Los Angelesbased designer Philip Nimmo partnered closely with the client to outfit the rooms in a sympathetic manner. “I have worked with the clients on several residences and know the importance they place on aesthetically pleasing interiors that are sophisticated, yet practical and comfortable,” he shares. “All the materials selected supported a visual impact that is clean and yet sculptural.” A home for all seasons (with a resort-worthy pool on a south-facing patio), this mountain-cradled spot assumes a special beauty in winter. As the insistent snow piles high outside and sunlight washes obliquely across the rooms, it speaks directly to the notion of shelter, reminding one, as Blake wrote: “In seed time learn, in harvest teach, in winter enjoy.”

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JACKSON HOLE, WYOMING

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Flea-market finds – a reupholstered sofa and a lamp sans shade – define the sitting area of the studio apartment.

Designer Anna Gawlik is spot-on with this black-and-white space TEXT THOMAS CONNORS PHOTOGRAPHY HANNA DLUGOSZ/ALICJA TRUSIEWICZ STYLIST URSZULA NIEMIRO INTERIOR DESIGN ANKE DESIGN STUDIO

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Dreamy

takes on a whole new meaning with this pillowed headboard.

ime, it seems, is rarely on our side. When we’re not under the gun, we’re behind the eight ball. And we all know what haste makes. But despite a tight schedule – a heartstopping five days – and a limited budget, designer Anna Gawlik managed to conjure an immaculately appealing pied-à-terre in Kraków’s historic Kazimierz district.

The “deconstructed” wardrobe is all part of the plan to keep the space visually unobstructed.

The compact, highly functional kitchen is a luxury in such a small unit.

Fashioned for a Polish-born graphic designer who resides in Paris, the studio apartment is an uplifting study in white. “On one hand, white was a strategy to optically enlarge the space, and on the other, it was a way to emphasize the architectural details while at the same time not allowing them to dominate the key assumptions of the project,” relates Gawlik. Objects can take on a determinedly arty appearance in a minimal, neutral environment, but because function truly drove the design decisions in this small space, the furniture and fixtures strike one as sensible rather than sculptural. The little wire stool would look at home on a pedestal, but paired with a slender trestle desk, it’s simply a smart looking seat. Gawlik did, however, take an almost Surrealist approach when it came to the headboard – a loose grid of pillows that climb the wall and float across the ceiling.

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“While working on 3D visualizations for the headrest,” says Gawlik, “I started to play with the cushions and then I thought, this is the moment, the right client, when we can afford to wink at the typical concept of a headrest.” Luxe hotel room is often default position when it comes to designing a tiny, occasionally used apartment. But as Gawlik has so scrupulously shown, the chocolate-on-the-pillow road isn’t the only route to take. A coat rack takes the place of a closet, but there’s a great big mirror for that one last look. The bathroom may be compact, but how nice to have a little kitchen, perfect for two. The reduced palette and just-the-necessities approach generates a certain chic, a sort of insouciance that seems to suggest that for all its composed comfort, this space is but a resting place, a prelude to the city streets beyond.

Mixing it up with a romantic industrial vibe.

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DRAWING ROOM SUMPTUOUS SERENITY The room is a celebration of the atypical and unexpected; creating a multifaceted space that is inviting, alive with history, culture and modernity. The resulting space is a sophisticated medley of styles ranging from American Art Deco to European midcentury masters, and modern emerging artists.

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“Rooms are photo albums that evoke memories. They are colors, textures, scents and sounds that hold pieces of your past and create the promise of your future. How you decorate them should remind you of experiences that have brought you – and will continue to bring you – happiness and wellbeing.” – Designer Alirio Pirela pirelaatelier.com

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PA R I S, F R A N C E

Part and Parcel

Designer Sébastien Caron’s revived apartment in the Opéra district sings! “Living in this apartment is living a double history, first in a real forgotten city, then in a dreamed

TEXT ALICE GARBARINI HURLEY PHOTOGRAPHY XAVIER BÉJOT INTERIOR DESIGN SÉBASTIEN CARON

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history through French author Émile Zola’s imagination,” explains interior designer Sébastien Caron, who read Zola’s “Au Bonheur des Dames” (The Ladies’ Delight, 1883) a few times. “À la Paix was one of the lost stores I discovered in that book,” he reveals. In the 19th century, the world’s well-to-do flocked to the rue de la Paix to purchase couture from Charles Frederick Worth and Boué Soeurs, and jewels from Cartier. It is also the name of the priciest property in French Monopoly. Hidden secrets slowly came to life. Caron says this space was first transformed into an apartment in the 1950s. As part of the store building, the space had expansive showrooms to display fabrics and haberdashery. “Our road map was to return it to its majesty while making a residential space,” notes Caron. He added contemporary partitions and restored the moldings and friezes. He added a new rosace to the living room ceiling. “There was nothing there. I thought something was missing,” he claims. In the bedroom pictured (it is one of four), the lamp is an antique market find. “We just needed to clean it,” adds Caron, who is pictured in front of a portrait by South Korean painter Gil Seong. Then he selected a striking Riverside sectional sofa from Rubelli and re-covered it in what Caron calls an “orange-redFauve mix” velour – a tip of the beret to early-20th-century French artists who used vivid colors for contrast. The ceramic Soleil coffee table is vintage Roger Capron – a perfect touch for Parisian panache.

Take a close look at this suite of rooms – the marble floor, the high ceilings. Can you see signs of the grand department store this apartment was once part of, in an area where destination shopping was elevated to an art?

According to Caron, “While removing the wood floor, we uncovered relics underneath – newspapers that workers may have read on their lunch breaks when installing the wood, a ticket for a festive evening in a famous cabaret, and a black leather lace-up bootie that might have belonged to one of the À la Paix saleswomen.”

For when Paris is open for a joyeux winter walk, Caron suggests: Indulge in a warm scarf from La Fabrique d’écharpe. You can design one on the website. Stroll in the Jardin des Tuileries, then hot dark chocolate at the gilded Salon de Thé Angelina on the rue de Rivoli. Take the children to see windows at Printemps and Galeries Lafayette. Stop for caramel eclairs at Stohrer, the oldest patisserie in Paris. “You might need some tea with it,” he adds, pointing to nearby Mariage Frères. And perhaps gifts of light from French candlemaker Cire Trudon. The kitchen stovetop is granite and the backsplash is handcrafted from silvery mirror. The treasured Napoleon III ceiling was discovered above the false ceiling.

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The renovated, expanded kitchen, with Poliform-Varenna cabinetry, a banquette upholstered in Alexander Girard fabric from Maharam and blue Arper chairs. Designer Judy Dunne topped the island with a slab of Brazilian Fantasy marble.

Primary colors and graphic furniture silhouettes take their cueS from American art’s most ebullient genre

Abramczyk Studio’s “Linear Cumulus” chandelier for Ralph Pucci is an organic, wavy response to the orthogonal lines of the Fritz Hansen table and Poltrona Frau dining chairs. On the wall behind the grouping is a drawing by Jean-Michel Basquiat.

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pop pad

Flavor Paper’s “Reigning Queens” series wallcovering is an homage to Warhol that’s based on a photo of Elizabeth II taken during her 1977 Silver Jubilee. The Ligne Roset box-quilted bed, folksy pillows and wood lamps (atop custom lacquered metal nightstands) add texture.

A listening area is set apart from the open-plan principal space with a custom cabinet inspired by acoustic quadratic diffusers. The Barcelona chairs from Knoll are covered with azure Spinneybeck leather and flank a faux marble Bong table from Cappellini.

M A N H AT TA N, N E W Y O R K

When Andy Warhol said, “Art is what you can get away with,”

he probably didn’t envision it as an appropriate design stratagem for an apartment in this 19th-century Manhattan building. Erected in 1866 to stable the horses of the American Express Company (when it was actually an express transport concern for “goods, valuables and specie”), the stately brick edifice on a cobblestone Tribeca street barely three blocks long presents a sober, restrained countenance to the world. And then there’s this. Designer Judy Dunne’s clients were a lively fortysomething couple with three children and a full-time residence elsewhere. For their pied-à-terre, she explains, “They love color, and they wanted a fun space that was practical for a family and also easy to maintain.” At first, the idea was to simply furnish the place. But when a major leak sprang from over the kitchen, she recalls, “It inspired us to renovate. A misfortune turned into a happy accident.” Newly expanded, it’s new total is a 4,000-square-foot, four-bedroom loftlike apartment. Avid art aficionados, the couple collects important works, most of them, not surprisingly, in a zingy Pop Art palette: Warhol, Tom Wasselmann, Mel Bochner, Jean-Michel Basquiat and Cindy Sherman. That explains the predominantly primary color palette against a white architectural envelope. “It’s all about texture, color and exuberance,” explains Dunne. One would have to take her at her word. How else to grok, for instance, the kitchen eating nook? Dunne upholstered the banquette, which faces two bright blue molded-plastic chairs, in a spirited Alexander Girard pattern that says, “Good morning!!!” in no uncertain terms. Or the cherry red Poltrona Frau dining chairs under the Ambraczyk Studio chandelier from Ralph Pucci? And it might behoove overnight guests to be fans of Queen Elizabeth, since a Flavor Paper wallcovering multiplies Her Royal Highness’s visage Warhol-style, to cover the wall behind the guestroom bed. (This is the man, after all, who also said, “I think it would be terrific if everyone was alike.”) The husband is a major music buff. So, a bookcase segregating a lounging niche in the open-plan’s main space not only disguises an unmovable column, says Dunne, but its design is “based on a quadratic diffuser. It’s also convenient to the turntable.” And the Barcelona chairs here that beckon you to sit and listen to the sound emanating from her client’s custom Oswald Mills speakers? An audacious azure, of course.

TEXT JORGE S. ARANGO PHOTOGRAPHY MICHEL ARNAUD INTERIOR DESIGN JUDY DUNNE, BUTTER & EGGS

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LOFT REDUX

When loft living is no longer “roughing it” in the big city CHICAGO, ILLINOIS TEXT JORGE S. ARANGO PHOTOGRAPHY RYAN MCDONALD INTERIOR DESIGN DAN RAK

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OPPOSITE: The family lounging area features a Modshop tufted sofa, midcentury-look chairs and tables from Four Hands, and a Currey & Company chandelier. The Loloi rug picks up the curtainsâ&#x20AC;&#x2122; wine color. ABOVE: The spectacular Lightology multi-pendant chandelier over the Sarreid dining table took a full day to hang. The floorâ&#x20AC;&#x2122;s herringbone pattern distinguishes the space within the larger open plan.

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Loft living today is a far cry from its origins in the 1960s and ’70s, when scrappy creative types illegally occupied former manufacturing spaces not zoned for residential living, and got by without heat and hot water. The renegade spirit of loft living, of course, introduced a new typology to our contemporary architectural lexicon that has become the benchmark of urban chic. What was adventurous back then has become mainstream, with buildings now designed to specifically mimic lofts. The sheer ubiquity of them has made it challenging for designers to find approaches to these spaces that feel fresh and new. That was designer Dan Rak’s task when a couple who he had worked with on other projects bought a 3,100-squarefoot, three-bedroom apartment in Chicago’s West Loop, a former industrial area that in recent years has become an uber hip foodie mecca. The loft typology was, of course, completely appropriate to this setting. “It has a lot more of an edge, so they wanted something consistent with the architecture of the neighborhood,” says Rak of his clients – Ted, a 41-year-old dermatologist, and Chelsy, a 32-year-old physician assistant. Circa Lighting pendants hang over a quartzite-topped island where Palecek’s “Fritz” rope stools proffer casual seating. Back counters are swathed in zinc, while the hood is antiqued bronze. A subway tile wall, in keeping with the apartment’s industrial references, breaks up black custom cabinetry by Bentwood Luxury Kitchens.

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By the living room area window, a â&#x20AC;&#x153;Portugueseâ&#x20AC;? desk from Noir and an antique gilded mirror bring in historical references that add to the general eclecticism of the furniture silhouettes.

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RAK’S STRATEGY was, to a great extent, one of working against type. That meant introducing color, luxurious textures and softening elements like yard upon yard of curtains. “Without plenty of texture to make it feel homey,” believes Rak, “it would have felt cold.” This approach gave the spaces a more traditionally residential demeanor without negating industrial details, such as the apartment’s steel windows. Rak also included industrial references of his own (i.e., metal lighting fixtures in the dining and family lounging areas and, in the kitchen, an antiqued bronze hood set into a subway tile wall, as well as zinc countertops).

RAK’S PROGRAM, however, required some persuasion. “It took me a little while to come around to that much drapery and the boldness of the colors he chose,” admits Ted. Even Chelsy, who likes soft warm tones, was initially reticent about some of Rak’s choices. “Dan’s good at taking us farther than our comfort zone,” she says. “Like all the wallpaper! The patterns were more out there.” To wit: The “Snowdrops” wallpaper from U.K.based MissFit on either side of the living room fireplace, which, Rak explains, “Took an awkward sheet rock wall and treated it like a piece of art.” Ironically, this area in the open plan – made cozy with the wallcovering, bookshelves, comfortable seating of human (rather than oversized) proportions, and traditionally referenced furnishings like a gilt mirror and a vaguely Portuguese colonial desk – turns out to be Chelsy’s favorite spot. Living, dining and family lounging regions are segregated within the wide-open main room in two ways: anchored on plush Loloi rugs that establish individual, yet interrelated, palettes for each; or by a variation in flooring (herringbone rather than straight planks in the dining space). Textures ramp up a sense of tactility that also warms the urban loft vibe: thick velvet on the curtains paired with linen sheers, family area sofa’s sage green velvet, grass cloth in the entry, kitchen barstools with rope backs, cerused wood on a master bedroom chest. The opposite of raw and unfinished, one thing is certain: original loft dwellers would not recognize this hybridized evolution. Rak, however, dares them not to like it. CLOCKWISE FROM UPPER LEFT: A Made Goods table by a brass-finish tub filler from Watermark in the master bath’s bathing niche. A Regina Andrew light fixture hangs over an RH bed, Uttermost chair and Brownstone’s cerused oak chest of drawers in the master bedroom. Outside the glass box of the dining room is a loggia appointed with RH furniture and a concrete table from Sunpan.

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Editorsâ&#x20AC;&#x2122; Picks VIGANĂ&#x2019; OFFICE BASAGLIA + ROTA NODARI STUDIO GEORGE is the innovative modular system that can be assembled both horizontally and vertically. Its structure contains four elements: a lateral and a central module, a pouf and a coffee table, infinitely combinable to adapt to any solution. This creates combinations dedicated to waiting, to informal meetings, as well as a place of privacy thanks to the sound-absorbing structure of the modules. A multipurpose product capable of solving even home-working situations, it is available with an induction battery charger accessory and a cable that can be attached in any configuration. viganooffice.it

LEE BROOM MUSICO CHAIR Assembled and upholstered at the Lee Broom factory in East London, Musico is available in three finishes - a soft satin brass, a highly reflective mirrored chrome and a matte black. The chair can be upholstered in velvet, wool or leather in a spectrum of colors. LeeBroom.com

OLEV LIGHT DRUM DESIGN BY MARC SADLER 2020 A wireless table lamp with rechargeable battery, designed to illuminate the top without dazzling. Thanks to Dim to Warm LED technology, it offers the ability to adjust the intensity and color of the light, achieving the desired atmosphere for every occasion, at home, in a lounge, or in hotels and restaurants. The warm, white light can be softened at the touch of a button located under the lamp head. The three pear wood legs support a metal cap, available in black, red or white. olevlight.com

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ROCHE BOBOIS WONDER CABINET DESIGN BY MARCEL WANDERS

THE PLANET FOR TWO DESIGN BY MZPA MADE IN UKRAINE

The lacquered exterior features a round display window that resembles a porthole. The interior reveals the spectacular, vibrant and poetic “Globe Trotter ” fresco. rochebobois.com

“The Planet for Two” proposes a wonderful solution for close communication in lieu of the traditional office partition. The Planet for Two has soundabsorbing characteristics to maintain a private exchange. Assembly required. Color options available. maino-design.com

LAPALMA COLLECTION TABLE, CHAIRS AND STOOLS DESIGN BY ROMANO MARCATO The large ORI table, with a wood or Fenix top available in a rectangular, square or round shape. lapalma.it

KASSAVELLO OSCAR SOFA Inspired by the curved line poetry of Oscar Niemeyer’s architecture, OSCAR sofa entices with its sensual and freeflowing curves. Like Niemeyer once said, “Curves make up the entire Universe,” and this contemporary sofa will surely make up any living room, adding a sophisticated and timeless appeal. When it comes to décor, this sofa offers endless possibilities. kassavello.com

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Scenically situated amid Austria’s Hohe Tauern Mountain range, this

While not enormous, efficient built-ins and the high, pitched

homestead still has its share of cows, goats and chickens roaming

ceilings amplify the sense of space. Minimalist in a bucolic

about, but for thirty years the Unterberger family has been welcoming

way, the cabin strikes an almost arty note with a svelte, wood-

guests to this alpine aerie. Katharina Unterberger and her sister

burning fireplace perched on a concrete plinth. Windows at

Elizabeth now operate this popular getaway and engaged Munich

either end of the structure send sunlight streaming the length

architect Andreas Meck to create a new cabin in sync with the

of the building. Simply furnished with custom made pieces by

property’s rustic charm. Although not cutting-edge, the cabin’s design

a local carpenter, brightened with splashes of color in its linen

draws many guests for whom architecture is high on the checklist

and wool textiles, the cabin exudes a clean, healthful air of

when booking a vacation. “Our guests love architecture and design,”

escape. It’s the kind of place that forces one (in a good way) to

relates Katharina, “and are looking to escape stress, to find calm in a

slow down – to chat, eat slowly, perhaps play a hand of cards or

place full of warmth with a familiar atmosphere.”

pick up a book. To breathe.

Erected on the site of a former 100-year-old hay barn and using some of that structure’s timbers, the new accommodation cascades down the hillside, its heavy, rough-hewn exterior giving little clue to the streamlined space within. With walls, floor, and ceiling clad in unadorned planks of spruce, the interior strikes a sauna-like aspect (or the inside of a wooden cigar box). “In Austria, there is a trend of building ‘mountain villages,’ a lot of wooden cabins in a small area for lots of guests,” shares Katharina. “These are often overloaded with rustic decoration. For us it was important to recover the clear and simple values of the old farmhouses.”

AN AUSTRIAN AERIE TEXT THOMAS CONNORS PHOTOGRAPHY KRISTA KELTANEN ARCHITECT ANDREAS MECK

WINTER 2020/2021

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TEXT THOMAS CONNORS PHOTOGRAPHY RICHARD CADAN ARCHITECTURE/INTERIOR DESIGN ORA STUDIO NYC

WINTER 2020/2021

L O N G I S L A N D, N E W Y O R K

Designed for a family that loves to entertain, the Boffi-equipped kitchen features two islands: one for prep and pre-meal conviviality and the other for cooking.

DOLCE

VITA ASPIREDESIGNANDHOME.COM

Space.

It’s what most of us dream about. But

making good use of it is another thing. When blessed with too much square footage, rooms often go unfinished, furniture never quite fits and a house fails to become a home. So, imagine wrestling 24,000 square feet into shape. When a project of that size came her way, architect Giusi Mastro had her work cut out for her. She certainly couldn’t pretend that the Long Island property wasn’t grand. But with a firm understanding of scale and proportion and an artist’s appreciation for material, texture and color, she embraced its stunning dimensions to create interiors as authentically functional as they are visually and emotionally compelling. “After the footprint of the house was designed by a local architect, my client realized that what makes a grand and inviting place is not the amount of square feet, but what you do with it and how you express it in architectural language,” says Mastro, founder of ORA Studio NYC. She began by fashioning a more intimate foyer, then mediated the expanse of the home’s main floor by turning the six, thin structural columns that ran across the space into significant architectural features, allowing

Architect Giusi Mastro

her to define a dining room and media area, and two lounges. Illuminated coffered ceilings – each one in a slightly different pattern – further demarcate the individual yet interconnected spaces. The separate but adjacent kitchen is arranged around two islands, one of which is equipped with a cooktop and an impressive, reflective hood hanging above it. On the second floor, Mastro created a gallery that overlooks the floor below. Outfitted with custom glass shelves for display, it serves as an elegant prelude to the master suite, complete with his and her closets and bathrooms. A family room, laundry, children’s playroom and guest accommodations round out the program. Happily, for the Puglia-born Mastro, her client lived in Italy for many years and was receptive to her determination to employ Old World traditions in a contemporary manner. Stone – which she applied extensively – was key to that approach. Bianco Lasa marble covers the staircase, living room floors, main kitchen and her master bathroom walls and floors. His bathroom

features Nero Marquina floors and Statuario Fantastico-clad

piece of stone is a piece of history, in every large city and small villages in remote

walls. The monumental fireplace in the living room is made

locations, it is part of my DNA to love stone and precious materials. Having a client

from Serpeggiante Kenya Zebra marble. “I love to use stone and

that can understand and embrace that is a plus.”

precious materials that enhance a contemporary design and have

Like a luxury yacht too massive to turn on a dime, this property wasn’t wrestled

a luxe look,” shares Mastro. “Stone is living and breathing, it

into shape easily. Its sheer scale and air-eating volumes were meant to impress, not

adds a natural aspect to interiors and has a durability and high-

disappear behind sofas, chairs, rugs and pictures. Mastro met it on its own terms.

end quality that my clients desire. Coming from Italy, where every

She didn’t cut it down to size. Instead, she sized it up, beautifully. BRAVA!

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“It is part of my DNA to love stone and precious materials.”

OPPOSITE: Visible from below, the second-floor gallery enlivens what could otherwise be a nondescript link between the private quarters and guest areas. ABOVE: A monumental fireplace made of bronze and Serpeggiante Kenya Zebra marble is a knockout focal point in this sitting area.

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COZY QUARTERS

Grey Crawford

TEXT DEBORAH L. MARTIN

WINTER 2020/2021

Project: Los Angeles, CA

In my own Spanish Revival-style home, the original wood paneling is a bit out of character. I stripped several layers of paint and then stained it, and the fireplace surround is the original brick. The artwork is a mix of pieces I have been collecting for the past 15 years: a good mix of funky vintage store finds as well as more important vintage paintings. We do a lot of entertaining in this room – there’s a bar on the opposite side of the room. We love to light a fire and enjoy conversation with guests, but it’s also the perfect spot to cuddle up with a book on a rare cold day in LA.

Jeff Andrews Design jeffandrewsdesign.com

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PROJECT: Silver Bay, Shelley Point Peninsula, South Africa

In this sitting room, we maximized the views and wanted the interiors to reflect the outside environment. The sitting area color palette echoes the colors of shells found on the beach below. Concrete ceilings echo the textures of sand and rock, while open, glassed gables in the roof-ends provide a moving-picture show of clouds and sky. Sisal carpets, the tent-like thatch and timber elements (such as lime-washed oak walls and doors) bring in the softer natural fauna elements of the surrounding reeds and grasses. The geometric artworks are by Kris Ruhs, and were acquired by the homeowner on her trips to Italy.

SAOTA Architecture and Design

Greg Cox

saota.com

Kelly Dunn, Fathom Design Company

fathomdesigncompany.com

WINTER 2020/2021

Jon Friedrich

PROJECT: New York, NY

In a dead space that wasn’t being used I created a seating and music listening room. The family now uses it all the time. Every room in the home has pops of uniqueness that grab your attention. In this room it’s the fuchsia statue of David. The walls are painted in Benjamin Moore’s Amazon Green and the hardwood floors are covered by an orange and charcoal wool area rug from Uttermost. The drapes are custom made from a tortoise shell patterned fabric. I found the cabinet on the side of the road and only paid $40 for it! The David statue is an oxymoron wonder — ancient, historical, classic, biblical, purple, velvet and naked. He grabs your attention but doesn’t overpower you.

PROJECT: The Plains, VA

Angie Seckinger

This was a renovation and expansion of a 1970’s house in horse country, with great views of the Virginia landscape. The client wanted it to be another sitting area as an extension of the living room area, but more intimate. Not a library but a place where one could read or have a smaller conversation nook. The floors are American rift white oak, but we softened them with the Moroccan tribal rugs, set in layers, and we had the linen sheer drapery panels handpainted with gold circles by a textile artist in California, adding a modpattern in the room. The wife loves blue tones, so each room has different hues, but never to match. Here the Jonathan Adler sofa gets its blue, and the magenta color in the small rug adds color tension. The modern wing chair is by Turkish design firm Autoban, and next to it, sits a black Chinese garden stool. A pair of French 1950’s artist low tables are from the Paris Flea Market.

Nestor Santa-Cruz nestorsanta-cruz.com

PROJECT: Los Angeles, CA

In a newly constructed home, a master sitting room feels warm and comfortable. Walnut flooring and a gray marble fireplace surround are just two of the beautiful details that add texture and visual interest. The owners use this room to read and relax, and as a sanctuary from two young children. We have had more requests for den-type spaces during this time. With everybody at home, clients who have more open-plan homes have found it necessary to find a quiet space.

Studio William Hefner

Angie Seckinger

williamhefner.com

Stephen Kent Johnson

PROJECT: Washington, DC

This 250-square-foot den holds the only television on the first floor and also has ample bookshelves, making it the perfect retreat. We opened up an enclosed area to create a little niche where the bar cart currently sits, and we satisfied our client’s passion for color, pattern and antiques. The play of pattern and depth of color are representative of the palette of the house. We have noticed that our clients are very interested in “destination rooms.” These are often smaller in scale where they can work, read or take a call in private.

Marika Meyer Interiors meyerinteriors.com

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PROJECT: New York, NY

In this renovated apartment, a library/sitting room was created as a through-space between the living room and the office. Elegant mid-20th-century Italian furniture is offset by the white oak paneling and white varnished flooring, and the room provides a showcase for the owner’s extensive collection of John F. Kennedy photographs and memorabilia. Our clients are increasingly interested in more relaxed family rooms like this, as opposed to more formal living spaces. – Michael Daddio

M. Daddio Artisan Builders mdaddio.com

Interior Design

Luca Andrisani Architects

Emilio Collavino

lucaandrisaniarchitects.com

BYRON RISDON LLC - SEVERNA PARK PROJECT

PROJECT: Severna Park, MD

Keyanna Bowen

This new construction home is a larger space for the client, allowing them to have an adult sitting area and television space. The kids have their own space in the basement. But the room had to be kid friendly as well, so we used performance fabrics and wipeable surfaces. This sitting area is on the first floor, connected to the kitchen with an open floor plan, with a pair of double doors that lead out to a patio. The dragonfly print on the wall is actually a screen that pulls down to cover the television when it is not in use.

Byron Risdon LLC byronrisdon.com

PHOTOGRAPHED BY KEYANNA BOWEN 78

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PROJECT: Venice Beach, CA

The family wanted a space that could fit all of their kids and friends. They wanted it to be a super comfortable, lounge-y room. It is the main hangout room – open to the kitchen – so it had to be flexible. We looked to the Venice Beach view for the palette and color inspiration for this room, with plenty of green, blue and hazy gray. But we popped in some orange and black, too.

Timothy Brown Studio

PROJECT: San Francisco, CA

This room always existed in the original home but was part of a larger home office space. We worked with Feldman Architecture to reconfigure this level, so this room became the study, and it is across from the new home office, an art room for the kids, and a guest suite. It’s a cozy room – only 9 feet by 12 feet! The clients wanted a cozy, technology free space for the parents and kids. In many ways, it works like a mini library inclusive of a fully stocked bar cart. And when they are working in the adjacent office, they wanted this room to serve as a “break-room.” The serenity of earth tones keep it very calming.

Kendall Wilkinson Design kendallwilkinson.com

“Upstate: Living Spaces with Space to Live” by Lisa Przystup. Photography by Sarah Elliott

Paul Dyer

Joe Schmelzer

timothybrownstudio.com

PROJECT: Accord, NY

In an 1830’s house, Don Howell and Ray Camano replaced nearly a quarter of the exterior with new wood rubbed with mud from a nearby stream to speed up the oxidation process. They preserved most of the floor plan and kept all of the original floorboards and doors on the ground level. After they insulated the walls, Howell created a recipe for the plaster – rabbit-hide glue, slaked lime and pigment – to create an aged look. They filled the house with furniture designed by Howell, like the Sternum lounge chair with joined slats.

Don Howell and Ray Camano donhowelljoinery.com

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PROJECT: Fire Island Pines, NY

This 1962 midcentury beach house had to be renovated after a flood. It was designed by a colleague of I.M. Pei, for an art collector. This area of the home was originally a separate rental apartment in the lower level. We integrated the space into the main house, while maintaining its independence from the other rooms, and it functions as a low-maintenance getaway for the couple’s two college-age children. White porcelain large-format floor tiles form a hearty and flood-proof surface, softened by a fluffy shag carpet. The walls and ceilings are rendered in light gray stained cedar.

Rawlins Design

2020 RECIPIENT DoCoMoMo

MODERNISM IN AMERICA AWARD

Marius Chira

rawlinsdesign.com

Tom Sibley

PROJECT: New York, NY

This was a bedroom prior to our renovation. It shares a Jack and Jill bathroom with the other guest bedroom, and is accessed directly off the foyer. It can be closed off and act as a second guest bedroom. The clients use it as a TV room, the husband uses it as an office and the space can be used as a library as well. The sideboard is 1960’s Danish rosewood from a dealer in Paris, and the armchair is covered in a lime green leather to add personality to the somewhat subdued room. The pottery is from a larger collection of the homeowners’ midcentury ceramics.

Alexander Doherty Design alexanderdohertydesign.com

Angie Seckinger

PROJECT: Washington, DC

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We live in a 1910 “Wardman townhouse,” built by popular DC developer named Harry Wardman. Therefore, we live vertically on three full floors. This den/family room takes up two-thirds of the second floor. It was originally three rooms, but previous owners had already combined the two front rooms to create this space, and we redid the fireplace wall with new bookcases and the fireplace surround. The tone of our house is classic, updated, which is the style I strive for in my design work. We lean towards a comfortable English aesthetic — antiques and oriental rugs are not strangers to us! But we like mixing that with more modern elements, such as edgy wallpaper and contemporary art.

Annie Elliott Design annieelliottdesign.com

PROJECT: White Sulphur Springs, WV

Dorothy Draper was known for her rejection of anything drab and beige and her embrace of everything bold, bright and pattern-filled. The Victorian Writing Room in the Greenbrier is a great example of her breadth as a designer. This room in particular juxtaposes the somewhat fussy formality of interiors in the Victorian-era with her exaggerated floral patterns, bold statement pieces and color. The fireplace is a classic Victorian style, but paired with the bright, floral chairs the room is given a whole new life that suddenly feels less intimidating and formal. It has since become such an iconic room that I have never seen a need or reason to change it. To offset the darker wall color, Mrs. Draper chose one of the most famous Dorothy Draper fabrics called Fudge Apron for the chairs. Fudge Apron is appropriately named for all the colors that happen to fall on an apron when making fudge – lemon yellow, raspberry and blueberry – which can all be seen in the pattern of big, big roses. While our firm is the designer and decorator of the Greenbrier; I have an additional responsibility as the curator of the resort.

Carlton Varney Dorothy Draper & Co.

Michael Arnaud

dorothydraper.com

PROJECT: Canandaigua, NY

“The Lodge” is the home of my father and stepmother, and my husband and frequent collaborator, Fitzhugh Karol, the artist-in-residence at TBHCo, is responsible for much of the woodwork throughout the home. We wanted to accommodate the growing number of grandchildren in the family, which now includes eight kids. The room is utilized as a home office and reading nook, but no TV! Our aesthetic utilizes mostly black, whites and wood. We let the materials take center stage. Our ethos is to create a strong architectural base layered with personal artifacts and collections. We like clean lines, but we also encourage a home’s own patina to shine through. My dad’s passion for wood informed our choices to layer the historic barn frame and reclaimed paneling throughout. Much of the flooring, and some of the furnishings created by Fitzhugh were fabricated from bogwood found in the Erie Canal.

Lyndsay Caleo Karol The Brooklyn Home Co. Mathew Williams

thebrooklynhomecompany.com

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VA N C O U V E R , C A N A D A The sculpture Critical Mass by artist David Robinson, which was commissioned for the home, dominates the edge of the front yard water garden, designed by landscape architect Paul Sangha. The orange corten steel element is the inspiration for the pops of orange color found throughout the home. The sculpture Sphere by Marie Khouri greets guests by the entranceway. The office on a lower level, framed by two black granite blocks that cut through the spine of the house, looks directly upon the Critical Mass sculpture. Custom desk by Mitchell Freedland Design with leather from Holly Hunt. Eames desk chairs and striped cowhide area rug by Kyle Bunting.

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TEXT THERESA KEEGAN PHOTOGRAPHY EMA PETER INTERIOR DESIGN MITCHELL FREEDLAND ARCHITECT CHRIS DORAY LANDSCAPE ARCHITECT PAUL SANGHA

HIGH MASS Unite an architect landscape architect and interior designer at the start of a project for a homeowner with a refined taste for art, and itâ&#x20AC;&#x2122;s no wonder the end result is: part museum part sculpture all home.

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Custom glass cabinets by Mitchell Freedland Design reflect the natural light in this upper level kitchen, which on one side overlooks the water garden and the swooping orange elements of the David Robinson sculpture, and on the other end opens to the living area. Faucets by Dornbracht, sink by Kohler, oven and accessories by Miele. The windows open fully, leaving just a glass safety wall. The master bedroom is softened in sound and appearance with the wall-sized leather headboard designed by Mitchell Freedland Design. Larus lounge chair by Poltrona Frau and Tizio lamps by Artemide. The bedroomâ&#x20AC;&#x2122;s massive oak pocket doors open onto the living and dining areas, interconnecting to create a principle suite area that overlooks the backyard swimming pool and water views to the ocean.

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“You don’t know where the architecture stops and the design starts,” interior designer Mitchell Freedland says of this Vancouver home. “It’s seamless. Once you get into the house, nothing reveals itself fully. You have to go on a journey inside to get the full reward of the experience.” It’s accessed via a walkway bridge that crosses over the front’s water garden surrounded by graceful sculptures. The home, with its interconnecting, floating, multi-level limestone cubes and dual black granite columns throughout its spine, provides both the openness and the privacy that the owner, a bachelor, wanted. Freedland credits the “flawless flow” of the 6,700-square-foot structure to the owner realizing architect Chris Doray, landscape architect Paul Sangha and Freedland all provided critical contributions to the project. The owner cited room preferences (an openflow living, dining, sleeping area) as well as art elements he wanted integrated into the home, then let the professionals do their job.

“The project manager was the maestro of this construction,”

states Freedland. “He kept us all working together.” Landscape designer Paul Sangha introduced the water garden concept for the front, an indirect link to the back of the property which features a pool and views of the ocean. His greenery protects the home from the street in this residential urban neighborhood so there’s a feeling of truly escaping the mundane. “The architectural forms are strong and aggressive,” assures Freedland. “While in the more organic forms we used more sensuous materials. The human scale (throughout) is perfect.” The cubes, which all connect, also serve individual roles in the home. Rather than have traditional levels, the home rises and lowers, offering views and elements that both surprise and beautify. From the entry gathering room, with its fun splash of orange bar chairs and poolside view, right through to an upstairs private library, with its perfect solo chair, this is not only a home of beauty, it’s also an exploratory adventure. “All these boxes connect on different levels – it’s actually five levels within the home,” notes Freedland. “It’s complicated, but that’s the magic of it.”

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The library with orange velvet-backed bookshelves is anchored between the upper portion of the homeâ&#x20AC;&#x2122;s level black granite pillars. It appears to float over the water garden with a custom steel and plexiglass bar table by Mitchell Freedland Design in front of the window. Barware by Baccarat, grand repos lounge chair/ottoman by Vitra. The spacious living room includes a Vladimir Kagan curved sofa by Holly Hunt and wool and cashmere toss pillows with fabric by JAB/Pierre Frey & Zinc. The artwork of David Bierek is highlighted on each of the black granite pillars. Leather lounge chairs by Coalesse.

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Truth or Dare

A corner of the kitchen is graced with a Jacobean-style chair and “The Long Wait,” a socially incisive work by artist Faith 47.

Designer Nicky Tyers and her sculptor husband Philip respectively take an art-driven approach in their South African home TEXT THOMAS CONNORS PHOTOGRAPHY KARL ROGERS INTERIOR DESIGN NICKY TYERS

WINTER 2020/2021

The sharp verticals of a chair designed by Philip Tyers and the decorative swirls of the elegantly turned staircase railing generate a lively rhythm in the entry foyer.

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The kitchen was reconfigured to accommodate both a sit-down island for quick breakfasts and a round table for leisurely family dinners. The home’s original teak floors were repaired and stained a luscious ebony. The home’s collection includes pieces by a variety of South African artists, including the Serbian-born Maja Maljevic, Louis de Villiers (now residing in New York) and Conrad Botes. “The Matador” by Nandipha Mntambo, hangs on an ink-hued wall in her kitchen.

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Nicky Tyers took art courses at university and has long been keen on art. “Many of my pieces were purchased on a whim when on holiday in Vietnam, Bali or Thailand and sometimes even here on a weekend away,” she notes. “Others were bought at auction and the Joburg Art Fair in Johannesburg.”

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Artwork by Takashi Murakami and Balinese artist DK Sujana adorn the walls in the laid-back living room.

The pull of the past can be hard to resist, yet it takes a solid footing in the here-and-now to embrace what has gone before without falling down the slippery slope of nostalgia. Interior designer Nicky Tyers has always been drawn to older homes, but the 1939 Cape Town house she shares with husband Philip is no period piece. Graced by a love of art and an eye for sympathetic updating, it combines the kind of solidity only time can confer with an utterly of-the-moment liveliness. Located about two miles from central Cape Town in suburban Kenilworth, the Tyers residence is surrounded by vineyards and olive groves. A generous forecourt and handsome rear garden afford the property a far from urban ambiance, but there’s nothing rustic about it. A color palette dominated by black, gray and white gives the home a pleasantly formal aspect; structured but not restrictive. While attracted to such

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features as the original teak floors, Burmese rosewood staircase and large sash windows, the couple weren’t overly respectful as they made the house their own, merging two second-story bedrooms into a suite and opening up a wall between the kitchen and living room. And throughout the home, there’s a distinctly relaxed vibe to the disposition of the furnishings and artwork. In the living room, a large sectional and a pair of Louis XV-style chairs upholstered in an ikat-inspired print keep company with life-size, antique Buddhist statues and two large bevel edge mirrors. A welcoming veranda sports a sofa that could have wandered there from a cozy study; a vintage easy chair upholstered in a weather-resistant velvet; and a large, three-panel painting of a Nguni cow in acrylic. A sculptural seating piece designed by Philip (he showcases his work at his Villa Africa Gallery in Cape Town) sits strikingly in the foyer.

PRIMARY BEDROOM SUITE: Plastered in Dark Onyx from Plascon, with TV room beyond. A work by artist Jennifer Dickson hangs above the homeâ&#x20AC;&#x2122;s original Victorian tub. A mahogany Cape Georgian library table with green leather inlayed top anchors this study area.

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Tyers’ design sense was cultivated, in part, by her mother, who “had a strong artistic sensibility, and a natural flair with respect to interior design and exotic color combinations” – plus an extensive collection of British House and Garden to devour. Similar to her mothers’ disposition to moving, Tyers has adopted a certain restlessness as an adult. “I can never live in one home for very long, I love the challenge of un-forming spaces and

restoring buildings to their former glory. Naturally, location is always a key criterion, but very often houses first speak to me and I cannot resist the desire to wave my magic wand.” Tyers explains, “When viewing a potential new home, I’m always keeping a mental note of where the art will be placed. As soon as your favorite painting is hung on the wall, a space suddenly feels familiar and grounded. It feels like home.”

The handsome landscaped garden is centered around an inviting swimming pool.

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FULLY FURNISHED VERANDA: A mustard colored chair – Nicky’s favorite color – provides a bright contrast to an otherwise monochromatic palette. SIDE GARDEN: A life-size crocodile fabricated from recycled metal stands guard. DOORWAY: Through a doorway, a glimpse of a work by noted South African artist Conrad Botes – one of Tyers’ favored artists.

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TEXT LESLIE BLOUNT • PHOTOGRAPHY JOSÉ MANUEL ALORDA • INTERIOR DESIGN THE WISEMAN GROUP • ARCHITECTURE RICHARD BEARD ARCHITECTS LANDSCAPE ARCHITECTURE STRATA LANDSCAPE ARCHITECTURE • LIGHTING DESIGN HIRAM BANKS • CONTRACTOR LOUIS PTAK CONSTRUCTION

M I D C E N T U R Y

T H E S U P E R N AT U R A L C O M P O S I T I O N O F T H E I C O N I C MCINTYRE HOUSE BY JOSEPH ESHERICK EARNS NEW PRAISE

W I Z A R D R Y

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DESIGN NOTES FROM THE WISEMAN GROUP The existing home has a Bay Area 1961 architectural pedigree. The architecture and garden have regional historical significance and were required to be respected and preserved. Most of the original Esherick exterior architecture details were maintained and honored. The interior was reconfigured for a young family; keeping original references and elements, reintroducing some of the same and simplifying others. Maintaining the integrity of the architecture and original intent was an overriding theme. We wanted to honor the past. We enhanced the open plan northern California living concept with a seamless connection between the indoor and outdoor spaces. We were also influenced by and found inspiration for the contemporary furnishings by looking at the work of midcentury masters to create a fresh look and feel. We included furniture pieces by some of those same designers. We essentially recreated the interiors with an understanding of ‘that time and place’ by using todays’ furnishings, materials, and forms. The atrium is a significant room in the house. It is carried by the boldest architectural feature, the original concrete and glass ceiling. The room was enhanced and balanced by the current architect by adding slotted openings on an interior wall. A contemporary detail that repeats itself in other places and passages.

THE ATRIUM PREVIOUS SPREAD AND CURRENT PAGE: Light and scale – Beard’s favored design elements – are on full and glorious display here, enhanced further by Paul Wiseman’s reverent midcentury-meets-modern contemporary treatment. Area Rug by Merida. Ondine Chairs with P/Kaufmann fabric made by Vladimir Kagan. Custom Two Piece Coffee Table made by Tom Sellars and Jafe Custom Finishing. Custom Sofa with Weitzner fabric and Cantilevered Side Tables made by Custom Furniture Design and Hilde Brand. Lulli Side Tables by Holly Hunt. Custom Mouille Style Five-Arm Pendants by Urban Archaeology. Adjustable tables and additional benches split the room for multi-purpose functionality.

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When Joseph Esherick, the famed architect and co-founder of Berkley’s storied College of Environmental Design, designed the McIntyre House in the early 1960s, he did so while making considerable concessions to accommodate his clients; Chicago transplants, unaccustomed to the San Francisco climate, and resistant to the more modern (and locally favored) open space design philosophy ushering in the new decade. What resulted was a house that was aesthetically striking, critically acclaimed and undeniably Esherick, with its wooden walls and muscular, Louis Kahninspired concrete frame blending effortlessly into Lawrence Halprin’s impeccably designed landscape. But with a starkly conservative, compartmentalized interior layout, the house would later prove to be a tough sell for potential homebuyers. According to Paul Wiseman of The Wiseman Group, the house remained on the market for some time, before finally being snapped up by a young family familiar with Esherick’s work. They wanted a contemporary refresh while maintaining the home’s midcentury charm and paying homage to its notable designer. Wiseman, along with architect Richard Beard and landscape architect Todd Cole of Strata Landscape Architecture, would go on to do just that – synergistically creating a space that feels warm and inviting, and emanates light that flows throughout the home, something that was very important to Beard and his predecessor. For Beard, the challenge was exciting. Limited to very few exterior changes by the house’s designation as an architectural landmark, Beard focused on creating accessibility of the indoor spaces, and magnifying hidden and not-so-hidden gems – removing extra storage closets, exposing steel and glass staircases, converting the formal dining room into the family room, and opening up the kitchen and atrium to stunning effect. The atrium, which Beard refers to as “a showstopper,” was designed to be the focal point of the home, and cleverly uses window slats to avoid closing off the rest of the home to the light coming through the spectacular concrete, steel and glass ceiling. “Know where the light is coming from, and that it’s your friend,” notes Beard. The ceiling, which was replaced with insulated glass and fashioned with LED lighting installed by Hiram Banks Lighting Design, is one of many aspects of the house that point towards the team’s commitment to incorporating sustainability in their work, although Wiseman admits it’s complicated in their business. Beard joked that the team recycled “a whole house,” acknowledging that all of the windows were updated with energy-efficient models,

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including the dual-glazed ones in the atrium. “Taking what was [already] a durable house, and continuing its legacy of durability,” was their goal, he explains. Another highlight of the living room, which is sunken, is that its design seamlessly integrates into the outdoor/garden/ pool space, which makes the home ideal for entertaining. As Wiseman notes, the client regularly holds fundraisers for environmental and educational causes and considers the house a perfect backdrop to bring people together. “We make backdrops where people feel comfortable and can raise money that can change the world for the better. I’m in service to help people change the world in ways I cannot do.” For Wiseman and his team, that meant installing a hydraulic table capable of accommodating up to 30 diners, with additional tables and seating available throughout the home. They also accented each space with furnishings that played up the natural beauty of the garden and pool areas, and “did well in the sun” – incorporating hot oranges and chartreuse to complement the flecks of reds seen on the seasonal foliage, providing “a speckling of color without being too strong,” and using a predominantly neutral palette that blends beautifully with the client’s existing art collection. Heath tiles were used in the kitchen and bathrooms for a midcentury aesthetic. Having worked with Esherick on his final residential project, an experience he calls “special,” Wiseman credits it with inspiring his design direction. “When someone sees simplicity in a way that you can’t... he was very good.” But both Wiseman and Beard agree that having a dream client, who assembled the team with a clear, informed vision and an appreciation for midcentury design was a bonus. FAMILY ROOM: Once a formal dining room, the family room now channels a warm, welcoming and comfortable vibe. Sofa and Lounge Chairs made with Calvin Fabric by The Bright Chair Company. Custom Coffee Table made by Tom Sellars and Jafe Custom Finishing. Custom Ottomans by Hilde-Brand Furniture with Leather by Pavoni Leather. Area Rug by Merida. Custom Floor Lamp by Urban Archaeology. Fabric on Throw Pillows by Michell Pereira Studios and Rose Tarlow. Game table (this page) by Ironies, with Tiche Chairs by Giorgetti (through Arkitektura) are a winning combination.

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BEDROOM: Wishbone Table Lamps by Paul Marra Design. Bench by Hilde-Brand Furniture, covered in Holland & Sherry fabric. Bed Linens by C&C Milano. Area Rug by Merida. Ledtube Sconces by Marset. Jens Risom Big Chair through Ralph Pucci. Turned Wood Side Table by Ironies.

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KITCHEN: The team breathed new life into the kitchen, removing cumbersome walls and installing Dual Glazed Tile by Heath Ceramics on the backsplash. Seido Walnut Counter Stools by McGuire Furniture and Custom Mouille Style Library Ceiling Lamps by Urban Archaeology top off an inviting makeover ideal for impromptu gatherings.

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STAIRS: Beard and Wiseman set out to reveal the house’s “hidden gems” — removing extra storage closets and shag carpets to uncover this extraordinary steel and concrete staircase.

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REC ROOM: The omnipresent yellow palette brings its bold and invigorating aesthetic to the recreation room. Tufty Time â&#x20AC;&#x2DC;15 Lounge Chairs by B&B Italia. Circular Lava Stone Table Top through Sue Fisher King with custom base by Tom Sellars and Jafe Custom Finishing. Rectangular Wall Sconce by Phoenix Day.

POOL: A masterclass in continuity, the collaborative chemistry of the architect, interior design and landscaping teams create a home where each space transitions seamlessly into the next. Union Square Portable Lanterns by Phoenix Day. The Catâ&#x20AC;&#x2122;s Cradle chairs by Sutherland add a splash of color amongst the lush foliage, and the Custom Banyan Square Dining Table by Link is perfect for poolside entertaining.

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The historic pink guest house and white main house were constructed using the poured earth method, and were covered with various types of plaster over the years.

Poplar washstand designed by Truen.

Pure and simple

Snapshots of a heritage farmhouse in South Africaâ&#x20AC;&#x2122;s Klein Karoo, reimagined as a country retreat in harmony with its past and future

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TEXT LORI COHEN PHOTOGRAPHY WARREN HEATH PRODUCTION SVEN ALBERDING

Nancy Kashimoto and Greg Truen

White beaded Yoruba Chair, Ombre Cushions and Marble Table by Weylandts; Sofa by Greg Truen at Okha Design & Interiors; Kuba Cushions made by Kashimoto; Painting by Lynn Chadwick.

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With exposed yellowwood beams and mud walls, Truen chose to juxtapose the soft, natural textures with a charcoal stone floor and an eye-catching terrazzo kitchen island. African masks from Mali and Congo; Green wicker chairs: Ride a White Swan.

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ith a reputation for designing trailblazing buildings across the globe, architect Greg Truen and his partner Nancy Kashimoto used a different design muscle when they chose to renovate a 200-year-old farmhouse. Instead of putting their own spin on the structure or adding a contemporary extension, they breathed new life into the property in the most respectful way. “The idea was always to keep what I found on the farm as pure as possible,” explains Truen. Lured by the charming farmhouse in Buffelsdrift, a small farming district nestled in the Klein Karoo (Little Karoo), Truen embarked on a design and renovation process that spanned four years and would transform the neglected property into a working olive farm. The property included a muddle of outbuildings that had potential, such as the old wine store which he decided early on would enjoy a second life as a guest house. One of the challenges Truen faced was that some of the additions to the existing buildings were not done particularly sensitively. The farmhouse dates back to 1852, when what is now the kitchen would have been a small flat-roofed structure. He stresses, “I wanted to strip the farmhouse back to what it was, and let it sit in a less encumbered way in the landscape.” Peeling back the layers was the first step. “We stripped the walls first to assess the state of the mud structures. We repaired them with clay collected from the property’s irrigation dam, which had been the source of the original material used,” Truen explains. Since the floor was in bad repair, he sourced local poplar floorboards, and the original yellowwood ceilings were cleaned. The poplar pole roof was fixed, and the original thatch structure was retained, so a specialist thatcher was able to restore the roof consistent with the Cape Dutch vernacular architecture style. Gables and sash windows were repaired and internal poplar shutters were added. Truen chose to let small ghosts of the house’s past remain, such as poplar lintels above the doors, leaving elements of the construction history visible. The commitment to the restoration’s purity garnered SAOTA and Jaco Booyens Architect a gold medal at the International Domus Restoration and Conservation Awards in Italy. Thanks to the thatch and the thick earth walls, the thermal qualities of the building are amazing. “Even when the outside temperature soars, the house is cool inside,” maintains Truen. Working with Fritz Coetzee of Insite Landscape Architects, Truen used the irrigation system to channel water from the borehole to a stone-lined reservoir, which doubles up as the farm pool in the hot summer months. From mounted African masks to olive-green dining stools, it’s in the kitchen where their eclectic choices really reflect the fun he had in pulling the project together. Truen designed and installed a raw poplar table, which hugs a surprisingly contemporary terrazzo kitchen island. The quiet cream stone is polka-dotted with stones ranging from terracotta to black, giving it an edge, and simply reflects the natural shades of the valley’s landscape. Similarly, extensive work was done on the simple farm structure originally used to store wine, across the dusty road in front of the main house. Here Truen chose to splash out, adding a red pigment to the lime plastered walls, a reference to a seminal trip to Casa Luis Barragán in Mexico. A clumsily constructed concrete staircase was removed and replaced with a contemporary fabricated staircase, with a laser-cut steel screen designed by Jaco Booyens. The mezzanine of the hot pink hideaway is designed to capture views of the sprawling olive grove – a series of windows create postcard views.

The kitchen of the main house is a lightfilled space that spills onto a courtyard with views of the Swartberg Mountains. Poplar kitchen table designed by Truen.

Globe chandelier and To Be Two steel floor lamp by Okha Design & Interiors; Table lamp by Dokter and Misses.

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The main bedroom has a timeless feel, with a four-poster bed, a Cape Dutch antique riempie bench and warm tones providing a strong accent against the poplar floorboards.

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Much of the furnishing reflects Truen and Kashimotoâ&#x20AC;&#x2122;s love of African fabrics and crafts. In the main bedroom, a quiet corner has been carved out with some of their collected pieces. Kuba wallhanging bought in Libreville.

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The stairway to the mezzanine in the ‘pink’ guest house features a screen made from laser-cut, mild steel plate. “We wanted to do something contemporary, so you knew it wasn’t always here,” explains Truen.

The mezzanine bedroom of the pink guest house has an ensuite bathroom with views of the olive grove below.

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HAPPY MEDIUM With a forbearance for quiet and graceful interiors, designer Seth van den Bergh fashions a classic Atlanta home

TEXT THOMAS CONNORS PHOTOGRAPHY GREGORY MILLER INTERIOR DESIGN SETH VAN DEN BERGH, THE DRAWING ROOM ATL, LLC

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AT L A N TA , G E O R G I A Interior design can seem like a purely intuitive affair. A color catches the eye, a fabric feels good, a piece of furniture commands attention. And when executed properly, a space can look as if it evolved naturally, or at least without too much calculation. But whether relaxed or richly layered, rooms that work are the result of equal parts sense and sensibility. A mastery of that equation was crucial as Seth van den Bergh of Atlanta’s The Drawing Room ATL set to work on a traditionally inspired, English style Lew Oliver townhouse in the city’s South Tuxedo Park district. His clients – physicians Emile Pinera and Edgar Simard – were both committed to creating a worldly environment, but where Dr. Pinera favored the modern, Dr. Simard leaned more classic. Finding common ground might be a problem for some designers, but the clients’ opposing styles actually dovetailed nicely with van den Bergh’s penchant for juxtaposition. In the dining room, for example, he paired “brutalist, midcentury dining chairs with a more ‘aerodynamic’ table.” In a secondary living room, a limestone Buddha gazes across an iconic, swoosh-shaped, Vladimir Kagan sofa. The gathering of disparate pieces (which includes Drawing Room-designed sofas, rugs, mirrors and tables) is just the most outward manifestation of the project. Underlying the artful arrangement – the interior vistas, the play of forms in space – was van den Bergh’s determination to invest the residence with something deeper and more difficult to define. “The daily life of individuals is shaped by various things,” observes van den Bergh. “They live near where they work. They eat near where they live. They brush their teeth in the sink that was in the home that they bought because it was in the right school district. When someone begins working with our firm, they are taking steps to guide the inner workings of their daily routines. Each phase of the design process contributes to a road map of how one’s life will be lived once the project is complete. We believe that the nexus of an entire lifestyle can be formed through the design process.”

The living room is designed to promote daily relaxation with a Grande Casarrus Sofa (TDR Collection) and an organically inspired wool rug, designed by Seth van den Bergh, that balances durability and style. The bold graphic aesthetic honors classical forms whilst playfully ignoring rules of symmetry. The use of a single Luceplan sconce adds levity to the space as does the artwork by DONALD MARTINY. A custom walnut case piece, inspired by colors in the Hermès Arpège saddle, is anchored to the wall.

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OPPOSITE PAGE, TOP LEFT: Caesarstone quartz countertops and Victorian zinc garden urns fill the kitchen with a rich materiality. TOP RIGHT: Draperies in a Luciano Marcato fabric form an elegant separation between the living room and kitchen. BOTTOM: A Barovier & Toso pendant spreads its arms over an Arco dining table which is paired with vintage Adrian Pearsall chairs. ABOVE: A custom faux chinchilla spread covers the TDR-designed bed, which faces the window.

Merging his experience with his clients’ expectations, van den Bergh

anchored walnut piece inspired by colors in the Hermès Arpège saddle,

strove for an indisputable authenticity, a look that expressed solid design

a side table that echoes the arches of a Roman aqueduct, a pair of 1930s

principles, as well as the personalities and lifestyle of the couple who call

Paolo Buffa lounge chairs, and a cane and teak bench designed by

this townhouse home. Like an artist laying the ground for a painting,

Le Corbusier and Pierre Jeanneret.

he gave the home’s wall surfaces special treatment. In the dining room,

The effect is truly singular and utterly cohesive. And while these

he installed Elitis washi-panels and cladded a fireplace with Innovations

interiors do telegraph a distinctive design sensibility, it is the wonderful

wallpaper. The walls in the primary bedroom suggest fine suit fabric.

clarity of these rooms that makes them so engaging. Balanced but

Throughout, van den Bergh populated the rooms with pieces that

not conventional, creative but not outrageous, they exist somewhere

not only play well together, but more important, “transcend function

between understatement and surprise, between what ought to be and

and could stand alone in a white box.” These include a custom, wall-

what can be.

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“We believe that the nexus of an entire lifestyle can be formed through the design process.” – Seth van den Bergh

The feature of this formal living room is the curved Vladimir Kagan sofa tailored in Romo velvet. The macassar ebony cabinet with distressed mirrors and extra-large trompe l’oeil painting were acquired from a 1920s Neel Reed estate off Cherokee Road in Atlanta, Georgia. Pierre Jeanneret bench – handmade in cane and teak – originally designed for a hotel in Chandigarh, India sharply frames the formal living room.

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The inspiration for Chad Dorsey’s Dallas “surf shack” came from the windswept trees he found in the front yard, especially this one, which grew parallel to the ground. Crushed limestone recalls beach pebbles, and the black shingles simulate shou sugi ban.

TEXT JORGE S. ARANGO PHOTOGRAPHY STEPHEN KARLISCH STYLING JENNY O’CONNOR STUDIO FLORAL HAILEY WOSSEN INTERIOR DESIGN CHAD DORSEY DESIGN

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Chad Dorsey creates a chill “surf shack” in Dallas

A texture-rich vignette showcases an Eames lounge chair before a shelving unit made of brushed steel that Dorsey designed. Floors are poured concrete in easy-maintenance deference to Dorsey’s two dogs. The nubby wool rug is banded in leather.

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CLOCKWISE FROM TOP LEFT: A custom hood above a kitchen island, topped with marble reminiscent of roiling oceans tossing up white seafoam, adds to the “surf shack” vibe. All cabinetry is custom. Beyond is a home office with a mural by a Texas graffiti artist. In the living room of the home he shares with partner Kurt Bielawski, Dorsey arranged the Eames lounges, two hand-me-down leather chairs and another 1970s pair upholstered in Kelly Wearstler fabric for Kravet around a wood table. More shelves by Dorsey at right. The Sitio Collection tiles, a collaboration between Exquisite Surfaces and Commune Design inspired by Brazilian artist Roberto Burle Marx, featured copper slashes, which inspired the copper shelves in the bar area. The faucet is Dornbracht. An AIM multi-pendant fixture by Flos illuminates a Kara Mann table for Baker Furniture with a bespoke Nero Marquina marble top. Behind the dining room table is a bleached walnut console from Herman Miller.

The first thing you should know about designer and trained architect Chad

simulate Japanese shou sugi ban (charred cedar). This is flanked by two

Dorsey’s east Dallas “surf shack,” which he shares with his partner Kurt

garages clad in black corrugated metal – a material that also graces the

Bielawski, is that there’s no water in sight. He couldn’t even catch a wave

house’s roof – which create a de facto courtyard at the entry.

kicked up by the wake of a speeding motorboat at White Rock Lake nearby because they were banned in 1952. What makes it a surf shack is the home’s laid-back West Coast-style

work and polished concrete floors, the latter a practical choice given that the couple has two dogs: Lucy, a Corgi mix, and Jackson, a Jack Russell

attitude. Dorsey spends a lot of time in Los Angeles, where he has a

terrier. The furnishings are a hodgepodge of pieces Dorsey has collected

satellite office. He’s attracted to this rudimentary architectural genre

over the years and new ones, so that, he says, “They feel like they’ve been

because, he says, “They’re simple and made with materials that are very

passed down from generation to generation.”

livable.” The idea came to him when he saw the property’s windswept

There’s a big coffee table in the living room with a fissure down

trees, one of which grows almost horizontally, and the overgrown tangle of

the middle that Dorsey acquired years ago at a sample sale. “I moved

underbrush that, he recalls “felt to me like a path leading to the beach.”

it from one home to another but never really liked how it looked until

Today, guests arrive into a front yard of crushed limestone that stands in

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Inside, the architectural envelope consists of bleached walnut mill-

it got here,” he says. “It feels right in this space.” Seating around it is

for beach pebbles. The 3,000-square-foot, two-bedroom home is a simple

varied – Eames lounge chairs with ottomans, a pair of 1970s chairs with

gable-roofed structure covered in cedar shakes that are stained black to

rounded backs and two wood-framed sling chairs that belonged to his

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Cork panels cover the walls of the “man room,” where vintage Baker tables flank a Piet Boon sofa. Across from a coffee table found at an estate sale is an Edward Wormley for Dunbar wing chair and ottoman reissued in 2018 for Baker Furniture.

uncle. “The rounded corners of the sofa and chairs feel more relaxed and

in a home office off the kitchen. Just about the only room devoid of this

comfortable,” Dorsey observes. Everything sits on a deeper toned wool

inky shade is the master bath, which is clad floor to ceiling in large-format

rug. “The darkness of it grounds the space, but it also has light colors in

tiles of dramatically figured, honed Breccia Fiore marble. This material

it that allow the furniture to sit on it without too much contrast.”

exemplifies Dorsey’s predilection for organic plays of texture. Throughout

A big open kitchen facing east (for morning light) accommodates

are nubby fabrics, warm woods and steel shelves designed by Dorsey

Dorsey’s love of cooking in a way that also enables socializing with

(living room), along with leathers, cork (in a den-like “man room”),

Bielawski and their guests. The island’s surface stone, he says, “reminds

marble and concrete.

me of crashing waves. The white looks like foam and the midnight blue

Yet all these, while undeniably high-end, lack the polished sheen

underneath is the water.” A dining room lies off this main space through a

that would attract too much attention. “It’s relaxed luxury that can go

bar sporting copper shelves and countertops that “I let go so they can age

unnoticed by most people,” explains Dorsey. “It attracts a discerning eye

out.” The tile behind them is matte black, which picks up his frequent

to pick out the subtleties in a fabric or a rug.”

use of black accents in other rooms (the slingback chairs, the custom

Instead, the overall impression just feels casually assembled, “like a

Nero Marquina marble top of Kara Mann’s dining table, the couple’s

1940s house down by the beach with shingles and furniture put in it for

tester bed, also by Mann, of black leather and black-painted aluminum).

the weekend without much thought. There’s nothing that feels precious.

Black is also a major component of a graffiti wall done by a local artist

Having people dressed up in this house would just feel weird.”

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Kara Mann’s tester bed for Milling Road (with leather frame and headboard) was rejected by a client and now presides in the master bedroom. Nearby is a vintage burled maple game table from Henredon. OPPOSITE: Console from the 1940s or ’50s that Dorsey has carried from home to home for some 20 years. Atop it are vessels by wood turner Bob Schrader, who hails from Kingsport, Tennessee – Dorsey’s hometown.

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ZIMMER+ROHDE MODERN GRAPHICS COLLECTION “SILHOUETTE” WALLPAPER AND FABRIC zimmer-rohde.com

CREATED EXCLUSIVELY FOR ASPIRE DESIGN AND HOME BY MYLES MELLOR

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