Fabulous Interiors & Architecture Designs

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My understanding of art is that it makes you see the world through a different prism. The difference between art and illustration is that the illustrator is satisfying the needs of the commissioner rather than himself.

I would say that great interior designers take risks, they push boundaries convincing their clients that these risks are worth taking and so yes they are artists.

Too much interior design is following an international style right now…you can go into an artisan bakers from Melbourne to London, New York to Tokyo and all will have raw brick walls, galvanised steel racks and retro light bulbs with filaments exposed. Lovely interiors to hang out in but not art.

Having worked with artists all my life and with artisans in Morocco for the past 20 years I love to combine the two in my interiors. The touch of hand, the flaws of man made rather than manufacture is immediately enriching. And of course using local natural materials: essential ingredients for all who want to do the right thing for the world.

When it comes to the interiors of the super wealthy, I’m impressed with modesty, individuality, and generosity. A generosity of understanding that their wealth can support so many young aspiring artists and craftsmen - it’s a wonderful privilege and such fun!"

FOREWORD In this book we have tried to capture the essence of different winning styles of architecture and interior design around the world.

We have attempted to elicit, through conversations with practice founders, the guiding principles of contemporary design: functionality, sustainability, integration with natural landscapes, ingenious use of space and light and, of course, beauty.

Beauty being in the eyes of the beholder (and space user), the concepts and final realisations look vastly different, ranging from the traditional, even opulent, to the minimalist and streamlined.

Each profiled professional subscribes to/has evolved a distinct philosophy that underpins their approach and design. Existing and potential clients’ vision and expectations often push the limits of architects’ and designers’ creative ingenuity with spectacular results.

That is why we have asked a few “arbiters of taste” to define their personal aesthetics and what is important to them.

Images tell their own story and we hope readers will enjoy browsing through the book and derive as much inspiration from it as we have from compiling it.

VANESSA BRANSON

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EXITDESIGN Pawel Sokol and his wife, Hanka Bajer, graduated together from the Polish Academy of Arts and are now partners in an architectural and interior design practice that is edgy, innovative and the recipient of a number of international awards.

The studio’s projects have ranged from large private homes of some 500m2+ to minimalist urban pads for sophisticated clients straddling different cities, Ekopark 3 being the most representative in the latter category (Sokol refers to it as a “human scale” project).

Having worked on hundreds of projects since inception, their ExitDesign studio has developed, over the years, its own concept of aesthetics rather than an identikit style.

The 140 m2 apartment encapsulates the very spirit of the husband and wife practice, probably because the brief was, “design it as if it were for you”. The result is a cosy space, oozing minimalist, new tech chic, with Rothko posters on the walls and warmed by the liberal use of wood and ingenious carpentry work.

This is because the duo like experimenting with different eras and their respective styles, from art deco to contemporary, from baroque to minimalist, often mixing and reinterpreting elements of each to create an idiosyncratic but clean and streamlined look.

If there is a signature style to Sokol and Bajer, it is in the detail, often very subtle and not immediately obvious. It is in their juxtaposition of different materials and the way materials are treated to create a completely different aspect (see stone-clad bathrooms of private house near Warsaw); their own design free-standing furniture and elaborate hidden closets; the quirky reinterpretation of classical styles (see Mokotow project, where art deco interplays with modernist, and large glass panels rescued from a former public swimming pool add a touch of grandeur to this enviable bachelor residence).

EXIT Design Principal Architect: Pawel Sokol A: Rakowiecka 59A, Warszawa, Poland T: +48 22 841 14 52 E: pawel@exitdesign.com.pl W: http://www.exitdesign.com.pl/

“When you walk into a space, you should feel the spirit of the owner”, says Sokol. “We ask the client what their favourite object is and decide where that should go”.

Whether this is a series of wild cat sculptures (as in the Motokow apartment) or an intricate main table doubling up as an art sculpture in its own right, the result should be like a perfectly fitted gentleman’s suit, says Sokol.

Our verdict: one of the most outstanding features, and a common denominator of all ExitDesign projects, is the use of space. Space is framed by a wooden or glass partition, or a bookcase, or a stairway, but never compromised, never constrained, never over-defined.

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EXITDESIGN

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SA & V SAARANHA & VASCONCELOS What are the “ Commandments” ?

SA&V Commandments are a fundamental tool that underpins SA&V brand: Layout; Theme; Color; Light; Proportion; Comfort; Repetition; Mixture; Detail; Art and Ambience). These act as guidelines, a way of systematising work processes.

However, rather than acting as rigid rules, they serve as solid pillars that support the brand. This is how they’ve been built and developed over the last 31 years. The Commandments sustain the brand’s creativity and are also one of our sources of inspiration.

Animal skins and prints appear repeatedly in your interiors – is this a signature feature of your style?

The environments we create are always marked by another of our commandments, which is Mixture. SA&V style is well recognized by the way we combine and join textures, patterns and even objects that would appear unlikely to be together.

We like, for example, to quilt an XVIII Century armchair with cow, zebra or goat hide. Whether it’s a mix of styles, colors, shapes, textures or patterns, Mixture it’s always enriching.

SA&V R. Vale Formoso 45, 1950-279 Lisboa, Portugal T: +351 21 845 3070 E: info@saaranhavasconcelos.pt w: http://saaranhavasconcelos.pt

Is it fair to describe your style as classic/ traditional?

We are very eclectic, as well as our customers, so a project may have a completely different style from the previous or next. We are contemporary and we like to be attentive to the news that the market will presenting, but what we really love is to create our own trends. We do not have a defined style, we have many.

Can you name – and describe - one project in each category on your website that is the most representative of your brand and/or significant in that category?

These categories that you see in our website are a way of showing that our work is very ecletic and that we make mostly every kind of ambiance, either it’s an apartment, a Yacht, a Villa, a Store, in every kind of surrounding: Countryside, Urban or in any part of the world.

Over this 31 years of existence, there have been some projects more challenging than others, some that gave us more pleasure to develop and with which we feel more accomplished in the end, but the truth is that they were all special and all are part of our history. In SA&V we always feel that the best BBeyond: Fabulous Interiors And Architecture designs

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project is the yet to come because that will allow us to do what we like best: to create!

You refer to exploring the world and experiencing different cultures by way of inspiration. Which country/culture has made the most significant impact on you recently?

Our commandment “Mixture” is a great word to explain that we are not made of one single inspiration or influence. We live in a global society where we receive information from all around the world, 24 hours a day. That’s what makes inspiration so grand: its magnitude on a global scale.

We work with designers from around the world, we travel around the world, read magazines from around the world, we consult websites from all over the world and we have customers from many parts of the world, so it would be too narrow to elect a country as a source of inspiration.

But if we have to, we will tell Portugal. It is our cradle, the country where we work and the starting point for each new adventure.

Please elaborate on your collaboration with Portuguese artists and artisans? (Do you commission works on a per project basis?).

What are the traditional Portuguese crafts you incorporate in your interiors?

We believe that Portugal hasn’t yet managed to showcase its know-how to the world, but when that happens, there will be a boom, because we have artisans and creatives of excellence. We are getting there, and it’s good to see so many of us already being recognised abroad. We feel that, in some way, SA & V

we are contributing to that visibility, which makes us proud of showing the rest of the world what we do best in Portugal.

Our projects always incorporates one-of-a-kind pieces and made-to-measure elements, designed by SA&V and produced in Portugal by suppliers who have worked almost exclusively for us for several years.

As a rule, we always give priority to Portuguese products and we make a point of including them in our projects, but one of our trademarks is mixing styles and periods. In this way, our environments always feature pieces by internationally renowned designers, works of art and antiques.

Are you given a free hand when you do the interior design of yachts, or do you work closely with the owners?

In the two yachts we worked in, we had a close work with the yacht constructor because we had a word to say in finishing’s and also in the materials we wanted to be used in the interiors. As for the owners, they are long time clients and we also did their homes interior decoration projects, so they trust our instinct and our taste.

How is yacht design different to designing an apartment or a house? Is space a challenge or an opportunity to show your creativity? What challenges did you face in working on the 2 yachts and what did you most enjoy about the work?

Making the interior design project of a yacht is completely different from thinking an apartment or a villa.

Starting with the fact that we have much more confined spaces and ending with the important detail that this environment will be on the move, so we can never fail to take into account all aspects of safety and comfort that this entails.

When the boat is sailing, there are details that cannot be forgotten, such as how to hold and store things that cannot get loose.

Having to consider these conditions, but absolutely wanting to keep the same level of excellence and comfort is obviously a big challenge, which happily obliges us to be even more creative.

There are a lot of art pieces in your interiors. Do they reflect the taste of the client, or do you select them?

In all our projects art has a fundamental and very special role, is always very present because of the singular character that brings to every space.

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The choice of art pieces for each project is a moment that excites us much because it is when we can contact closely with this explosion of creativity. In some cases, the clients have their own artwork collections and of course in those cases we do by integrating them in the best way in the spaces. Most often, the choice is made by us and proposed to the clients.

Bold colours seem to play an important role in your interiors. Is this another defining feature of your style?

One of our Commandments is Color, and we believe that whether is contrasting or continuous, color determines the ambience.

We love black and white, the neutral, but we also love strong colors. We are always attentive to the new trends, not having to necessarily follow the latest ones. There are no colors to avoid. Depends on the clients, the mood and experiences of each space.

The white color is always present in our projects for its versatility and as a base.

The whites we use are not really white. We use shades of white, warm whites and that makes the whole difference. We also use neutral strong colors, as taupe and darker tones, as nearly black but we always need to combine them with a warm white in order to bring light to the space. We can paint walls in dark colors, even in countries with little sun exposure and that can be very chic, but we allways need to bring light, life and contrast to the rooms.

SA & V

When combining colors there are some issues that should be taken into account: first of all, to be happy whenever starting a new project. A happy mood generates creativity and this creativity brings to life unexpected color combinations that suddenly make total sense. Be daring and experience combining colors that surround you in your daily life. Your morning coffee color, your mobile phone cover color, a tree leaf you see on the ground, the car parked in front of the office and mix these colors in a way that makes you smile!

How do you reinterpret old styles (i.e. baroque) to fit in with modern/ contemporary living?

One of our landmarks is that: mixing and matching, whether is styles, patterns, epochs, colors.

We do not think old styles have to be reinterpreted. We think their importance and the history they carry is too important to not be highlighted.

Our modern / contemporary environments are never quite complete without some antique, because it is these pieces that bring soul and personality to the final work. It is the mixture of different styles that makes it, in the end, to get the result we wanted to create.

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Azman Architects Established in 1993 by Ferhan Azman, this is an understated but uniquely successful practice whose roll call of big name clients speaks for itself.

Having built a solid reputation through awardwinning private home projects and Alexander McQueen’s flagship London store, Azman Architects, has won commissions with the Victoria and Albert Museum and the Barbican Gallery to stage exhibitions including a retrospective for Vivienne Westwood.

The bulk of Azman’s work is, however, residential.

She insists that she doesn’t have a signature style, working instead with the client’s brief to create spaces that are inherently comfortable and reassuring. What you get, in fact, is an architect whose solidity of concept and execution, with exceptional attention to detail and primary concept, guarantees that the decorative element will follow seamlessly and effortlessly.

Her designs are purposeful (she would never incorporate an element of design for its own sake) and coherent, as well as innovative. Azman doesn’t follow trends and wouldn’t do pastiche even if it is to replicate one of her own.

Azman Architects 18 Charlotte Road London EC2A 3PB T: +44(0)20 7739 8191 E: office@azmanarchitects.com w: http://www.azmanarchitects.com/

She has a preference for, and tends to be briefed to work on contemporary design projects (Doric columns are just not her thing, she says) and individual homes that have a timeless cachet.

traditional (local stone) materials is incredibly attractive here, as is the full length skylight which, combined with the floor to ceiling windows, makes this a “house of light” extraordinaire.

One of her flagship projects is Concrete House, a new build created on what was once a 3000 ft2 vegetable patch. An intricate cubist structure made of concrete, limestone, glass and timber, all interlocking purposefully to create different planes, this is a surprisingly modernist home in architecturally traditional Islington.

Azman’s best known commercial project, the McQueen store, was a follow-up commission after she designed McQueen’s and Isabella Blow’s homes. The store offers flexible space, conceived to showcase different seasons’ collections, with the ability to re-set it at will. It is a chameleon of a space, mirroring something McQueen once told her: “I don’t have a style; rather, I cut and create collections based on a theme.”

Another is the refurbishment of the old Irish Consulate Building in Cap d’Antibes. Azman has used the steeply sloping plot to create a natural progression of terraces leading to a swimming pool, while remodeling the internal space in an open plan style. The exterior aspect of the villa is characterized by the distinctive steel doors leading to a terrace, and the (omitted white) aluminium panels that are functional (folding shutters) as well as highly decorative.

Tasman House is another new build in her native Bursa, Turkey. The inspired use of contemporary (fiber cement and timber composite panels) and

In line with her recurrent theme of purposefulness, Azman creates bespoke furniture, more often than not to fit the overall design of her buildings. These are highly sophisticated and contemporary pieces, hand-built in timber, plastic metal and glass.

Concrete House, London BBeyond: Fabulous Interiors And Architecture designs

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Drinks Cabinet

Blue House, Aldeburgh

Alexander McQueen, Flagship Store, London

Azman Architects

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Tasman House, Turkey

Azman Architects

V&A Museum

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neoklasika Neoklasika’s unique and tailored interiors represent a finely tuned balance between the site and its context, functionality, aesthetical values and concept, with the fusion of these elements achieving true timelessness.

Adapting classic interiors to modern lifestyle requirements is a challenge approached with aplomb and aesthetic judgement, but also with an eye to perfect functionality.

Clients value the attention to detail and multi-faceted approach to the design process, driving the project from just an idea all the way to perfect execution. The practice offers a vast range of competences, from conceptualisation to realisation, and the highly personalised service has paid dividends – Neoklasika has been established for more than two decades.

The individual approach extends to selecting suppliers. Creating unique spaces means working with small niche companies that have craftsmanship pedigree and experience to match, as well as sustainable approach and high technical standards. Ultimately the aesthetical goals of each project determine the selection.

A key element of Neoklasika design is partnering with artists, with most projects featuring individually created artworks, from paintings to murals to glasswork, to name a few. This reflects the partners’ belief that there should be no hard line distinction between interior design and art.

Wood, marble/stone floors seem to be a recurrent theme in Neoklasika interiors. The partners use sustainable noble materials of timeless character and high aesthetic value. Concrete, steel and glass are also used when the concept requires it.

One of the firm’s most significant projects and perhaps most representative of Neoklasika’s style is Project Home Sweet Home in that it showcases the synergy between the partners’ design philosophy and the clients’ brief. The design team was invited to implement their idea of a home as an oasis of serenity and comfort; the eminently mobile owners’ brief was that the home coming should be filled with anticipation and joy.

Neoklasika Brīvības iela 139, Rīga, LV - 1012, Latvija T: +371 67371586 E: info@neoklasika.lv w: neoklasika.com

the Baltic Sea, the residence allows the ever-changing landscape to flow in through large windows. Inspired by nature and the vertical elegance of art-deco heritage, each design element has been created to reflect these principles through its shape, colour and material. The resulting interior is one where creativity meets with exceptional technical performance.

The concept, design and detailing are in a finely tuned synch with the owners’ personality on one hand and with the surrounding environment on the other. A distinctive range of natural materials has been used to create a nuanced interaction between all interior elements, with Neoklasika supervising every stage of realisation.

The design studio went as far as staging an artist competition for the rugs design and for custom-made joinery. Speciality lighting manufacturers were also commissioned.

Neoklasika’s tailored approach and unerring aesthetic judgement have left a distinctive mark on a number of The focal point of the interior concept highly individual and often was creating and enhancing the quirky projects. link to the exterior and surrounding nature. Located on the coastline of BBeyond: Fabulous Interiors And Architecture designs

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Einstein & Associates Einstein & Associates is an Indonesiabased architect and Interior Design Consultant.

Having managed an impressive number of restaurant design projects in Jakarta, Einstein opened his own office in 2013 with a very clear mission in mind: to constantly push the creative boundaries beyond the comfort zone, building on his niche strength, all the while exploring innovative solutions. The result is an important portfolio of distinctive commercial spaces under the firm’s belt: Wilshire, Bottega Ristorante, Lemongrass, Seroeni St.Moritz, Populi Kitchen, Djati Drinkery, 3RD Avenue, La Fusion, The Ground.

The Einstein designs are characterised by their strong sense of balance - the yin and yang element of Asian culture. At the same time, each project is approached as deserving and special in their own right.

Einstein’s motto is: “The difference between mediocrity and excellence is attention to detail”, something that defines each dining space he creates. In clear defiance to the minimalistic approach adopted by many contemporary architects and designers, his mission is to make the simple special, sensual, inspirational.

The firm’s aesthetics are grounded in this philosophy and are clearly defined through the use of signature materials such as mosaic, iron, brass and copper, as well as exploring different and seemingly disparate texture blends.

Einstein &Associates’ focus is on commercial projects because the design work is both an experience and an exploration of materials and spaces on a grand scale.

“The design of dining spaces”, says Einstein, “is akin to a fashion choice in the sense that the clothes must fit the body type and the accessories must complement the personality. In the same way, the design of a restaurant must fit the concept while the details must complement the theme. Finishing materials play an important role in making the design special. We play with texture, colour and pattern in order to create an impact on the restaurant’s patrons. We like to experiment with new textures and combine them with daring patterns to make a statement, yet at the same time convey what the space is about.”

The three flagship projects that are most representative of the firm’s style are Bottega Ristorante, Lemongrass and La Fusion.

Einstein and Associates E: einsteinandassociates@gmail.com T: +628164847060

Bottega was inspired by Fellini’s La Dolce Vita, its concept a blend of industrial elements with a classy look, which was achieved through the mixed use of raw and polished finishing materials.

Lemongrass’ context is Bogor’s reputation as a tropical paradise. The architecture, interior and landscape design of Lemongrass come together to symbolise this through splashes of rich tropical colours and plants used strategically to blend with the surrounding nature.

La Fusion is a French Fusion restaurant designed in a tropical artdeco style, utilising local materials that blend imaginatively with art deco.

3RD avenue is a Whisky Bar & Lounge, designed to be posh, with a modern yet classy look. The iconic rooftop bar allows breathtaking skyline views of Jakarta’s central business district.

Einstein & Associates considers Indonesia its primary focus because the country is a source of rich exploration material and inspiration to architects and designers, but undertakes projects all over Asia.

La Fusion BBeyond: Fabulous Interiors And Architecture designs

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Bottega Ristorante

La Fusion

Lemongrass

Einstein & Associates

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Lemongrass

Bottega

Einstein & Associates

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Alexandra de Garidel

1. Love counts Living room

Made to measure Fire place made of metal, cow skin, stone, leather Stools from Philippe Cramer

Coffee and pedestal from Hervé Van Der Straeten Sofa: made to measure, velvet fabric On the floor, sculpture “Bouquetin” from Les Lalannes

Thébaïde Geneva A: 1253 Vandœuvres GE / Switzerland T: +41 22 310 81 89 E: contact@thebaide.com W: http://thebaide.com

Thebaide ’s founder, Alexandra de Garidel, is a concept creator whose style can be identified, ever so subtly, through the narrative underpinning the design, as well as the emotional context of the interiors she crafts.

Her approach to a project, whether residential or commercial, starts with “writing a story”, inspired by the clients’ personality, the location and various elements that capture the essence and help define the main theme. The result is a space where you feel at ease – a space that you don’t want to leave, (hence the thebaide, a retreat) and interiors that are recognisable for their unorthodox approach and at the same time, are difficult to define or associate with a signature commercial style.

De Garidel is obsessive about detail and would often go to great lengths, designing and drawing her own furniture, cutlery and tableware in general because, she says, no matter how useful and beautiful the detail, it has to also be accurate and functional. Preserving the fine balance between technical efficiency and creativity is one of her trademarks, in fact.

A daring visionary, she mixes styles effortlessly and is frequently tasked with selecting art works that are destined to become heritage pieces.

She believes that one cannot create a strong atmosphere without art and works with, and commissions a number of artists.

while the black metal entrance gates project a fortress-like impression from the outside, emphasising the nest-like ambiance on the inside.

The cool cut in half igloo fireplace is juxtaposed with elements capturing the explosive nature of love as an emotion.

From a private bank to a house in Africa, to a thoroughly modern home in California, to Swiss chalets, she has a vast and varied repertoire of projects under her belt and enjoys her work immensely.

Another distinctive project of hers is Mellow Blue, a vast contemporary home in Carolina, US.

Love Counts, a massive Swiss Alps chalet that exemplifies her approach perfectly, is full of coded romantic messages, whose main elements, ice, fire and water, are interwoven in every detail, from colour to texture to selection of art works.

When the designer speaks of 10 shades of ice colour, she means it: while the swimming pool has a frozen water shade, with the curve reminiscent of iced mountain paths (and at the same time symbolising the curve love follows), sculptures could be the whitest, almost cream-like white.

Cupboards are in the shape of a wall of snow,

The challenge there was to humanise the sheer scale of the building while retaining a strong modernistic feeling and proper perspective. The property’s position – literally on the beach and facing the ocean – had to retain that “ocean side” feel, contemporary style notwithstanding, and this has been achieved with great aplomb.

A bold and unconventional creator of unique spaces, Alexandra de Garidel is a design artist driven by passion but also respect for clients’ imperatives.

1.

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Mellow Blue 6. Living room

Art piece triptyque by Lozano Hemmer

Coffee table et stools by Robert Bristow Swing (on metal chain) by Jim Zivic 7. Dining room

Lights from David Weeks, custom made Painting by Shirazeh Houshiary (Lisson Gallery London) Pieces from Robert Courtright “Cast Bronze Masques” Dining table and chair from Chris Lehrecke 8. Family room

Sofa Roche Bobois, Missoni fabric

Table (colored chenille) kid root design piece (Miami) Painting by Jonathan Monk 7.

2.

4.

2. Mellow Blue Stair Case Steps in resine with integrated LED “Hauts-Reliefs situés”

by Daniel Buren

Photography by George Rousse Love counts

3. Sculpture “Ours N°5” from Xavier Veilhan 4. Entrance

Door: metal, design from Alexandra de Garidel (AGT)

5.

Curve wall in gold, black, white material

by Pierre Bonnefille (design Alexandra de Garidel) Sculpture: Tony Cragg

Chandelier: Atelier Van Lieshout 5. Master bedroom

Fire place: “Open igloo”, execution

by Pierre Bonnefille

6.

Coffee table: Robert Stadler (Carpenter Workshop)

Chair LC4 daybed by le Corbusier

Firedogs: Adam and Eve by Hubert le Gall

8.

3.

ALEXANDRA de GARIDEL

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Klopf architecture Klopf Architecture 2180 Bryant Street, Suite 203 San Francisco, CA 94107 USA T: +1 415-287-4225 E: info@klopfarchitecture.com W: www.klopfarchitecture.com

John Klopf is an architect whose style and philosophy are well-defined and chime in strongly with the new millennium’s environmental imperatives.

His firm caters to a generation that appreciates ultra-modern style and is passionate about clean minimal lines, open-plane living, energy efficiency and minimizing the carbon footprint.

Based in California, his focus is firmly on modern architecture which he defines as human-centric, i.e. geared to the way people live, work, entertain and interact together in their homes today.

Buildings scaled to the individual rather than structures conceived to overwhelm or dwarf the onlooker...

One of Klopf ’s most significant projects is, in fact, a zero energy modernist house.

Inspired by California’s mid-century modern architecture, this is to some extent a variation on a theme, but a totally new build. The client set out to demonstrate what could be achieved by deconstructing an existing traditional style single storey ranch house and creating an open style modular home with aspects of Japanese architecture, California modernism, and sustainable design principles.

Breaking down the barrier between indoor and outdoor living has become one of the most important stylistic architectural tendencies in the last decade and this is particularly well achieved in Klopf Architecture’s work.

Klopf studied Japanese architecture in Japan and the influence is palpable in his designs: walls are barely there, often replaced by partitions or shelving units; space is fluid, with the surrounding landscape “inhabiting” it rather than existing on a parallel level. The homes feel expansive and larger than they really are as they continue visually outdoors.

The property is powered by electricity generated by photovoltaic panels, with a heat pump system that supplies hot water and in-floor radiant heating. This alternative heating system means no need to burn natural gas, which would be the typical heat source in California. The walls are built of SIPs (structurally insulated panels) that create a super-insulated envelope, eliminating the need for air conditioning in this relatively hot

part of Silicon Valley. The family of four charge their electric cars from the building-generated power supply. The house incorporates a separate office and an integrated art studio, allowing the owners to work from home, eliminating the need to commute and ensuring that both work life and home life are net-zero energy.

Klopf Architecture is also known for remodelling mid-century modern and Eichler houses, which have achieved a new desirability status because of their privileged location (Silicon Valley).

Klopf has reinterpreted the original “inside-out” concept (already advanced for its time) of these glassy houses, opening up the spaces even more and updating the homes with new technology, to give them a new lease of life and an ecological dimension.

“Updating existing housing stock with modern technology systems and making it energy-efficient is compelling but building new homes often makes better ecological sense”, says Klopf. The tipping point between funding renovations and allocating the entire budget to new technology is often the deciding factor.

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The limitations of upcycling can be compounded by the topography of the terrain, as was the case with the Modern Atrium House (see images). To compensate for the sharp slope of the plot, yet allow access to a patio from every room, Klopf deconstructed the old house and structured the new building around different levels, with floors stepping down and a floating roof over all main spaces. This house is also an “inside-out” house, most evident in the living room which has glass walls on either side, one overlooking an interior courtyard and the other overlooking the landscaped rear garden and grounds.

Indeed, one of the more striking aspects of Klopf ’s design philosophy is that he sees windows, doors and walls not as partitions in the traditional sense, but as “opportunities to bring in more light into a space or let a dark corner be washed with sunlight”. In this sense, partitions are convertible and connective, allowing living space to communicate and integrate with nature.

Modern technology does of course offer greater possibilities in achieving this.

Ultimately, Klopf says, an architect needs to consider what a building means to the people who live in it, rather than create for creativity’s sake.

"Updating existing housing stock with modern technology systems and making it energy-efficient is compelling but building new homes often makes better ecological sense." klopf architecture

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klopf architecture

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PERLA LICHI Perla Lichi is a force of nature – born in Mexico, but of Mediterranean descent; raised in the United States, but an inveterate traveller with offices on 3 different continents, she is a designer who transcends boundaries, creating distinctive and opulent interiors that are the very anti-thesis of “beige and boring”.

An expansive personality, Lichi is a great communicator, whose rapport with clients becomes the foundation for each interior’s concept.

A Lichi interior is instantly recognisable for its unabashed sumptuousness and dramatic grandeur.

Try and go beneath the surface, though, and you would discover an artful fusion of different cultures and history, making the result neither old nor modern style, but purely “Lichi” style.

The Lichi look has been 33 years in the making, with the designer establishing manufacturing facilities in different countries, outsourcing materials all over the world and employing dedicated craftsmen, training them to deliver the exceptional quality of detail that is so striking.

She is also resourceful and eclectic, and does, in spite of palatial appearances, provide value for money. Value for money is one of her specialities, she says, and just a matter of allocating funds judiciously and pragmatically.

Her clients are international and entrust her with anything from island homes to palaces because her

Perla Lichi Design A: 7381 West Sample Road Coral Springs, FL 33065 FL ID# 00001727 T: +1 954 726-0899

Perla Lichi Gallery A: One Sheikh Zayed Road 33rd Floor - H Hotel Office Tower Dubai, UAE T: +971 4 3942898

creations are not just unique, they have a timeless quality about them.

She is passionate about culture and art and could, and often does start a project around a client’s art collection.

Lichi draws free hand and her designs often evolve, but always preserving that quality of free flowing space and spectacular detailing. She never loses sight of the fact that ultimately, it is her clients who will inhabit the space and need to feel at ease in it.

A good example of this is a private home of eclectic splendour on Star Island in Miami that best exemplifies a fusion of styles and cultures, all the while preserving a sense of balance.

The house has been designed open plan style, with rooms flowing into one another, and a central piazza with a Moroccan fountain. It represents a lifetime of history, travel and love of different cultures, and is a reflection of the owners’ personalities.

Lichi takes pride in achieving coherence when there is none apparent – when different family members have disparate ideas. One of the many African homes she has done is one such project which she designed from the ground up, with every detail, big and small, achieving the seemingly impossible.

Having a clear concept and vision, and being firmly in control of the execution is one of her secrets. The other is innate creativity – she does, after all, share a birthday with Leonardo da Vinci.

From Montenegro to Ukraine, from Istanbul to Africa, from the Middle-East to the Gulf and from the American mid-west to South America, her interiors reign supreme and unique, a testimony to the best in modern classics.

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PERLA LICHI

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PERLA LICHI

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KAZAKOV DESIGN Dmitriy Kazakov is one of an increasingly rare breed of architects subscribing to and interpreting the aesthetics of the classic Palladian style in contemporary buildings of distinction.

The Russian-born architect has devoted considerable time to exploring European palaces, and Indian temples built using the traditional Hindu system of design and architecture, Vastu Shastra. Vastu is comprehensive as well as remarkable for its inherent principles of building from individual objects to temples with an emphasis on integrating symmetry, spatial geometry and nature.

Based in California, Kazakov has incorporated many of the Vastu pillars of architecture in his work, while his wife Lilia, a classically trained interior designer of stellar reputation, applies Feng Shui in a totally untraditional and spiritual way, in accordance with the Vedic scriptures. An integral part of the firm and a formidable creative force, “Lilia perceives space and design non linearly”, says Kazakov, “she is able to transform existing spaces in something magical. She has an impeccable sense of taste; the component of sublime beauty and grace in design.”

Kazakov Design International Principals: Dmitriy and Lilia Kazakov E: Dmitriy@kazakovdesign.com E: Lilia@kazakovdesign.com T: (310) 441-7710

Together, the couple have created some truly aweinspiring private residences. The Montesito home featured here (see images) sports its own polo field, a magnificent wood-panelled study, a Petit Trianon that could belong in a French chateau, intricate mural and ceiling detail in reception areas, and clean classic lines dominating the masterfully landscaped gardens.

Kazakov’s approach appeals to clients who are after highly individual and palatial buildings with exceptional modern amenities.

“Give me your vision and I will build it”, says Kazakov, “even if it is the craziest of follies”.

His signature style is, in fact, re-creating the best of European and Asian architectural and design history on the West Coast of America in particular. His inspiration is drawn from iconic landmarks, his personal favourites being the Louvre, Buckingham Palace, St Petersburg’s Winter Palace, Caserta Palace, Villa Borghese, Chatsworth House and Rajasthan’s palaces.

One of his most intriguing projects is on a scale that not simply mirrors, but goes well beyond the palatial residences: the recreation of the ancient

Dwarka City on a man-made island off the California coast.

Dwarka, a legendary sunken city discovered below the Gulf of Cambay, India,was completely walled when it was originally built, some 9000 years ago.

Kazakov, whose projects are clearly in line with his vision, is planning to create a number of these new cities based on the ancient concept and design, scattered around the world in a supertheme park style.

In this sense, he is building a new classical legacy for tomorrow in the tradition of Thomas Jefferson (Monticello) and Pierre “Peter” Charles L’Enfant (the architect who has given us Washington D.C.) .

His clients are international – of business and entertainment background – and find him primarily by word of mouth and through visiting some of his extravagant and jawdropping creations.

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MAHDAD SANIEE Saniee Architects LLC 36 W Putnam Avenue Greenwich, CT 06830 T: (203) 625-9308 E: office@sanieearchitects.com W: www.sanieearchitects.com

Connecticut architect Mahdad Saniee, of Saniee Architects LLC, whose portfolio consists predominantly of large East Coast properties, describes his style as transitional.

At first glance, these look like typical, albeit rather grand homes, but take a closer look and peel a layer or two, and an interesting hybrid between modern and traditional is revealed in all its subtle ingenuity.

Saniee doesn’t begin a project in the timehonoured fashion of sketching first. Rather, he visits, then goes away and ponders about what defines that particular space. It is the essence of the space that one tends to remember after a while and that is what Saniee uses as a springboard to create something new that feels at the same time familiar. Each space has an embedded memory, a sense of history, he says – a concept that crystallised during his student days in Rome.

Given that each space is defined firstly by its essence and secondly by the context (how it fits in the environment, its purpose, etc.), the ultimate

question for any architect is, how much alteration can something withstand without losing its identity?

A project that illustrates Saniee’s approach particularly well is, a Greenwich Residence. This is a new building that starts off on a Tudor style proportions to make it feel traditional but where, Alice in Wonderland-style, nothing is the way it is supposed to be (observe the traditional ceiling beams that seem to be flying away from the structure).

Yet the traditional underlying themes are there, conjuring up stored memories. Clients, says Saniee, may ask for something modern because they like the light and fluidity associated with contemporary design or they may ask for a traditional design because of the association with what is familiar or with their recollections of them.

A client’s brief is only part of the mix, however – something that is brought into the overall frame of thinking. What resonates with people ultimately is the feeling of comfort that comes from these

deeply buried memories. In fact, the Greenwich Residence will resonate with both traditionalists and modernists precisely because the architect has avoided the “surface treatment”, going for a layered and highly sophisticated approach instead.

Similarly, the pool house (same property) has Doric proportions that offer that underlying structure that feels familiar and comfortable, but the classical style is abstracted, simplified and transformed into something modern in its interpretation.

On another Saniee house, the staircase evokes the feel of a piano, where steps held by seemingly autonomous rods on one side and which stop short of the end wall on the other, appear to float as does a piece of music in one’s mind.

It is a sophisticated and intriguing piece of craftsmanship and architecture.

Saniee’s designs provide his own answer to the ultimate question of balance between essence and alteration: for a work of architecture to be relevant, it needs to be both modern, contextual and at the same time retain its identity.

Greenwich House 2 Exterior

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Greenwich House 1 Exterior

Greenwich House 1 Pool House

Greenwich House 1 Interior

mahdad sanIee

Scarsdale House Staircase

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ISMAEL ABEDIN DXMID +86 15900878765 Shanghai, PRC China E: Ismabedin@hotmail.com W: www.dxmid.com

Ismael Abedin is a Spanish Interior designer, He studied at IED Barcelona, SVA New York and IESD Shanghai. He is working on a vast spectrum of design and sustainability projects.

He designs for international brand hotel and retail groups such as IHG, Bentley cars, Luxury Collection Starwoods Spa, etc. but has also developed private restaurant, shopping mall and office projects, as well as residential ones.

What was the impetus to establish yourself in mainland China?

China has a long unseen history of design and architecture with ancient philosophical harmonisation systems such as feng shui. In cities like Shanghai we have been seeing a development of a distinctive style that represents a fusion of Chinese and western cultures using cutting edge technology.

Many Westerners tell me, “China is the future” I say, “China is the present” Do you find there are different design aesthetics at play in Asia and the Gulf than in Europe?

What China and the Gulf countries have in common is the new wealth generation– a class of

individuals with considerable resources acquired in a short time while cultural tastes have not had the time to mature.

Homes are designed to impress, often acquiring Rococo and neoclassic styles. In terms of architecture, new buildings have a clear emphasis on the visual, rather than the functional.

Integration with nature and cultural heritage are also secondary considerations.

This preoccupation with the purely visual is long gone in Europe. Functionality superseded it first, then emotional connexion and response, followed by nature integration and experience.

This new ideas are now being embraced by the Gulf and Asian countries and in some ways, they are surpassing Europe. The near future will be exciting as we will be able to observe the evolution of these concepts worldwide.

You work with a team of designers/ architects – do they each bring their distinctive style or is there a “house style” of www.ismabedin.com? If so, what defines it?

I work with different partners depending on customer requirements.

I help my clients visualise their dreams while I work more as a “doctor” or consultant to turn their dreams into a reality, in a form of space or experience, and build them with the highest accuracy.

I don’t force the customer to use any particular style; There are more primary imperatives to focus on than only the visual experience, that is often overexploited.

First I listen carefully to the customer’s needs, consider the project’s feasibility, resources, experience design, nature integration, quality, etc. Once these bases are covered, the visual style comes by itself, without forcing it.

Is there a project that is immediately recognisable as yours and if so, which one? Why and how?

The penthouse featured in this book.

It is located in a discreet building in central Shanghai. The customer dreamed of a comfortable green and versatile house in a nice environment. To achieve this, a Himalayan salt wall helps to create a healthy environment,; the floor, stairs and furniture and are made of natural floor and cork. A lot of greenery, including more BBeyond: Fabulous Interiors And Architecture designs

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than 50 species of plants, are showcased inside the penthouse and on the two green roof gardens where one is able to enjoy Shanghai skyline from a natural environment. The space is open and flexible, and eminently suitable for both family and entertaining.

What attracts Asian clients to your practice? How are you different from Chinese designers/architects and what do you bring that’s uniquely yours and special?

I offer fairness and transparency, as well as quality; trough dedication I help my clients to take the right decisions; to find creative and efficient solutions to their spaces in short, medium and long term.

And most importantly, I listen to my clients. They appreciate that.

Does your travel influence your personal sense of aesthetics and approach to design/architecture concept?

I have travelled to around 40 countries; I like exploring local styles and techniques and adapt them to global standards. I believe that being original means to “go back to the origins�, to learn what humanity has been learning for hundreds of years and try to improve these designs adapting them to current circumstances and improving them through technology.

Is there a particular type of project that you would like to focus on in the future and if so, what is it? Where would it be?

At present I am focused primarily on design for hospitality projects. I am, however, adaptable and open to new challenges and projects.

Tell me your dreams, I make them reality.

ISMAEL ABEDIN

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Tectonic Design Tectonic Design is an Ohio, USA architectural and design practice creating tailored concept projects with contemporary and timeless aesthetic and based on a strong sustainability ethos.

their markets and brought the owners a great deal of commercial success.

In 10-20 years we want our clients to walk or drive up to their building and have it feel as fresh and new as when they first occupied the space. Clients instruct us because they like what they see – it is something they relate to – and because our buildings set a standard for design, quality of construction and materials, as well as longevity, honesty and clarity. Our clients want their buildings to be an expression of these values because they too subscribe to them.

How do you achieve sustainability – through ergonomic design or new technology or choice of materials?

We achieve sustainability through the use of energy saving and longevity materials. We take advantage of natural processes to optimise the heating in cooling of our buildings: natural ventilation, stack effect and passaging temperature control are all important to reduce the dependency on external energy sources. We try to minimize the use of “living” materials like wood and instead focus on non-biological ones such as porcelain tile (this requires less structural backup and has the durability of natural stone as well as a timeless look), stone, metal structures or reclaimed materials where appropriate. Ultimately, if we build something to withstand the test of time, we would have achieved reducing the overall environmental impact in removing the need to recreate a building that has failed the client the first time round. Durability and resiliency are the ultimate form of sustainability.

What % of your projects are residential v.

Institutional/business/gallery/other?

Currently we are at about 60/40 with an emphasis on commercial. We are working on a number of high end workspaces and have completed a few hospitality projects that have really dominated

Please, describe your landmark projects and why and how they are important to your practice?

Our first project was the real “landmark” project.

It was completed at the time of least “experience” but in a way has the least pre-conceived design

You say that your style of design reflects clients’ personalities. What informs your sense of aesthetics though?

My work reflects and anticipates both the present and future needs of our clients which is why our designs come across as somewhat futuristic. Our clients are alive, vibrant, successful people and our designs aims to translate this success and vibrancy and at the same time future-proof the projects.

Tectonic Design 124, 25400 Fort Meigs Rd, Perrysburg, OH 43551, USA T: +1 734-657-3855 W: www.tectonic-design.com

influences. The project is naive in many ways but this naivety afforded a freedom that’s often curbed by “experience”. It is the McMurtrie residence, named “Sun-Home” by the owner, and is the most widely published project in our portfolio.

It has been featured In about 12 different books and magazines. It’s that innocence/naiveté of the design that appeals universally.

Which project presented the greatest challenge and why?

Our most challenging project was easily 82/ Sabrage, a dual hospitality concept - a fusion of a high end lounge and modern French bistro.

The challenge with this project was to rehabilitate a very ugly building on a very tight budget. We believe we achieved this through a minimalist aesthetic, using timeless materials and focusing the budget on high profile serving areas. The project has won several awards and attracted a great deal of media attention for the clients as they launched their brand.

Please tell us about the Dalby project – what was the clients’ brief and what is it that they wanted to achieve?

The brief was to design a home for a handicapped individual that needed to be both accessible and give a sense of living within the landscape. In spite of limited mobility, the client wished to fully experience his 10-acre site, surrounded by nature, but without leaving the safety of the indoor space.

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TECTONIC DESIGN

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GOA STUDIO GOA STUDIO is a London-based architecture practice specialising in residential projects and home extensions in the capital. We asked George Omalianakis, head of the practice, to address the challenges faced by home owners, investors and architects in what is one of the most highly valued real estate markets in the world.

The London property market is one of the most interesting in the world because of the challenges it offers architects – how do you respond to growing demand for space in what is, essentially, an old and often protected housing stock?

The London property market is certainly one of the most challenging and this is something most Londoners and foreign nationals alike struggle with. Having said that there is definitely a different cultural perception of what constitutes sufficient habitable space for people from the Continent and countries such as Australia, New Zealand and the States when compared to most people living in Britain.

This is a real problem as it’s simply not physically possible to create additional residential space in a congested urban area such London, and architects only rarely happen to possess time-bending and space-creating mystic abilities. Sometimes there’s

no point trying to respond directly, so a more lateral, creative approach offers a way forward.

This can mean finding a way to maximise the sense of space through clever use of materials, by opening up long sight-lines through a sequence of internal and external spaces, or by finding ways to allow natural light and direct sunlight deep into the floor plan.

When it comes to planning it’s also worth remembering that the majority of the housing stock in central London (Zones 1 and 2) is within conservation areas and many properties have a Listing protection on top. There are large amounts of civic green space and many parks dotted around the city, however densities can still be very high when it comes to residential areas and at first glance there seem to be few opportunities of adding useful space to residential properties.

This is when ingenuity is necessary, and detailed knowledge of the intricate planning legislation really pays off. It helps when a clients is prepared to explore unconventional ideas and to challenge themselves. And to challenge us, their designers, too!

How do you go about creating a sense of space and openness in older homes which is what we mostly have in London?

There are several tools we can use to do this.

GOAStudio | London residential architecture Kemp House, 152-160 City Road, London EC1V 2NX W: www.goastudio.co.uk

There’s The Alice in Wonderland Effect; long views from contained spaces that make them feel larger or smaller depending on how long or short the view is along the sequence. Spaces sometimes appear to animate as one moves through them and this creates a sense of openness and delight.

Then there’s The Cathedral Effect which is when we lift spaces through the use of a higher ceiling level. And not forgetting the affectionately named Starship Enterprise Bridge Effect, which sees a raised space overlooking seating or external areas. We also love opening up corners to allow internal spaces to spill outside and bring external activities indoors.

We believe that the multi-use of spaces is the most effective antidote to the lack of sufficient space.

It’s also worth noting that lifestyles have changed over time. In the past domestic spaces were one dimensional in terms of function, with dedicated rooms for entertaining, eating, cooking, sleeping and socialising. These days the day room, i.e. the ‘kitchen and utility, informal living and TV watching, dining and entertaining, kids supervising and play, wine glass holding or electronic pad finger tapping’ room, is the most common type of space to accommodate modern lifestyles.

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fluidity of use and multi-layered approach that we try to incorporate in our designs.

Are foreign buyers creating a revolution in design and architecture as they test creativity, space restrictions and council attitude?

The diverse cultural backgrounds of the foreign nationals in London are rarely expressed in the external appearance of their properties. Of course the same applies for the British nationals as well and it’s fair to say that a more contemporary and rather continental style is becoming dominant across London in the very specific way it effortlessly blends with traditional Georgian and Victorian architectures.

Where our diverse cultural backgrounds find a colourful expression is in the design of the internal spaces, both in terms of texture and the organisation of these spaces. From things as minor as where the washing machine will go (typically in European cultures the utility area tends to be near the bedrooms), to the relationship between living spaces and gardens GOA STUDIO

(a warmer climate will gravitate to design decisions that create indoor areas that open up and actively interact with external spaces), to the whole internal decoration scheme.

All this finds an expression as a distinct collection of memories, past lifestyles and personal interpretations.

Have kitchens become the new must have accessory in contemporary London homes? What other dedicated spaces do clients want that didn’t exist a decade or two ago? Gym, study, art gallery, library, wine room?

Kitchens are not an accessory anymore. Kitchens have become an important expression of lifestyles, values and quite possibly a reflection of how we want others to see us. Has an elegant kitchen become a status symbol? It has definitely become an act of self-expression; it’s the single space we have decided to live our lives around. It’s also the space, from an architectural point of view, that we just have to get right in order for everything else to feel right.

Gyms are something we are sometimes asked to include in residential properties however this isn’t as common as people might think. Libraries and quiet reading spaces are very popular however there is a contrast between what a library was in the past and what it might be now. These days the library function can be accommodated in a more flexible way along a staircase, as part of a hallway, as a way to visually enrich a room, maybe next to a window, becoming an integral part of a glass box, a box-seat that also doubles up as a design feature.

Gallery and exhibition spaces are definitely becoming part of residential spaces and again the key here is a similar flexibility of use and function.

One of our favourite requests has been for a spiral wine cellar staircase that allowed access to a store of up to 1,500 bottles of wines along the length of the spiral staircase; a glass floor sliding panel also instantly made it a feature to the room. In hindsight, this could work equally well as a shoe store, an idea we plan to put forward to some of our future clients.

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Vera Sant Fournier Vera Sant Fournier Triq It- Torri, L-Imsida, Malta T: +356 7991 4882 E: vera@verasantfournier.com w: http://verasantfournier.com/

Vera Sant Fournier is a highly prestigious, multi-award winning Malta-based interior designer offering turn-key solutions to international private and corporate clients.

In her own words: Your studio helps clients define their vision, allowing them to develop it into reality without trawling shops, magazines and galleries. How do you translate their ideas into a concrete concept?

First and foremost, our studio is informed and inspired by our clients’ lifestyle, wishes and aspirations, their dislikes even. That is how we are able to develop their aesthetic objectives and guide them in the realization of their project which must always be a reflection of their personality. It is also what makes each project unique. To me, that is what a professional interior designer should aim at.

Is there a cohesive VSF aesthetic or are you as a team entirely flexible, guided by the client’s needs and budget?

Each VSF project is a carefully balanced concept, merging studio and client ideas. The VSF mantra is to avoid consistency except in the quality of our service. The VSF brand is synonymous with constant evolvement, breaking of new frontiers, originality, innovation and trend setting. The VSF aesthetic is timeless and evident in the perfect choice of colour schemes, mix of materials and finishes, as well as that great intangible, the eclectic touch.

This well-defined sense of aesthetic runs through our range of bespoke furniture pieces and the often unorthodox use of unusual and innovative finishes. It can be seen in a specifically commissioned art installation or in objects designed by us and manufactured by selected

craftsmen. VSF Studio supports international talent. We offer clients an advisory art service and will soon be launching our own in-house gallery where we will exhibit statement pieces with strong investment potential.

Having said all that, each project is tailored to the client’s budget.

Is good taste intuitive and inherited or can it be cultivated? What makes a good interior designer?

I believe that good taste and style are to some extent innate and attribute my own success as a designer partly to my ancestry. I was born into one of Malta’s oldest noble families who gave our country the first bankers, merchants, art connoisseurs and collectors. My late father, Charles dei Conti Sant Fournier, and mother brought me up in a house full of art and colour, antiques and collectibles; attending auctions and BBeyond: Fabulous Interiors And Architecture designs

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"Every project tells a story: of the client, the evolution of the concept and the overall studio experience, and has its own measure of love."

Vera Sant Fournier

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"A good interior designer ‘reads’ their clients’ dreams and interprets them into reality in an aesthetically correct manner, never imposing his or her own personal taste or style."

observing how art and furniture work together to create a unique space.

At the same time, nothing is achieved without good education, cultural hinterland and experience. Travel, continual research, exploring trends and innovative materials, and investing in one’s professional development are a must.

A good interior designer ‘reads’ their clients’ dreams and interprets them into reality in an aesthetically correct manner, never imposing his or her own personal taste or style.

Describe your 3 most important projects.

Every project tells a story: of the client, the evolution of the concept and the overall studio experience, and has its own measure of love. If, however, I had to pick one, it would be the project for one of Malta’s elite businessmen, a music lover.

Vera Sant Fournier

We were given three key words: Jimi Hendrix, Fendi & Miami Vice, the rest was a carte blanche for us to combine our client’s interests. The result is a fabulous seaside apartment in one of Malta’s premier developments, sporting a monochromatic colour scheme blended with metallic bronze fabric accents, a custom designed and manufactured sofa, a Fendi Casa dining table from Rome and a commissioned Jimi Hendrix art installation.

Our most recent commercial project is for Besedo, eBay, Germany.. There we did the impossible what was once a clinical office space is now full of life, vertical gardens, engaging colours, interactive sections… We have now been asked to design and oversee the rest of the office building.

Last but surely not least is one of my favourite concept designs for the master suite of a superyacht, which we launched to coincide with

the Monaco Yacht Show 2015. The concept paid homage to the classic yacht, including curved timber and low key functional furniture. The wow factor is the sea and the ‘feel’, that calming sensation, one gets when afloat.

Is the VSF studio a “green” designer?

We believe it is the duty of everyone on earth to go “green” for the sake of future generations.

We endeavour to educate our clients and help them achieve a lesser carbon footprint through using state of the art appliances and innovative products/materials. Some of our clients are very receptive and we are currently working on an environmentally friendly villa in one of Malta’s most prominent areas, which has its own organic vegetable garden.

VSF - Green Design will be helping individuals create more environmentally friendly spaces.

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kamini ezralow Kamini Ezralow, the founder of the eponymous design studio, is by her own definition “a true internationalist”, having lived in different countries and now working with a wide variety of clients on residential, commercial and yacht projects.

Her work is quite distinctive for its inherent elegance although if asked, she would use the word subtlety. There are different layers to her design and each project represents a journey of discovery.

It was Kamini’s love of textiles that determined her choice of career and she still draws inspiration from fabrics at the outset of each new project. This adds a certain tactility to her designs, but what makes her truly different is how she views the responsibility of a designer.

The ability to influence clients’ lifestyle, how they feel in their environment (as well as their in-vironement, a term she coined), how they move through space and interact with it is a huge responsibility because it has a direct and powerful impact on both physical and energy levels.

Ultimately, a feel at ease space has a positive influence on people’s minds and bodies.

In this sense the subtle relationship she builds with a client is crucial - delving into the rich

hinterland of his or her lifestyle, likes and dislikes, is the essence of micro design, as are architectural structure, function and context of the project, whether this is a private residence, a hotel or a yacht.

A good case in point is the Celestial Hope yacht design. The owner’s brief was “beach house style”, which presented a number of challenges not least having to take into consideration the fact that the environment of a boat is constantly shifting. Another was defying pre-conceived ideas and trying to push the boundaries in order to integrate the client’s requirements and create something unique. The yacht won the Queen of the Show award in Monte Carlo, with visitors spending record amount of time onboard.

Designing the Marbella Club public spaces for the new owner was a project of vastly different nature. The brief: reinventing the beachside Hollywood glamour associated with the original owner, Prince Hohenlohe. The result is a space with a very residential look and feel that is nevertheless adapted to hotel use.

Yet another project very representative of Kamini’s approach is a Dubai penthouse that she had to conceive and design from a concrete shell, working with the building’s architect to customise

the position of kitchen and bathrooms before interior design was even a consideration.

Occupying the top two floors of well-known building, with a 360 degree view of the city, the penthouse already had a spectacular setting.

Aesthetically, Kamini had to factor in the continual skyline change in a new city that hadn’t yet “grown its soul”. In order to inject some soul into the penthouse, Kamini started by looking at the history of skyscrapers and inevitably came to the 1920’s art deco style of the early NY City architectural examples. This was serendipitous as art deco was both hers and the client’s favourite style, adding synchronicity and synergy to this 1920s re-interpretation brief, making the result eminently timeless (timeless being another pillar of the Ezralow studio philosophy).

Ezralow is equally remarkable for its art deco influenced furniture design, 90% of which is bespoke. For Kamini, luxury means quality of craftsmanship which is why her designs are manufactured in Italy by craftsmen with a niche speciality. The evolving collection of understated statement pieces is based on parchment, bronze and sycamore.

Kamini’s new acce ssories collections include a limited edition solid brass boxes and a range of pottery.

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JOÃO SANTIAGO

SERVIÇOS DE ARQUITECTURA

Headed by Joao Santiago, JSArchitecture (JS-A) is a full service practice based in Lisbon, Portugal, but working clients globally.

signature elements such as: gentle slope roofs, central patios, generous headroom, ingenious light stream solutions and distinctive curves that can be observed in most of their projects.

The firm is highly focused on three core business areas: private/residential, health care planning and design, property development assessment in planning and feasibility solutions and providing feasibility solutions to property developers.

All of these details are cleverly integrated in a bioclimatic house project in Southern India, Casa Karuna. This is a very modern tropical design home, laid around a central patio,the house relies on natural cross-house air flow.conditioning thanks to the enhanced structural design. Along with the now de rigueur fluidity between exterior and interior, the house exhibits most of the JS-A usual components, i.e. the sloping roof/shadow interplay, allowing for natural lighting all the while avoiding direct sun exposure.

Residential clients are very much word of mouth referrals, based on the firm’s distinctive style and approach, and are not just homegrown, but come from as far as India, Australia and the USA. JS-A’s style is modern, defined by subtlety, elegance and refinement, rather than showy or overwhelming. Their motto: “Architecture with elegance and refinement to enrich people’s lives” The practice specialises in creating unique yet discreet environments whose composition is finely balanced through combining distinct

JS - Architecture Av Columbano B Pinheiro 64 5Df 1070-064 Lisboa • Portugal M: (+351) 914 722 695 T: (+351) 217 237 536 E: 001@JS-ARCHITECTURE.COM w: www.js-architecture.com

Enhanced spatiality is another JS-A signature element, ingeniously implemented in the Hunters Cave renovation project which called for an interior expansion and a creative positioning of the owner’s hunting trophies and wine collection. The brief was to preserve the cosiness aspect all the while introducing new layers and plentiful natural light, often streaming from unexpected places.

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JS-A’s commercial projects are equally subtle and thoughtful in execution and the Remax agency in Lisbon is a very good example of the approach.

Incorporating elements that support the international image of the brand and establishing a cohesive look through the architectural language and use of materials, JS-A has created a cool transition betweenreception and meeting areas, with an interesting vertical slates detail that refines the light and at the same time provides privacy.

Bringing the circular shape within the building’s square is, Joao Santiago says, “good fengshui – avoiding corners and embracing the people form” - and consistent with the agency’s style.

JS-A is equally known for creating healthcare spaces, which is one of its core business operations.

Introducing a sense of comfort and healing is the prime consideration there, translated in the choice of colour schemes, large central spaces(primarily green) and high tech materialsand wide-opened fenestration that inspire patients’confidence on a subliminal level.

JS-A is a vital and invaluable partner to real estate developers both in Portugal and the USA in that it provides assessment, preliminary design and feasibility studies. The service is instrumental in helping developers to understand the business feasibility of their project, as well as getting planning permission and ultimately, the deal. In this sense, the architectural practice is a one stop shop for developers.

JOÃO SANTIAGO - SERVIÇOS DE ARQUITECTURA

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Lilian H Weinreich Architects 150 Central Park South #502 New York New York 10019-1566 USA T: + 917 770 1000 w: http://www.weinreich-architects.com e: lhweinreich@rcn.com

Lilian H Weinreich Architects is a boutique architectural and interior design firm based in New York City with roots in Australia.

LHWA’s distinct, powerful, and elegant signature style carries a timeless aesthetic across the firm’s portfolio of residential projects. Innovative use of materials, the precise sculpting of space and light, and the seamless integration of custom-designed, built-in furniture creates sustainable spaces of undeniable visual impact. The firm’s work— ranging from integrated micro-spaces to high-end apartment, duplex, and townhouse renovations— includes several historic landmarked properties.

We approach each project as a set of individual programmatic possibilities revealed through the synthesis of consultation, research, and design.

LHWA’s symbiotic exchange of ideas results in responsive solutions original to each client and informed by collaboration throughout the design

process. Two projects—the Richman Duplex on West 72nd Street and the NoHo Duplex, both in Manhattan, New York—illustrate the inventive ideas that emerge from creative synergy with the clients.

The Richman Duplex is an alteration of a 1,800 square foot apartment on the 36th and 37th floors of a post-war tower on the Upper West Side of Manhattan. LWHA created an urban retreat for a retired couple, devotees of classical music and ballet, on their frequent visits to New York.

Ancient Japanese design aesthetics, embraced by the couple during the years they lived and worked in Japan, inform the precise simplicity of the renovated spaces. The ideals of wabi (transient/ stark beauty), sabi (beauty of natural patina, aging), and yugen (profound grace, subtlety) emerge in the striking yet subdued finishes, the graceful lines of the stair and integrated furniture,

and the serene, diffused planes of light and color.

LHWA collaborated with the wife of the couple, an interior designer, on the project and its neutral palette of rich, subtle hues.

The duplex divides programmatically between public and private functions. The lower level’s large, open utilitarian space enhances dining and entertainment with floor-width views. A Japanese Noh-mask, carved from a solid block of wood by the client’s daughter using traditional techniques, welcomes visitors. When privacy in the den is required, translucent Shoji screens can enclose the area. Private bedroom quarters on the upper level feature a sequence of graceful, rhythmic, functional forms of locally lumbered striated walnut accenting the central core wall.

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On the lower level, pocketed sliding doors between two bedrooms meet an imperative client request. The doors create a flexible space for the children—open as a playroom during the day and subdivided at night for sleep.

heights, backlit dropped-ceiling planes emit a warm glow.

The building’s minimal construction tolerances required precision in execution—the completion of the project’s Enso, or “circle”, from concept to completion. Like the Enso, the duplex’s strength, elegance, and voids create a unified space that is both tranquil and energizing.

LHWA’s NoHo Duplex project reconfigured and redesigned a 1,700 square foot first home for a young couple’s casual lifestyle and expanding family. With thoughtful planning, the existing onebedroom, two-bathroom duplex was converted into a three-bedroom, two and a half bath family Lilian H Weinreich Architects

residence with large den/family room and open, flowing interior—greatly enhancing real estate value without sacrificing design, function, or space.

The kitchen, dining, and lounge spaces flow seamlessly to the private areas on both levels. A folded glass and metal privacy screen at the street level entry cleverly shields the apartment from view. At the rear of the reconfigured upper level, a series of 11-foot high, fully retractable, glass and steel-framed door panels separate the new guest powder room and compact master bedroom and bathroom suite. The glazed panels soften the glowing cove edges above the entries to the bathrooms.

The design and fabrication of the staircase to meet code and child safety requirements presented the project’s most significant challenge. The staircase’s co-planar, clear-tempered glass rails and childproof open slots elegantly comply. A sizable post concealed in the wall support the welded bent steel angles, attached with moment connections.

A fumed rubio-monocoat finish on the red oak wood flooring on the floating stair treads and throughout both levels lends warmth to a graphically neutral and steel interior. For a unique handcrafted industrial appearance, metalworkers forged all of the project’s metalwork, including the stair supports and door panels, on site.

LHWA’s distinct aesthetic—through clarity in design and uniqueness in resolution—is evident in both alterations.

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Alexandra Rae

Your style seems to embody timeless chic laced with contemporary cool and functionality – is this the ultimate in modern aesthetic and why?

I believe the modern aesthetic is one that blends timeless beauty with modern comfort.

A home needs to function by today’s standards.

It should have classic, artistic elements, but also a modern point of view, including progressive design and innovations in convenience.

Timeless sophistication is the standard of good design, but no one is comfortable in a museumlike home with a poor sound system and stiff, delicate furnishings. Aesthetically, too, it is far more soulful and less contrived to have a variation of styles; classic, modern, even the avant garde.

Alexandra Rae is a Los Angeles interior designer whose classic interiors blend European elegance with American modernism. Her folio includes projects from the California coast to the Eastern seaboard.

Who is the typical Alexandra Rae client and what do they expect?

My typical client is someone who appreciates classic design, but with a modern edge. My clients have one thing in common: an idea of a home not as a showcase, but as a place of

Alexandra Rae Interior Design w: http://www.alexandrarae.com T: + 310-579-9338

shelter, comfort and joy for family and friends.

Whether their taste runs more to the modern or the traditional, the casual or the very formal, they appreciate that my team and I will create a space that will enrich the way they live.

What does an Alexandra Rae interior say about them?

It says that they are at ease with their own personal style and are confident enough to forgo trends. They may not know exactly what they want at the outset of their project, but they know what they want to experience. They want something that is unique to them and that will enrich the way they live. We help execute just that. In the end, the space is a reflection of understated elegance, and effortless, joyful living.

Please define luxury...

Luxury is the freedom to indulge in the things that bring you personal happiness, whether it is a beautiful work of art, sailing with friends, fine champagne, or the splendor of a private tropical paradise. It is the freedom to enjoy that which inspires you.

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alexandra rae

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KEITH BAKER Keith Baker, founder of KB Design, specialises in the design of custom residential projects all over North America. Firmly grounded in the principles of sustainability, his approach encompasses the use of authentic materials, appropriate orientation, openness and a sense of connectivity within the spaces but also to the site and context.

On his signature style: I would define it as “Contemporary West Coast Modern”. Contemporary being “of the day”; West Coast being not only where I live, but also a place full of nature, big evergreen trees, beaches and mountains; Modern being a fresh creative and sometimes even innovative approach to creating a healthy and functional living environment.

This style allows for a more organic approach to floor planning, massing and rooflines, taking into account views and outlook, especially how the building gains access to light and sunshine.

My house designs tend to be less formal and more relaxed, flowing and comfortable, with a warm feeling and healthy living environment, rather than lofty and austere.

I like my homes to sit comfortably with a nice smile rather than shout out to the world “look at me!”. I use authentic materials such as local

stone veneers, Western Red Cedar and Douglas Fir, glass, concrete, as well as Cor-Ten steel and galvanized metal and acrylic stucco in varying complimentary textural and linear combinations, and often in neutral colour schemes.

My projects have a lot of windows as I am often commissioned to design waterfront homes with beautiful views.

I also enjoy integrating creative post and beam work both structurally and aesthetically in a hybrid style where the interrelationships of parts can be expressed.

On the principles of biophylic design: Keeping the connection between people and the environment is crucial and even more relevant in the context of city dwelling.

Biophylic really means “of the earth” and is more about making and strengthenning this connection with nature. It’s about natural light, views and use of natural materials, textures and patterns, creating a sense of groundedness and wellbeing.

The use of BuiltGreen materials is a responsible way to build. It makes sense to work with materials that can be re-used once the natural lifespan of a house comes to an end (if well constructed, this should be a century or longer). Reclaimed or

Keith Baker Design Inc. 5043 Rocky Point Road Victoria BC V9C 4G4 Canada T: 250-384-1550 w: www.keithbakerdesign.com

salvaged wood flooring can be sanded many times, extending its useful life to 75-100 years.

In terms of alternative materials, there are some great new products available now such as insulated concrete forms (ICF’s) and Structurally Insulated Panels (SIP’s), both very energy efficient.

Passive solar design is a method to super-insulate a house with an air-tight building envelope while allowing for the passive heat of the sun to warm the building.

Active solar generates electricity through the use of photovoltaic panels, whether grid-tied or off-grid.

Prefab house construction is essentially the manufacturing of component parts and assemblies that are shipped to a foundation-ready site, craned into place and assembled.

This concept has gained some traction over the last decade or so as a way to create cost savings and where weather or tight time constraints influence the construction process. Prefab construction is a great way to ensure a high quality consistent product. An indoor production line work environment means you can build 12 months of the year under pristine conditions...conditions that allow for fast, accurate and repetitious cutting and fabricating of materials and assemblies which

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Cadence

could never be achieved on a site-built building.

Some prefabricators allow for a customised approach to house design while others offer a limited line of house designs to choose from.

There are many component parts (pre-engineered and manufactured) that are commonly used in prefab and standard site construction. Wooden “I-joists”, trusses and Structurally Insulated Panels are a few examples.

Cadence

Keith baker

A project most representative of his style and approach: This would be my project “Cadence”, a house that sits very comfortably on its site. Designed as three pavilions and somewhat more organic in its shapes and massing, it utilises raised radiused roofs

Cadence

with interconnecting flat roofed areas. It is situated on a north-facing waterfront with the master bedroom pavilion rotated counter clockwise from the grid of the open plan living room, dining room and kitchen, allowing for a wider viewscape.

This orientation creates privacy for the master bedroom while opening up wider views from the living room.

There are lots of windows providing views from virtually every room and easy outdoor access to a partially covered terrace area with a built-in barbecue, pizza oven, a wood-burning fireplace and a gas fireplace for gathering around. The covered breezeway between the garage and the house is expressed in a columnade of post and

beams with a small pavilion half way down to the house with a radiused roof. It is not only functional, as it has been known to rain in BC from time to time, but also provides a beautiful open backdrop to the auto-court, radiused-roof entrance portico and gardens. A south facing ‘lantern’ window over the stairwell provides light throughout the home into the main living areas and the exercise gym on the north facing lower floor. I’m very happy with its functionality, its easy settled disposition and the use of natural materials: horizontal cedar siding, cedar shingles, concrete, glass, Douglas Fir posts and Douglas Fir grain-matched bent laminated beams.

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Hawks Nest

Coastal Landsend

Coastal Landsend

Willis Point

Keith baker

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JR Architects JR Architects Av. Toluca # 464 Desp. 201 Col. Olivar de los Padres C.P. 01780 T: 5668 3272 / 5595 6164 / 5555 4513 / 5595 5899 E: jr-arquitectos@jr-arquitectos.com w: www.jr-arquitectos.com

JR Architects is a Mexico City-based practice with a well-defined approach and vision.

It has been established for over quarter of a century and so, well-placed to have observed the evolvement of design tendencies.

How have aesthetics evolved in the last couple of decades and how does your style fit in with the changes?

The aesthetic has not changed - rather, what has evolved within the last couple of decades is the managing of spaces. Architectural style has evolved historically based on the use of individual space. People migration has transformed cities across the globe in recent years. Rather than modify our approach to the use of traditional materials and our core concepts, we have changed our approach to space use in order to accommodate clients’ evolving lifestyle.

Your projects appear to incorporate both traditional and contemporary aspects.

Do you find this is essential in order to avoid the identikit modern look that is borderline ascetic?

As a firm, we are committed to forging our own path, combining traditional Mexican architecture with our vision of contemporary lifestyle imperatives in order to create a signature JR Architects style while at the same time underscoring the individuality of each project and client.

Our mission is to project ancient and colonial architecture into modern times. We try to convey Mexican contemporary style using colonial/ traditional elements on one hand, and combine native simplistic Mexican architecture with modern features on the other. We achieve this BBeyond: Fabulous Interiors And Architecture designs

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through the use of natural materials such as limestone, marble and locally grown timber. The use of wooden beams is a very traditional feature in our projects and probably one of the most important aspects of colonial native Mexican architecture.

For us the use of natural materials mimics the natural environment.

We believe that architecture should integrate as much as possible with the surrounding landscape. The use of local materials underpins this and makes each project look and feel integral to the site. The same goes for lighting – even artificial lighting should look and feel natural at any time of the day so that the home becomes an optimal comfort zone.

You create statement interiors that have attitude – do you feel that attitude is a missing ingredient in many contemporary homes today?

We think interiors should feel as comfortable and as cozy as the user needs them to be. Making a room with “attitude” should be all about making a statement about its owner, just as interiors should be a reflection of the owners’ personality and the atmosphere they want to create. We subscribe to a school of thought that a house should be carefully designed to incorporate all the parameters that would give it longevity and timelessness. Without these, architecture just panders to the fashionable trends of the day and loses integrity.

JR Architects

Some of the wine cellars you’ve created are quite spectacular, dramatic even – is this a speciality of your practice?

Wine cellars for us are not a specialty per-se, but rather, have developed from a personal hobby. In recent years collecting wine has bestowed a mark of distinction and makes a statement of pedigree. A personal wine collection adds character to a building. We also think that wine cellars are a perfect space where time strands join around something as long lasting as architecture.

We´ve seen the green walls in your office projects – is a sustainability/ environmentally friendly approach important to your corporate customers or do you influence them in this respect?

For us, being part of the huge city that Mexico City is makes it all the more important to be respectful of the environment. We like to think that we contribute towards solving the inherent problems associated with a fast developing capital through the implementation of green walls and other environmentally friendly features in our projects. It is incumbent upon us as responsible architects to influence all clients and their workforce to consider the planet and contribute in their own way. Educating all users of a building designed by us is vital if we are to make our cities a little greener.

We try to convince our clients to give back to the environment in as many ways as possible so as to reciprocate to nature for all it gives us and for allowing us to create what we do.

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Elena Stavropoulou architects Elena Stavropoulou’s work has focused on the principles of bioclimatic architecture for more than two decades. These principles inform her approach to projects in creating sustainable built environment and underpin her philosophy and aesthetics.

point of view, connected to the specific location. The guiding principle is to respect the particularities of traditional architecture and at the same time implement the correct management of climatic parameters incorportating innovations in the field of green architecture.

She has participated and been awarded in international competitions and taken part in many exhibitions.

Environmental concern, in our days, is no longer a luxury but a necessity. Design has the power to improve our environment, our lives and our future and make it possible for the next generation to live in a more sustainable way.

The guiding principles of bioclimatic architecture and why it is important to apply them: Elena Stavropoulou’s Greek-Italian background exposed her to the beauty of vernacular Mediterranean architecture from an early age and allowed her to appreciate its ingeniousness in terms of design being determined by local climate.

The starting point in the design procedure should always be the natural forces of the sun and the wind. The building should not only be ‘rooted’ in a physical way but also, from a morphological

ESA firmly believes that the parameter of ‘green’ architecture must always be an integral part of design and that includes giving due consideration to a building’s impact on the site’s ecology and to the use of energy and materials over its life-cycle.

The target of bioclimatic strategies is to improve the environmental performance of the design, ensuring the user’s thermal, visual and acoustic comfort.

ESA’s work focuses on the climatic analysis of the site, solar orientation of the building, and

Elena Stavropoulou Architects w: http:// www.stavropoulou.archi

the selective application of simple bioclimatic strategies for different seasons. She implements the principles of sustainability, incorporating fundamental and generative factors, such as passive heating systems, shading solutions, through vegetation or special custom made features, natural ventilation strategies, passive and active systems, green roofs, and research into the installation of alternative energy and water conservation systems.

To ensure implementation of these guiding principles, the ESA practice undertakes the total design process from concept stage to the detailed structural design phase, and a managing role in the construction supervision.

Because building a new custom home can be a complex and intimidating process, with many potential pitfalls if the project doesn’t get off to a good start, Elena often participates in the process of identifying building locations, optimizing clients’ financial and time investment.

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"Environmental concern, in our days, is no longer a luxury but a necessity. Design has the power to improve our environment, our lives and our future and make it possible for the next generation to live in a more sustainable way. "

First floor interior, Bioclimatic house in Nea Philothei, Athens

Staircase to the terrace

Elena Stavropoulou architects

Product design, copper tap

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ESA is very sensitive about ‘the genius loci’ of different areas in Greece and can help clients clarify their priorities. She is well aware that location analysis cannot be linear as many factors can be seen from different perspectives and categorized accordingly. Although many environmentally friendly techniques are part of a body of knowledge implemented around the world since ancient times, technological innovation is constantly evolving, opening up new possibilities and strategies for a sustainable approach in architectural design and construction.

The main challenge that the ESA practice sets for itself is to create an innovative and poetical space through aesthetic and technological research that ensures functionality and sustainability, all the while aiming for a cost and resource-sensitive realization.

Defining element of the ESA style: Her personal aesthetics, inspired by minimal modern architectural language, are based on Adolf Loos’ classic statement “Less is more”. Not limited to straight lines and white and grey hues, her work is inspired by the simplicity of basic shapes and by texture of materials. The aim is to find the best possible combination of professional aesthetics and the satisfaction of client's emotional and functional requirements.

South west view and interior, Bioclimatic house in Nea Philothei, Athens

Elena Stavropoulou architects

For ESA each project is unique, created by the combination of the location, the specific brief and the fundamental principles of modern architecture with bioclimatic strategies dictating the final aesthetics.

Exposed concrete, wood, rusted metallic surfaces, combined with materials that are characteristic of the particular location create a cohesive ensemble, harmoniously incorporated into the natural and man-made environment. This approach to materials and detail is the defining element of her style.

Most representative project: The bioclimatic house in NeaPhilothi Athens, where materials dominate not only by their colour shades but also create functional differentiations and contribute to spatial organizational layout.

The four member family house is built on a sloping plot. Achieving maximum interaction with the natural landscape is a determining factor for the organization of the building’s levels. The 10x10x6.50m two storey space is the “box” in which the common spaces of the house are located and acts as the outer shell. Smaller, independent volumes penetrate this shell and define the private spaces. The building follows the principles of bioclimaticdesign: a cooling and shading strategy, natural ventilation and an

appropriate heating strategy combined with solar gains. Adequate natural light is provided based on the use of space. Exposed concrete is used for the construction of the external shell, whereas red cedar wood and rusted steel are the materials covering the external surfaces of the private “boxes”.

ESA product design: functional art pieces or an extension of creative energy?

ESA product design offers the immediate satisfaction of transforming an idea into a final material object without the complexity and restrictions of architectural planning.

Product design is integrated into the architectural work at the conceptual phase with particular attention to the final constructional drawings where the smallest details (handles, lighting features, special objects) are studied and bespoke functional pieces created.

This passion for handcrafted objects led to the launch of a handbag collection, remarkable for the contrasts between textures and colours.

ESA will soon be presenting a new collection of functional ceramic art pieces.

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North west view of guest room area, Bioclimatic house in the island of Aegina, Greece

Aerial view, Bioclimatic house in the island of Aegina, Greece

Elena Stavropoulou architects

Swimming pool area, Bioclimatic house in the island of Aegina, Greece

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m12 AD m12 AD Via S. Benedetto, 24, 70033 Corato BA, Italy w: http://www.m12ad.it

m12 AD, founded by Michelangelo Olivieri, is an innovative and thoroughly contemporary Italian practice based on strong project-centric principles and defined by pushing the boundaries through experimentation and exploration.

The Olivieri style is characterized by clean, geometrical lines and his approach is projectfocused, based on the traditional principles of using simple and eco-sustainable materials with added personality and taste that are all his own.

Italian-made is, for most people, synonymous with quality of the detail and a certain classic elegance and while it is true, to some extent, that Italians live and grow “strolling through history”, the last decades have seen a cultural “rape” of architectural heritage, says Michelangelo Olivieri.

“We need a huge ‘cultural filter’ enabling us to pick the best from history, rough it up with a dose of everyday life, technology and a taste of things to come, all the while using the best of sartorial craftsmanship that still exists and thrives in Italy.” m12 AD is eminently versatile in that it has undertaken projects of every scale: from large urban ones to small furniture design. During

high school, Olivieri studied goldsmith’s art and learned to pay attention to every detail.

When asked to name a project that he is particularly proud of, he names, rather endearingly, the ring with which he asked his wife to marry him.

Timo lamp

The ring was designed in great secrecy, with the final object representing the ultimate expression of customization: it consists of soft white gold lines that form the initials of the couple’s names and ultimately close a circle symbolizing a neverending hug.

The other project he takes great pride in is his first post-graduation one: Villa F09 that was built in Puglia for two very young clients who dreamed of raising a family in the house.

He designed it as a very Mediterranean Villa, built around a tree planted inside the house as a metaphor of a family that was going to be born, grow and have its roots there. Michelangelo Olivieri believes that the project has brought him a lot of luck and that the studio’s golden reputation today is due to what the villa represents.

Empire Resort

Timo lounge

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SG House

SG House This project is significant for its seamless spaces and ingenious cabinet making. Michelangelo Olivieri has conceived walls as containing spaces, in order to achieve greater purity.

Materials used: Burmese teak wood, lava stone for the walls coverings, lacquered wood and fine natural leathers.

m12 AD

"We need a huge ‘cultural filter’ enabling us to pick the best from history, rough it up with a dose of everyday life, technology and a taste of things to come, all the while using the best of sartorial craftsmanship that still exists and thrives in Italy."

F09 villa

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His most challenging project to date, at the construction phase, is a five-star hotel in a spectacular beachfront location in Albania, the Empire Resort. The goal is to highlight the extraordinary relationship that exists between mountains and clear water at that particular location. It represents an exciting challenge because m12 AD has been tasked with the project in its entirety, including the interior furnishings.

Double Tower, Jesolo, Italy This urban redevelopment project represents the construction of twin residential towers and a square in Jesolo, Italy.

The project’s goal is to create urban areas that would encourage a novel, recreational use of open spaces and would become one of the city’s most treasured landmarks.

Many architects find another outlet to their creative impulses in designing furniture for their projects or even as stand-alone pieces. Olivieri has created a number of original pieces, such as the “Timo” collection, presented during the Milan Design Week 2016, an interior and lighting design collection inspired by the colours and scents of Puglia. Elegant and sober nuances, applied to a pure and handcrafted design: stools, chairs, armchairs, chaise lounges and a lamp with a clean and functional style. m12 AD is based on the Adriatic coast of Italy, close to Bari.

m12 AD

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pearl lam

You have an innate sense of style that is quasi-legendary – has your sense of aesthetics evolved over the years and how?

What informs and inspires it now?

My style has always been eclectic—I enjoy mixing different cultural influences and have never shied away from colour. I think this has come from my own multicultural experiences living in colonial Hong Kong, London, and travelling around the world. The Brighton Pavilion in England has also been a big influence, as I was inspired by how it mixes Chinoiserie with Indian-style and Regency style décor. For me, you have to be willing to take risks to achieve something truly original.

New and contemporary offers endless possibilities, not least exploring sustainability. Sustainability is a catchall word these days – what does it mean to you?

Sustainability is nothing without quality. To me, it means being able to produce something in an environmentally-responsible way, while maintaining quality in both the end-product and production methods. This means developing relationships with makers (craftsmen, designers, artists, etc.) to ensure continuity and open communication to create lasting work or work that can be reproduced if need be.

Do you subscribe to the current minimalist trend in architecture and design?

I totally appreciate minimalism, but I am not a minimal person.

You champion and nurture a number of product designers – what do you look for in a designer?

Creativity to break boundaries and also an understanding of quality are key.

I love possessions and I am not “zen”, so there is no way I would be able to subscribe to minimalism in architecture and design.

Design is about honesty.

Since I invite many international designers to create new works using traditional Chinese art and craft techniques, designers need to be open to adventure, as they will often be collaborating with Chinese craftsmen. I hope they will gain

inspiration from visits to China and then push the design to the highest quality.

If you were commissioning a project in Asia and another in Europe, would you use the same or different architects? If the latter, why?

My favourite architect is Thomas Heatherwick because he does research when creating a concept. Whether the project were in Europe or Asia, I would use Heatherwick, as I know he would work to create a different concept based on my initial brief.

Space, light, colour and functionality are the main pillars of architecture – is there one that is more important to you personally than the others?

The four elements go hand-in-hand, so I consider them all equally important; however, I find when one is lacking in space or light, colour goes a long way in brightening up a space and giving it life.

Is interior design an art form?

Of course! I subscribe to the literati way of thinking where there is no hierarchy between art, design, decorative art, etc. Just like painting,

interior design is a creative endeavour that requires putting together different elements to make something new that, hopefully, goes beyond aesthetics.

Art was commissioned as decoration in stately homes – today, it makes an important statement about the home owner. With regards to contemporary art, do you believe there is too much emphasis on the conceptual?

I think nowadays artists are very aware of what collectors are looking for, so I don’t think the contemporary art market is overrun with the conceptual. Of course, all art is conceptual in some way, so there is such a thing as a conceptual and aesthetically pleasing work. Often, what makes a work interesting is the idea behind it anyway.

If you are a serious art collector, you will create a home as a background for your art collection.

Whether the work is conceptual or not, spaces will be designed to be site-specific for the works.

Name designers and architects that inspire you. Why and how?

I am inspired by Thomas Heatherwick, who

Pearl Lam

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I think is brilliant. He is largely self-taught in architecture as he studied 3D design, so his outside perspective allows him to approach architectural problems from a unique and creative perspective.

I, too, am largely self-taught in design, as I did not have a formal education in it. I mostly learned from stimulating people like the decorative artist André Dubreuil, who taught me about quality in design and craftsmanship, and my architect friend Patrice Butler, among others. As mentioned previously, the Brighton Pavilion further developed under the guidance of architect John Nash has been a great influence.

Danful Yang Packing me softly, 2012 Foam, hand embroidery on canvas L32 x W30 x H33.5 cm

I also like the work of the Campana Brothers, who are very creative in their use of materials and colour, and I’m inspired by traditional Chinese architecture and design from both the distant and recent pasts, including 1930s Shanghai Deco.

Pearl Lam Design works with both Chinese and international designers to create new works inspired by traditional Chinese art and craft techniques such as wood carving, porcelain, enamel, etc. We invite designers to come to China and work with local craftsmen to realise works influenced by their experiences in China.

This past March, New York-based designer Enrico Marone Cinzano opened a show at one of our Hong Kong galleries with works he created with the help of Chinese craftsmen. The works, which largely focus on wood carving, are sustainable and reflect his experiences working with Chinese craftsmen who dispel misconceptions about locals not caring about the environment.

Patrice Butler 21st Century ROCKokO, Buccibag, 2006 Porcelain H40 x Diameter 30 cm

pearl lam

André Dubreuil Four Seasons Console Table, 2011 Elmwood, cloisonne L224 x W54 x H82 cm

Danful Yang

I have a design team led by Shanghainese designer Danful Yang called XYZ Design that produces works for Pearl Lam Design. Since I’m so busy, I contribute designs when I can. It’s an outlet for all my creative energy.

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turks luxury TURKS LUXURY w: turksluxury.com

Turks Luxury was founded by Ian Hurdle to enable real estate investors in the Turks and Caicos, one of the most desirable Caribbean island chains and a long-time best-kept secret of tax-savvy multinationals.

In addition to its business-friendly fiscal regime – there is no direct corporate, personal, capital gains or inheritance taxes, nor exchange controls - the 40 island archipelago, a British Overseas territory, boasts world-class beaches and development opportunities that have largely been exhausted elsewhere in the Caribbean.

Major brands, such as ‘W’, Ritz-Carlton and Six Senses, have already moved in and real estate is booming, with prime undeveloped land still available for tourism and residential projects.

Temporary and Permanent Residence status is available to qualified investors and many business sectors are underdeveloped which makes the

island an extremely attractive proposition. Access is easy – flights from Miami take 1hr 15 minutes and there are direct flights also from Toronto and New York.

About Ian Hurdle A Resident of the Turks and Caicos since 1998, Ian enjoys a “belonger” status through marriage, as well as strong political connections, allowing him to navigate the island’s business infrastructure at a high level. He specializes in high end real estate.

There are over a 1000 villas already built in the Turks and Caicos Islands, a growing percentage of them ‘off the grid’ as the islands enjoy 350 days per year on average of solar window.

There is a strong sense of community on the island, even though property owners come from diverse cultural, business and national backgrounds.

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turks luxury

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Christopher Derrick Derrick Architecture 506 S. Gables Blvd.

Wheaton, Illinois 60187 T: 847.606.6460 FX: 630.517.8578 E: info@derrickarchitecture.com

Christopher Derrick, AIA, is the CEO of the eponymous architectural firm based near Chicago, IL. He specialises in residential design, both new and renovation, and the buildings he creates bear a very distinctive stamp of classic elegance and understated opulence.

We asked him to expound on his approach and aesthetics, and make a case for contemporary traditional architecture.

You specialise in traditional architecture do you believe it to withstand the test of time better than modern or is this something your client base appreciates better?

I specialise in traditional architecture for a variety of reasons.

First of all, I have always had a passion for classical and traditional architecture. There is a beauty in the simple forms and details of traditional architecture. Traditional architecture

incorporates an inherent logic to layouts and has historic purpose in its details. Vitruvious asserted that all buildings must exhibit the three qualities of firmitas, utilitas, and venustas- which is strength, functionality and beauty.

Traditional architecture should never be simply a reproduction of historic forms, but another step in linking time tested ideas to current buildings.

My clients have always had a much greater appreciation of traditional architecture.

In all my designs, I use these qualities to create spaces that are for people- spaces people enjoy being in. Traditional architecture provides a wonderful palette that evokes an emotional response to well-designed spaces. It is architecture which takes the human scale into consideration and designs for that scale.

How do you integrate new tech features into classic buildings without compromising the look and feel?

My approach has always been to create beautiful spaces that function well for my clients and that will last. New technology is easily incorporated into traditional designs, it comes down to how we can apply a logical placement for those new products or systems. Sometimes it is as easy as creating a strategically placed closet to house those features, or it could mean dissimulating them in the walls. A sensitive design will take into consideration modern amenities and seamlessly incorporate them into a layout without calling undue attention to them.

I do believe traditional architecture ‘stands the test of time’ better than modern architecture. People find comfort and beauty in familiar forms which are natural to them. Traditional architecture seeks to be a part of the historic continuum of architectural design by looking to the past to create spaces for the future. It is connected.

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"Traditional architecture should never be simply a reproduction of historic

christopher derrick

forms, but another step in linking time tested ideas to current buildings."

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Do you also create the interiors of your residential projects? Do you work with dedicated craftsmen?

There are some aspects of the interiors that cannot be separated from the overall design. The architect should be designing all millwork so that it is proportional to the room as well as fitting to the design, scale and style. We take great care in the look and design of the interior spaces as well as the entry sequences between rooms or the sight lines throughout the design. Anything that is built, we create. Interior finishes are something that we help some clients with, but not all. We definitely have preferred craftsmen we have developed on-going relationships with that we recommend and prefer to work with.

Which of your projects represented the greatest challenge, how and why?

The greatest challenges usually come from ideas we have not encountered before. On one NeoGeorgian design, the scope of the project was larger than what the municipality allowed on the particular lot. Upon code review, our team realized that we could accomplish everything the client was requesting if we went underground with some aspects of the design. So we took advantage of an underground passageway leading to an out building which housed a basketball court, gymnasium, spa rooms and lounges, as well as other amenities. Most of the building was underground with only 20% of the building above ground, which helped us satisfy the local municipality, create a building that fitted into the Neo Georgian design and accommodated our client’s needs.

christopher derrick

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A 2arquitectos A2arquitectos San AndrĂŠs 16 2A 28004 Madrid, Spain T: +34 699 939697 E: estudio@a2arquitectos.com W: www.a2arquitectos.com

A2arquitectos is a Madrid and Mallorcabased practice whose innovative design is witnessed in a multitude of high end hotel and residential projects.

The emphasis is on customization, spaceoptimisation, playfulness, brightness and inherent charm. Details are designed and then reinvented for each new client with the aim of combining upscale quality and comfort.

Led by Juan Manzanares and Cristian Santandreu, A2arquitectos has been awarded with national and international awards, with their work featured at the Palais de Tokyo in Paris and the Munich Mixed Art Museum.

Inspired by the magical setting of their Mallorca office, the A2arquitectos have created a number of ultra-high end projects that celebrate the unique Mediterranean light and flora.

Light is, in fact, the main protagonist in one of their flagship spas, at Hotel Castell dels Hams.

The boutique establishment was built in 1967, in a breathtaking natural location, and over time, and through subtle improvements and extensions, it has become one of the most distinctive hotels on the eastern part of the island.

The latest alterations, conceived to celebrate the Mediterranean light and the location’s idyllic bond with nature, have transformed the hotel into much more than just a holiday destination.

The main pool area is adorned with a series of square openings for roof windows, allowing the light to flood the entire area. The beauty and relaxation spa is positioned so as to give the visitors the best views of the surrounding landscape and filled with light where light is needed.

The pool is dotted with a series of square openings and the interplay with window lights creates a beautiful dance of reflections in the building.

In the spa area, the space is sculpted and colourful showers of light flow through the roof openings. This makes the building itself part of the treatment, generating a feeling of well-being created by nature as introduced into the building, a feeling of total immersion for the visitor.

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A2arquitectos

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IA DESIGN IA Design 10F.-2, No.431, Guangfu S. Rd., Xinyi Dist., Taipei City 110, Taiwan E: iadesign.tpe@gmail.com W: http://iadesign.com.tw

Kevin Yang is the founder of IA Design, an architectural and interior design studio in Taiwan. His sense of aesthetics is informed by the juxtaposition of two vastly different cultures as he grew up between the United States and Taiwan.

His approach has been to build on the experience of these two extremes – Western and Eastern lifestyles – and to incorporate more of the former into the latter.

“I grew up in Taipei, Asia, a city of high population density and limited space. My family and I lived in a small two bedroom apartment.

Curtains were closed most of the time for privacy, because the adjacent building was just meters away from our windows.

I spent my formative years in the Western United States. Here, in contrast, we were surrounded by nature - lush greenery, mountains and big skies. There were lawns front, back and side of each house, we could open the windows and look at the sky rather than some neighbour across

the way. This had a huge impact on me and consequently, open spaces became an important feature in my design.

Later, I had the opportunity to live in New York City for a short period of time, where I experienced, for the first time, an entirely open loft living. I stayed at a friend’s loft in the heart of the Meat Packing district and was able to appreciate the benefits of open and flexible space, all the while wondering why Asians hadn’t adopted the same lifestyle choice. So ever since, my professional goal has been to incorporate this into compact homes.

Homes may be smaller in Asia, but that's no reason why people can't live big - all it takes is a mindset shift.

I feel that open space does more for family life than splitting the available surface into 3 small rooms, especially as one of them is inevitably used for storage.”

Kevin Yang’s designs often incorporate semiindustrial elements and raw materials such as natural wood, concrete, bricks and metal. He believes that it is important to connect people with the fundamentals of the building block on one hand and with the environment on the other.

This connection is all the more important, he says, when you live in an urban area and within a compact space.

His work doesn’t follow, or fit in with a particular style (styles, after all, come and go, he says) but is defined by the loft concept, which is at the starting point of developing any new project.

For him, this is more to do with a lifestyle choice and attitude, and he considers himself fortunate to have worked with clients who share his vision of, and partiality to designing open, breathable spaces.

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Private residence

H Villa Hotel

IA DESIGN

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