How We Live Now
In This Issue: Minimalist Poetry / Float On In Noble Company / Full Circle / Ace in the Hole Copenhagen Calling / A Japanese Story
UNFORGETTABLE SPACES AND INSPIRED DESIGN
ISSUE 29.
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ISSUE 29. How We Live Now
12 FROM THE EDITOR Global artisans on show
14 EST STYLE Copenhagen calling
18 MINIMALIST POETRY Design restraint in Paris
34 FLOAT ON A South African coastal home
54 VIVA ITALIA Italian designers on the rise
68 FULL CIRCLE A unique Belgium home
84 ACE IN THE HOLE Where breathtaking views rule
107 IN NOBLE COMPANY Modern classicism in Russia
119 A JAPANESE STORY An architect’s must-see sites
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Managing Editor Melia Rayner Editorial Coordinator Sophie Lewis Art Director Akiko Chan Client Partnerships Mandy Loftus-Hills
Contributors Words Yvette Caprioglio, Lori Cohen, Sophie Lewis, Megan Rawson, Travis Walton Photography Matthew Donaldson, Warren Heath, Piet Albert Goethals, Peter Cook, David Agnello, Giorgio PossentiÂ
Client Coordinator Brigitte Craig Managing Director Miffy Coady Editor At Large Sian MacPherson
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On the Cover Apartment by Guillaume Alain Location Paris, France
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ISSUE 29. HOW WE LIVE NOW
Editor’s Letter
Melia Rayner MANAGING EDITOR
Global design is truly in a golden age, where what once was no longer has to be. We’ve never been more spoilt for inspiration — or innovation.
As a digital native, I’ve grown up with information at my fingertips—but before we began pulling this issue together I hadn’t really considered the impact the digital age has had on the way design is now experienced. It’s not simply that we can curate a moodboard down to the tiniest detail on Pinterest or order a handmade rug direct from the maker on the other side of the world—it’s the accessibility itself; that we can now access this incredible wealth of design styles, materials and tactics anywhere, eroding previously-held local design conventions. With this perspective in mind, we sought to curate a collection of global homes that truly feel of this time—they represent influences from near and far, and eschew what once was for what could be; a truly globalised, collaborative methodology. Fittingly, this issue comes as we’ve refreshed the design for est magazine and estliving.com—I hope you enjoy the changes we’ve made to the issue, and head to the website for even more unforgettable global design.
Unforgettable spaces and inspired design delivered weekly into your inbox. In This Issue: Minimalist Poetry / Float On In Noble Company / Full Circle / Ace in the Hole Copenhagen Calling / A Japanese Story
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UNFORGETTABLE SPACES AND INSPIRED DESIGN
ISSUE 29.
How We Live Now
FROM THE EDITOR
Editor’s Picks
Geometric Japanese Incense Burner Cinnamon Projects
Thanks to our digitally connected world, globetrotting has never been easier (though my wallet is certainly not thanking me). From art to artisanal craftsmanship, these pieces add worldly character to even the simplest of spaces.
Helios Table Lamp Workstead
Smink Things Eclipse Tile Di Lorenzo
Balancing Wash and Balancing Hydrant Sans Ceuticals
‘ Le Chemin, La Maison et La Lune’ artwork by Caroline Denervaud Otomys
Suede Storage Stool Michaël Verheyden Sunday Slides Oasis Found EST ISSUE 29 | FROM THE EDITOR | 13
EST STYLE
It seems the discipline of Danish design transcends all they do. When it comes to dressing like a Dane, their signature style is easy to tap into. Chic yet practical (remember they ride a bike everywhere) Danish girls go for simple, relaxed silhouettes, statement prints, splashes of bold colour and an innate way of pairing feminine touches with masculine tailoring. BY YVETTE CAPRIOGLIO
SHOP THE COLLECTION >
Möbius sterling silver bangle Georg Jensen
Catharine Knit Won Hundred
Ebsen Habana Lady Copenhagen Bicycle Kompany
Gem Candy Earring Carré
The Aviator Sunglasses Designers Remix × VIU
Hacienda scarf-jacquard cotton-blend top Cecilie Copenhagen
Bijou Leopard Print Cotton Poplin Wrap Dress Ganni
Gigi Medium Pouch Designers Remix
Marilyn A Jeans Won Hundred
Sabine suede slingback pumps Ganni
EST ISSUE 29 | EST STYLE | 15
Minimalist Poetry DESIGN—Guillaume Alan PHOTOGRAPHY—Matthew Donaldson WORDS—Melia Rayner
HOW WE LIVE NOW/ FEATURE SPACES
LOCATION Paris, France 48°51'19.4"N 2°21'15.4"E
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There has been a growing global shift in the way we view luxury; instead of statement items we now covet “less but better”, and instead of status, we covet space to be ourselves.
Nowhere is this emergent idea of luxury more clearly demonstrated than in the home. Instead of the obvious wealth of previous decades, today luxury occurs in the minimisation of elements, the stripping back to create calm and serenity—two luxuries sorely lacking in our overstimulated daily lives.
It’s a philosophy beautifully realised by French architect Guillaume Alan, whose latest residence is a masterclass in aesthetic restraint. With views of the Seine and the Eiffel Tower, the home’s location was already enviable, but thanks to the comprehensive architecture, interior design and furniture selection and design undertaken by Alan it achieves a new level of beauty.
Above: A large dressing with all height doors in brushed ash-wood, “chalk” colour and Tao armchair. Right: Natural marble and brushed ash-wood are utilised throughout the apartment and the furniture pieces, all designed by Alan.
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The apartment’s expansive space and adaptive layout proved a good starting point for Alan, who achieved the soothing backdrop of the home through a subtle spectrum of grey tones and by introducing a handful of textural details to differentiate spaces and provide delicate balance to the spaces. The same chalky hue is used throughout the home, while grey brushedoak floors, natural marbles and brushed-ash wood reinforce
the weightless aesthetic. The softer textures are equally luxurious, from soft leathers to silks, wools and raw linens, each texture working to build a coherent whole. Just as the bespoke painted walls might look simple on first glance, each element of the residence’s design has been handpicked by Alan, and adds further depth to the realisation of minimalism in the home.
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Tucked away behind the large double pivot doors, the natural marble bathroom opens on to the master bedroom.
Left: A triptych mirror in the bathroom designed by Guillaume Alan. Right: Soft textures in the bedroom are created by the large natural linen rug inside the marble lines in the floor and heavy linen curtains.
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Light as a feather yet warm and softly welcoming, it’s understandable Alan describes the project as a “minimalist poetry of space”, as if writing a love sonnet to less. Through the commitment to restraint while prioritising the best materials on offer, Alan expresses the beauty in quietness and celebrates the luxury of calm.
GET THE LOOK
MINIMALIST POETRY PARIS, FRANCE
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1. Delta III Sofa / King Living. 2. Neu Shower Rail In Black / Bathe. 3.Lime Paint in Wolf / Bauwerk. 4. Volcanic Vase Medium Light Grey / Lightly. 5. Unique Calacatta / Essastone By Laminex. 6. Oak Molto Brushed Deep White Oil Floorboard / Mafi.
VIEW MORE PRODUCTS >
ISSUE 29. FEATURE SPACES
FLOAT ON LOCATION Plettenberg Bay, South Africa 34°03'28.4"S 23°21'52.3"E
DESIGN Tessa van Schaik & Luke Brown / STYLING Sven Alberding PHOTOGRAPHY Warren Heath / WORDS Lori Cohen
On the shores of a lagoon in South Africa’s Plettenberg Bay, this family home has truly earned its title as “The Ark”, providing the perfect break away
for a surf-obsessed family. Combining sustainable materials with easy, modern living, it takes the concept of ‘beach shack’ to a whole new level.
EST ISSUE 29 | FEATURE SPACES | 37
EST ISSUE 29 | FEATURE SPACES | 38
Designed by Tessa van Schaik of The Planet Thing alongside architect Luke Brown, the concrete structure was softened and enhanced with timber. Tessa confesses she is passionate about the use of sustainable timber in architecture, and the resulting hunt for material was fruitful, with beautiful Oregan pine discovered at a nearby demolition site, and a combination of South African pine used for the floors and iroco for the balconies. Tessa also used slatted wood elements on the outer façades of the house—in part to meet the brief of a “surfer shack”, but also to infuse the south-facing property with as much light as possible.
Light fills the home from the peekaboo views of the garden and seafront outside, visible as one walks through the house. The stackable wall of glass, which allows in the light and optimises views, dominates the main living area, on the second floor. With the kitchen, sitting area and dining table given equal priority, it is a space created to enjoy meals and one another’s company.
EST ISSUE 29 | FEATURE SPACES | 39
With the family’s day spent indulging in their various passions of SUP (stand up paddling), surfing, taking their boat up river and fishing, meals bring them together. “Instead of inside-outside living, we wanted meals to draw everyone to one place,” says Jan. With the kitchen and barbeque deck behind it, Jan and her husband Mike can be part of the action while cooking meals.
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EST ISSUE 29 | FEATURE SPACES | 43
The design also handled Mike’s single, simple request to “have space to put my surfboards”, while the garage doubles as a kid’s den with bunks flanking the walls, a ping pong table and enough space for friends of Nick (20), Chris (17) and Ali (15) to hang out. Just like name the house has inherited, there’s a place for everyone and everything.
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Recycled timber was used throughout the home, such as the custom-made bunk beds that provide a character-filled sleeping spot for guests.
Just like name the house has inherited (“The Ark”), there’s a place for everyone and everything.
GET THE LOOK
FLOAT ON PLETTENBERG BAY, SOUTH AFRICA
Just like name the house has inherited (“The Ark”), there’s a place for everyone and everything.
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1 Smoked Mega Bulb &tradition
2 Rettangolo Standard Basin Mixer Abey
� 3 Frame Bed Spence & Lyda
4 CH20 Elbow Chair 4
Cult
5 Nizza Rug Halcyon Lake
6 Douglas Fir Lye Treated 6
brushed white oil floorboard Mafi
7 Home Hotel Coffee Table Poliform
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Against a backdrop of natural materials, these practical and timeless pieces keep spaces streamlined and sophisticated.
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EST × VIPP AT CULT
VIPP
The Universal Language of Functionality
Kitchen
Bathroom
Living
KIT C H E N M O D UL E
B ATHROOM MOD ULE
S I DE TA BL E
PEDAL BIN
SOAP D ISPE N SE R
FL OOR R EA DI NG L A M P
SA LT A N D P E P P E R M I L L S
SHE LF
CER A M I CS
Music is often hailed a universal vernacular. Studies suggest a ubiquitous link between songs out of form and function; no matter where in the world they resonate from. But music isn’t alone in its unifying force of form and function —because Vipp has a heritage handle on it. The staunch of Danish design, the Vipp brand ensures a common language of simplicity and purpose that transcends trends, time and location.
Since the 1930s, Vipp has made it their mission to design timeless tools for every space, and every day. Starting with a bin in a hair salon, Vipp’s legacy is built on the desire to bring practical from the professional market into the private home. From custom-made, modular concepts in the kitchen and bathroom to the highly engineered accessories, every Vipp product is imprinted with industrial design tradition.
We’ve handpicked a selection of signature products to admire the genius of Vipp’s approach and the practical artistry of their designs. If you’d like to immerse yourself in the Vipp living experience, find the full range at your closest Cult Design showroom—or perhaps even schedule an overseas stay in the iconic Vipp Shelter.
SHOWCASE
VIDEO BY Rose Coloured World Nicole Lily Rose
SPECIAL FEATURE
VIVA ITALIA Italy has long led the design world forward. With this unwavering legacy, what better nation to discover a new generation of leading designers? We savoured the privilege of speaking with Italy’s proudest new design exports; the six go-getters crowned Maison Objet’s 2018 Italian Rising Stars. Nominated by their design dignitaries, these emerging designers spark inspiring conversation, each paving the way with a fresh and holistic approach to the future of global design.
SPECIAL FEATURE
VIVA ITALIA
Federico Peri
How would you define your design work and how has it evolved? I like to consider my work as honest; it’s the real expression of my character in design. It’s still evolving and I hope it will for my entire career. In the beginning, metals were my favourite material, then I started to mix it up and that’s what I really love right now.
What do you believe will have the biggest impact on the global design landscape in the coming 5–10 years? I think sustainability will take up a key role. Most of the designers I’ve met in the past couple of years are really focused on this topic. It’s about really considering that our project has to be produced and then—in a distant future—be dismantled without any kind of troubles.
Who or what is your largest design influence? It’s a mix between different elements. While I love Bauhaus and Rationalism, there’s some Italian design masters like Carlo Scarpa, Osvaldo Borsani or American Paul McCobb who have influenced my work.
What is one thing you hope to achieve in your career that you haven’t yet? The first that comes to mind is exhibiting at MOMA in New York City!
What excites you about working in design right now? I love to work in design because every day you can have a new challenge; every day is different. Specifically, I’m focused on lighting. I love to design everything, but especially lighting. Left: Federico Peri resting on the Saddle Armchair. EST ISSUE 29 | SPECIAL FEATURE | 57
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VIVA ITALIA
Marco Lavit Nicora How would you define your design work and how has it evolved? Until now I have been researching the artisanal approach. I have learned how to use materials and integrate them in my own design language, to create unique pieces with my own focus. My designs are very close to the taste and need of the individual customer, that don’t follow a commercial or trend-oriented style. Who or what is your largest design influence? I try not to be informed by media; I don’t want to be influenced by the uncontrolled information that we are constantly immersed in. I do care about what is happening around the world on a macro level; how people act, what they need and how they live in their real life communities. Most of the time what influences me is a story, a fact, a process or an instant.
What excites you about working in design right now? What I like most and what I’m developing right now is the design of prefab wooden cabins, as private house extensions, isolated hotel suites and for public use as well. What do you believe will have the biggest impact on the global design landscape in the coming 5–10 years? What I would call Handicraft 4.0; new machinery derived from large industrial production that’s now available and affordable for small-scale crafts and limited productions. Looking to the near future, soon we will be able to produce our own everyday life objects at home with compact 3D printing machines and decide what they are made of, such as recycled wastes. What is one thing you hope to achieve in your career that you haven’t yet? With my architecture and design studio, Atelier LAVIT, we constantly design on different scales. Objects and furniture design on one hand; interior design and housing on the other. I have more than one goal for each one of those that I haven’t yet achieved. Besides that, I’d like to be a cinema director one day.
Left: The Atem Modular Sofa by Marco Lavit Nicora. Right: The Reconvexo low table by Marco Lavit Nicora.
SPECIAL FEATURE
I draw from a lot of different eras. I am very interested in mid-century design, so I look for influence and inspiration from the past, but it’s not always like that. Certainly the great masters of Italian design have a strong influence on my path. —Federica Biasi
On this page: The Mingardo Collection directed by Federica Biasi for Handicraft, featuring the Deco lamp.
SPECIAL FEATURE
Federica Biasi How would you define your design work and how has it evolved? I can definitely say that my style travels between vintage and the essential; between the decoration and the feminine; between the lightness and the purity of the shapes. Form, colour, beauty and trends are fundamental for me and I have a very emotional approach. I try to design ‘gently’ in a noisy world.
What do you believe will have the biggest impact on the global design landscape in the coming 5–10 years? I believe that we will have to give in to the looming arrival of technology, but I think we will find excellent answers to meet the future. To be frank, technology scares me a lot. On the other hand, if I could express a desire for technological progress, I would like transport vehicles to speed up, to shorten distances.
What excites you about working in design right now? Freedom electrifies me to do this job. I have to be inspired and to get inspired I have to travel, be curious, touch, and reflect and all the things that I adore. There are many rules to follow, but there are also none.
What is one thing you hope to achieve in your career that you haven’t yet? I’m just starting out, so I still have everything to do, but I only hope to be able to do this job with passion and less stress. I would like to get jobs with companies that invest in designers and long-term projects.
VIVA ITALIA
Kensaku Oshiro How would you define your design work and how has it evolved? Instinctive, essential and harmonious.
What do you believe will have the biggest impact on the global design landscape in the coming 5–10 years? Use of sustainable and ecological materials.
Who or what is your largest design influence? I have been living in Italy for more than half of my life (aside from three years in the UK) as a foreigner. Both my Japanese and Italian heritage, cultures and realities have influenced my work deeply.
What is one thing you hope to achieve in your career that you haven’t yet? To design bestseller products.
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What excites you about working in design right now? I am working on an electronic project currently which is a new experience for me and it’s very exciting.
On this page: The Arabesque armchair by Kensaku Oshiro. Opposite: The Cloe chair by Federica Biasi.
EST ISSUE 29 | SPECIAL FEATURE | 63
On this page: Guglielmo Poletti sitting at the Equilibrium Round Table. Right: The Equilibrium Stool and Equilibrium Bench by Guglielmo Poletti.
VIVA ITALIA
Guglielmo Poletti
How would you define your design work and how has it evolved? My attitude towards design is shaped by my natural tendency to make according to a specific criteria, based on which a personal vocabulary might result. Simplicity resulting from solved complexity is very important in my practice.
I think the boundaries of design have become very hard to identify, so I am interested in the diversity it can offer nowadays — it helps to go beyond preconceived definitions in order to look at a work without too many filters.
Who or what is your largest design influence? As an Italian, studying and living in the Netherlands pushed me out of my comfort zone, obliging me to open up a lot and explore many directions before finding my own. I am specifically interested in sculpture and architecture; disciplines that deal with very practical issues in relation to construction. I often look to these disciplines for inspiration to introduce something unexpected. What do you believe will have the biggest impact on the global design landscape in the coming 5–10 years? Observing fellow young designers, I think the coming years might be a characterised by powerful conceptual works on one side and very practical or problem solving oriented projects on the other. Both typologies are tackling the urgent issues related to the complexity of our contemporary society, by creating a link between experts from very different fields. What is one thing you hope to achieve in your career that you haven’t yet? My career has really just begun, so I still have so many things I would like to achieve. I think most of all the specific achievements come as a result of a general frame of mind, so I just hope I will be able to stay true to myself and constantly push the boundaries of my work.
EST ISSUE 29 | SPECIAL FEATURE | 65
SPECIAL FEATURE
Antonio Facco How would you define your design work and how has it evolved? I would define my work as experiential. I think design should try to avoid personalism-oriented to sale only. Projects are for designers; for their own freedom, comfort and wellbeing, but for numeric matters, mainly for others. For this reason, I like to think about a project tailored to people’s perceptions and experiences. Who or what is your largest design influence? Humanity. What excites you about working in design right now? I would say without doubt the possibility to discover new interdisciplinary sectorial connections; the need to have to continuously question yourself. What do you believe will have the biggest impact on the global design landscape in the coming 5–10 years? I think two sides will start to develop, becoming two completely different sectors. On one side is culturally sustainable design, driven by innovative technologies with great impact. On the other side, a quicker ‘trendy’ design, accessible to everyone. Although these two sides are completely opposite, some big company will succeed in uniting them perfectly. What is one thing you hope to achieve in your career that you haven’t yet? If I say it, I won’t obtain it.
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Above: The Duo Vase by Antonio Facco. Right: The Mondo Floor Lamp by Antonio Facco.
Architect Charles Deaton said “If people do not have angles then we should not live in boxes.” Moving away from the four wall dimensions, Arjaan de Feyter has combined the ancient circular shape with age-old materials to convert four heritage Belgian silos. Propped on the banks of an Antwerp canal, the owners can enjoy a take on refined living with a rounded twist.
LOCATION: ANTWERP, BELGIUM
51°13'08.8"N 4°24'05.5"E
Full Circle DESIGN—Arjaan de Feyter for Axel Vervoordt Real Estate PHOTOGRAPHY—Piet Albert Goethals WORDS—Sophie Lewis
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Entertaining the inherent appeal of curves, the silo apartment is dictated by circular forms. For “visual pause”, two straight walls divide each of the four silos into monochromatic separate and shared spaces. Amid the fun of stepping outside the box, working with rounded spaces posed a challenge for what would come to reside in them.
Clever interventions to the spatial limitations abound, summed up in two words: custom made. A custom made sofa moulds from the wall to sculpt the living space, just ready for you to recline with a curvaceous custom made rug underfoot. To gently segment the space, linen curtains create privacy and a theatrical element under architectural ceiling lights. Nearby, a custom made dining setting enjoys the close comfort of canal views.
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A blend of Titanium Travertine, dark silvered ash and a Vola KV1 Kitchen Mixer imbue industrial serenity in the kitchen.Â
Interior architect Arjaan de Feyter took pleasure in stripping the unconventional space back to its industrial roots; exposing the concrete floors, concrete plaster walls and brick structure.
This set a precedence for raw integrity and the decision to focus on the tactility of each material. All of the concrete walls are treated in a neutral mineral paint while hand-pigmented dark silver makes a sensuous appearance as bespoke kitchen cabinetry and bedroom wardrobes. Crowning the open-plan kitchen, the titanium kitchen bench top retains all of the intricate details it first formed with, fusing seamlessly with the brass fittings. Stepping into Arjaan de Feyter’s silo conversion is a leap into a muted, sculptural paradise. This home proves it’s no longer hip to be square, but far more edgy to take the rounded path.
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GET THE LOOK
FULL CIRCLE ANTWERP, BELGIUM
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1. Eames Lounge and Ottoman / Luke Furniture. 2. Ball Light Pendant / Hub Furniture. 3. Titanium Travertine / CDK Stone. 4. Deep Ringo Light / Inlite. 5. Porter’s Shell Grey Fresco Paint / Porter’s Paint. 6. Linear Gas Cooktop / Smeg. 7. Tang Bed / Fanuli. 8. Bell Side Table / Space.
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VIEW MORE PRODUCTS >
Infinite Possibilities for Timeless Spaces
In 1968, Arne Jacobsen and VOLA joined forces to design a collection of taps. Fifty years later, the same designs are still a timeless essential for designers the world over. To celebrate this milestone anniversary, we share spaces from three leading designers where the VOLA taps make a welcome appearance.
EST × VOLA
BELGIUM Nicolas Schuybroek 590H pops up in many a home by revered Belgian designer Nicolas Schuybroek, such as in this 1800s Brussels apartment, where Schuybroek has beautifully modernised the interiors with restrained luxury.
Photo © Thomas De Bruyne
“ The use of raw, authentic, simple and noble materials, helps us create pared-down architecture that most importantly has a warm soul as well as a strong temperament.” —Nicolas Schuybroek
AUSTRALIA Carr Design Group If there’s a name that’s akin with Australian design, it’s Sue Carr—and VOLA has been a consistent feature in her projects for over four decades. In this modern Melbourne home, the iconic Arne Jacobsen-designed KV1 adds simple sophistication.
Photo © Sharyn Cairns
“ Originality, authenticity and individuality—core values that not only define VOLA but are also at the heart of the principles that underpin Carr.” —Sue Carr
DENMARK Norm Architects One of Scandinavia’s most well-known contemporary architecture firms, Norm Architects draw on the simple form of the 590M in their thoughtful restoration of the summer home of renowned Danish designer Poul Henningsen. “ Our work is sharp and crisp and exudes, tacitly, our focus on quality, details and durability.” — Norm Architects Photo © Jonas Bjerre-Poulsen
Ace in the Hole
LOCATION: JACKSON HOLE WYOMING, USA
43°35'15.2"N 110°49'40.5"W
DESIGN—McLean Quinlan PHOTOGRAPHY— Peter Cook / David Agnello WORDS—Melia Rayner
What kind of home does a designer want to live in? For the owners of this spectacular rural retreat in Jackson Hole, Wyoming, it was simply to live amongst an extraordinary landscape. Looking out across the snowcapped peaks and vast valley of the Grand Teton National Park, the home itself is a reflection of the rugged beauty that surrounds it.
EST ISSUE 29 | FEATURE SPACES | 87
British studio McLean Quinlan worked in close collaboration with the clients to develop the detail and feel of the house, sourcing elements from near and far to create an ageless sensibility.
The traditional American settler’s homestead is referenced in the open plan, barn-like structure of the living area and the exposed local fir rafters throughout the home, while European influences are felt in the Danish Douglas fir floor and Swiss-designed glazing open-in walls.
Above: The custom joinery and inbuilt shelf above the bed add subtle detail to the simplicity of the master bedroom.
EST ISSUE 29 | FEATURE SPACES | 93
As you might expect, every detail in the home has been carefully considered to emphasise craftsmanship, heritage and connection to the natural landscape, from the local pebbles collected for the floor of the mud hall and spa to the timber handles designed by the owners and custom-made for the doors.
Tactile elements were chosen specifically to patina with use and age, adding to the sensory experience of the home.
While there’s no shortage of space to play with on such a remote block, the home’s proportions are refreshingly restrained, anchored by the symmetrical layout of a central breezeway, which forms the home’s main living area, and accompanied by the more private rooms adjoining this breezeway or tucked away downstairs. The larger areas are also punctuated by smaller spaces and nooks, such as the timber-encased dining nook of the kitchen. In each space, the outside vista still forms a focus, celebrating the outstanding valley views.
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In a country where scale and aesthetic often loom larger than life, this home is a powerful reminder of the connection between natural and built spaces. From the smell of timber to the breeze that can course through the house when the glass walls are slid open, this is a place where you can truly feel immersed in the natural landscape—and what a landscape to be immersed in.
GET THE LOOK
ACE IN THE HOLE JACKSON HOLE, WYOMING
In a country where scale and aesthetic often loom larger than life, this home is a powerful reminder of the connection between natural and built spaces. From the smell of timber to the breeze that can course through the house when the glass walls are slid open, this is a place where you can truly feel immersed in the natural landscape—and what a landscape to be immersed in.
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5 2 Douglas Fir Floorboards Dinesen
3 Citi Linen Abode
4 Emea bench Cosh
5 Holland Table 280 Fattorini + Rizzini + Partners for SP01 at Space
6 KV17 Kitchen Tap
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Vola
7 Monte 0620 Rug Pampa
8 Sublime Bath Rogerseller
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P R O M O SA LO N S A U ST R A L I A - SA N D R A T R E W
W - T. + 6 1 ( 0 ) 4 1 2 8 4 8 5 2 3 - P R O M O SA LO N S @ O P T U S N E T. C O M . A U
Design—Peter Yushim Photography—Giorgio Possenti Words—Megan Rawson
IN NOBLE COMPANY
A seamless threading together of styles, this estate in the Russian countryside represents both the past and present in an utterly elegant and thoroughly European way.
Location: Moscow, Russia | 55°45'14.9"N 37°37'15.9"E
Much like the Russian revolution, the ideas of design surrounding this estate have been challenged and a reformist approach has been taken to craft a modern-day interior. Architect Peter Yushim has honoured neoclassicism, albeit in a more contemporary light. Both proportion and restraint have been key players in shaping this generous family home.
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Herringbone French Oak floors and ornate Victorian panelling pair beautifully to set the classical style on show throughout the home.
Left: Timber panelling and exposed joists add rustic charm to the central kitchen. Right: Natural tones and down-to-earth materials lend a modern aesthetic to less formal spaces such as the kitchens.
A composition of three distinct styles informs this noble beauty. A classical description builds the foundation with traditional details including panelled walls, ornate fireplaces, sweeping arched windows and herringbone French oak floors—all of which lend the home a grandiose spirit. Mid-century touches add drama through a curated selection of furniture including the eternally covetable Pierre Jeanneret chairs.
In a final layer, a contemporary approach accommodates the family’s enviable collection of modern art, designer lighting and state-of-the art appliances featured throughout the home. When a mixture of these styles could read like a recipe for some serious interior confusion, Agalarov Estate pulls it off beautifully. Yushim has made every effort to marry the distinct styles in a harmonious, yet restrained way that reads more like European minimalism.
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The first floor is reserved for private spaces while the communal living zone occupies the whole ground floor including a spacious kitchen. At the heart of the home the open kitchen channels a rustic Belgium style.
Warmer ‘greige’ toned cabinetry, burnished metals and raw timber beams evoke a cosy, country feel. The bedrooms and living zones are sophisticated without being sterile, and lived-in without feeling cluttered. The minimal décor invites your eyes to linger longer on the artwork, sculptures, lighting and of course the picturesque views outside. A tonal palette of timbers, grey, black, white and plenty of natural light establish a sense of flow and breathing space that embodies the spirit of a European chateau in a design that embraces the estates unique context and landscape.
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“Lavish, worldly and completely fit for a modern-day Tsar.�
EST TRAVEL
With its rich architectural heritage, inventive spatial solutions and integration of built and natural environments, Japan has inspired countless architects and designers from all over the world. Melbourne-based architect Travis Walton is one of them, having taken frequent trips to the country since his first visit over 15 years ago. Here he shares the six spaces that should be on any architecture aficionado’s itinerary.
A JAPANESE STORY BY TRAVIS WALTON
01. Garden of Fine Arts, Kyoto
The number one place that comes to mind is the Garden of Fine Arts in Kyoto, designed by Tadao Ando. Kyoto has a lot of historic sites that are beautiful in their own right, but this beautiful art garden and sculpture park has to be one of the most beautiful architectural experiences ever. Imagined as a contemporary version of a stroll garden, Ando’s design draws you slowly through the space to the bottom of the man made concrete well, where an overscale water feature gives you a true sense of human scale within the built environment.
35°03'03.0"N 135°45'55.7"E
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02. Nakagin Capsule Tower, Tokyo
Built in just 30 days in 1972, this capsule tower by Kisho Kurokawa raises some interesting ideas around looking at the durability of architecture. While prefab and modular buildings have only really begun to take off here over the past fifty years, this design proves many modern Japanese architects got it right so long ago. With a program of interlocking rooms that also form larger spaces, it is efficient and inspiring to my own practice. Get a tour if you can—there are a few local architectural tour groups that can organise one for you.
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03. St Mary’s Cathedral, Tokyo
35°42'52.7"N 139°43'35.2"E
An awe-inspiring reminder of architecture’s ability to make you feel so insignificant in a space, this cathedral is considered the most important of architect Kenzo Tange’s works. Instead of the traditional internal columns, the building is supported by the external walls (that also act as a roof), as the structure and fabric combine as one. It’s a fascinating approach to creating these types of raw spaces, particularly as the finish of concrete over time will patina.
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04. Naoshima Island, Kagawa Prefecture 34°27'35.1"N 133°59'45.9"E
While it’s a bit of a trek to get to—literally planes, trains and automobiles—it’s so worth it. Over the last couple of years this island and its wealth of museums, architecture and sculptures have become much more accessible. Alongside the instantlyrecognisable Yayoi Kusama pumpkin, the Chichu Art Museum and Benesse House
demonstrate wider scope, and encourage you to stay and see more. Don’t miss the Minimidera building from the Art House project, which houses a collection of large-scale James Turrell works, or Walter De Maria’s ‘Time and Timeless’ installation, where a giant marble ball sits atop the stairs.
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Designed by Renzo Piano Building Workshop, this is a beautiful display of how a single material can be exploited to become a whole building façade, and how it can resonate in the internal spaces. By night, this 14-storey tower becomes a completely different building—a lantern itself— uniting the Hermès brand with an iconic place. The role of placemaking and branding is so important in architecture, and while this building debuted in 2006, it feels like it’s been a part of the city’s architecture and heritage for a long time.
05. Maison Hermès, Tokyo
35°40'19.2"N 139°45'48.0"E
Japanese firm Sanaa do quite a lot of buildings around Tokyo, but this multipurpose building designed by one of my favourite architects, Kazuyo Sejima, is one of the most accessible. Both an office and a space for the community to use, the style is very characteristic of Seijima’s work—light with minimal detailing and structure, every element delicate and beautiful, and a sense of play with the horizontal and vertical structure. In Seijima’s work you always see space given over to light, or capturing a view—it’s never about the yield of a space, more about the quality. It’s a very different style of architecture and one I learn a lot from.
06. Shibaura House Office Building, Tokyo
35°38'32.4"N 139°44'54.7"E EST ISSUE 29 | EST TRAVEL | 131
ISSUE 29 WINTER 2018 ESTLIVING.COM
