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ISSUE #41 / THE G LOBAL ISSUE
EDITOR’S LETTER
Sophie Lewis Managing Editor @sophlew_says
One of the most worn pieces in my wardrobe is the long black leather trench I inherited from my grandma, ‘Mama’. I gravitate to this leather trench for a sense of connection, knowing its slight imperfections only hint at its storied past. We’ve sought the same layers of character and meaning in this global issue. Hollie Bowden’s Ibizan Finca revival story reflects the importance of place and the personal details within, while the significance of what’s deliberately pared-down is highlighted in Vincent Van Duysen’s own Portuguese holiday home to absorb stillness in the landscape. In our ‘My Space’ feature we get to know Chandelier Creative founder Richard Christiansen and discover how his LA home, Flamingo Estate by Studio KO, seeks to be at one with the acres of working gardens surrounding it. Our story on minimalist UK designer John Pawson’s Home Farm reminds us to slow down through quiet design and simple pleasures, making it more than just a country escape. I speak with some of our favourite Scandinavian makers, while we profile Geoffrey Hatty on the business of collecting. We’re listening to waves of nostalgia, inspired by New York’s disco nightclub Studio 54 and curating a conscious wardrobe of new and vintage pieces in our internationally-informed style edit. In the ‘Detail’ we source mindful design through natural, age-old textures, organic shapes and bold artwork from different corners of the globe; attune to the stories they tell and how they enrich how we live today. Sophie x
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MEET THE CONTRIBUTORS
Genevieve Lutkin | photographer Genevieve Lutkin is an artist and Royal College of Art graduate working across photography and moving image. She has worked on commissioned projects and exhibited internationally, including shows at Tate Modern and Mimar Sinan Contemporary Art Museum, Istanbul. Currently based in London, Genevieve worked with London designer Hollie Bowden to capture a rustic Finca revival in Ibiza.
@genevievelutkin
Timothy Kaye | photographer Having worked as an architectural and interior designer for a decade, Timothy applies his minimalist architectural eye and considered approach to frame unique scenes and moments. While exploring the relationship between the finer details and the underlying narrative of each project, Timothy focuses on capturing the emotion and atmosphere of each space, utilising light and shadow to evoke depth and mood in his photographs. In this issue, Timothy captures CJH Studio’s Melbourne project ‘A Pragmatic Purity’. @timothykaye
Gilbert McCarragher | photographer The first question Gilbert is usually asked when he tells people he is a photographer is, ‘what do you photograph?’ His usual answer? ‘Light.’ The conversation between the light and the dark is what he seeks to capture, rather than simply a frozen moment. Based in London, Gilbert works around the world for architects, designers and brands, including John Pawson, Alexander McQueen, Christopher Kane and Paul Smith. He has exhibited at the Royal Academy of Arts, Victoria and Albert Museum and Institute of Contemporary Art London. In this issue, Gilbert photographs John Pawson’s Home Farm. @gilbertmccarragher
Rachelle Unreich | contributing writer With three and a half decades of experience as a journalist, Rachelle has lived in New York, Los Angeles, Sydney and now Melbourne, working as both writer and editor. Having spent many years writing celebrity profiles, her cover stories on subjects such as Nicole Kidman, Leonardo DiCaprio and Tom Cruise appeared in publications including Empire (UK), Harper’s Bazaar, Marie Claire and Rolling Stone - she now prefers to cover a range of subjects, including travel and interiors. In this issue, Rachelle speaks with Melbourne-based collector Geoffrey Hatty. @rachelleunr
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CREDITS
CONTRIBUTORS
est TEAM Managing Editor Sophie Lewis
Style Editor & Copy Yvette Caprioglio Design & Creative Jack Seedsman Product Editor Brigitte Craig Editorial & Social Media Coordinator Lidia Boniwell Editorial Assistant India Curtain Managing Director Miffy Coady Advertising & Partnerships Mandy Loftus-Hills | mandy@estliving.com Astrid Saint-John | astrid@estliving.com Deb Robertson | deb@estliving.com ON THE COVER Design Studio KO Photography Courtesy of Flamingo Estate Location Malibu, USA
WORDS Karen McCartney, Yvette Caprioglio, Rachelle Unreich, Lidia Boniwell, Emma-Kate Wilson, Tiffany Jade, Bronwyn Marshall, Lexi Manatakis, Sophie Lewis PHOTOGRAPHY The Latest Einar Aslaksen, César Béjar, Félix Michaud, Kevin Scott Ibiza Bohemia Genevieve Lutkin My Space | From the Heart François Halard, Stephen Schauer, Simon Watson, Courtesy of Flamingo Estate At Home With John Pawson Gilbert McCarragher The Makers’ Story Anson Smart Force of Nature Ricardo Labougle The Collector Michael Wee Behind the Lens Rory Gardiner A New Order Manolo Langis A Pragmatic Purity Timothy Kaye Playlist Photography | Rose Hartman Curation | Mark Richardson The Detail Stephen Kent Johnson, Lisa Cohen, Anson Smart, Eric Petschek, Damien de Madeiros, Juan Rodriguez
CONTACT editorial@estliving.com advertising@estliving.com
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CONTENTS
the latest
est style
Ibiza bohemia
from the heart Richard Christiansen
at home with John Pawson
the makers’ story
force of nature
the collector Geoffrey Hatty
behind the lens Rory Gardiner
a new order
a pragmatic purity
the detail
Global Roamer BY YVETTE CAPRIOGLIO STYLE EDITOR
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OVERSIZED CASHMERE KNIT BASSIKE
CLASSIC CROP JEAN IN BLACK RINSE WASH BASSIKE
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VINTAGE BLACK SILK BOW BACK SHEATH DRESS YVES ST LAURENT
VINTAGE B&L VAGABOND TORTOISE AMBERMATIC LENSES SUNGLASSES RAY BAN
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IBIZA BOHEMIA A UNIQUE STATE OF TRANQUILITY TRANSCENDS A SPANISH VILLA REVIVAL IN THE BALEARIC ISLANDS.
DESIGN | Hollie Bowden PHOTOGRAPHY | Genevieve Lutkin LOCATION | Ibiza, Spain WORDS | Lexi Manatakis
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I
n every home London-based interior designer Hollie Bowen revives, sculptural anecdotes from all corners of the globe unite to ultimately instil a sense of serenity. The designer’s latest revival; a bohemian, four-bedroom traditional holiday home in southwest Ibiza is no exception. Drawing visual cues from Mexico City, each space in Forest Estate pairs delicate material selections, like lime-plastered walls and sinks cut from single chunks of Taupe stone, with precisely curated Beatnik art pieces and furniture. “The materials were chosen for their character and the way they enhance what is already there, reflecting their surroundings,” Hollie says. “Core materials were the mineral plaster throughout, antique wood and hand-beaten ironmongery.”
While a more industrial and modernist piece, Hollie says the age, depth and personality of the Joe Colombo Elda Chair spoke the same language as the interiors.
With rare, statement pieces at the forefront of the brief, objects unique to the Finca include a moulded chair wrapped in hemp rope by Christian Astuguevieill, an indigo-coloured artwork by Sergej Jensen and Alexis Gautier flatweave wall hangings.
Harmony prevails in the muted colour scheme, with a thread of green that runs throughout serving as a gentle reminder of the forest which engulfs the halcyon ‘Finca’. A genuine commitment to the home’s natural context ensures it retains its elemental identity. “We kept the interiors organic and sympathetic to the surroundings, so you feel like you’re out in nature,” Hollie says. “I wanted to use an earthy palette and natural materials, but I knew I wanted to include some modernist pieces and design classics to punctuate the design; it was a careful balance.” For Hollie, thinking about form in a sculptural sense was a very important part of the design process. “The form of the house itself and its thick, irregular, lime-plastered walls are incredibly voluptuous, so I wanted to find counterpoints to balance it.” This balance manifests in pieces such as the dining room’s bespoke, three-metre long walnut slab table and the living room’s fossil-stone coffee table that took twenty men to lift it in place, such is its weight.
Hollie’s vow to physically match the strength of structure with the volume of its interiors is spiritually deepened by the anecdotes behind the objects that fill the space, particularly the living room. “When I was in Morocco buying the Finca’s rugs, I happened upon the Joe Colombo Elda chair,” the designer reflects. “This piece wouldn’t necessarily be a natural fit for this project, given its more modernist, industrial design origins, but the patina of the dark brown leather gave it a unique character.” It’s this Columbo Elda chair that sets the design for the rest of the space, inspiring Hollie’s choice of a 1920s Antique Bauhaus Medical lamp. Sitting at the intersection of rarity and nature makes Forest Estate a unique state of meditative being. Even though there are many elements at play, the entire home resides in harmony.
“With an emphasis on rare and unique items, the clients actively encouraged me to lean into my penchant for sourcing more unusual pieces.” – Hollie Bowden
Contemporary style appliances shown here
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Richard C
Straight fro
DESIGN Studio ko, LO PHOTOGRAPHY françois halard, stephen sc WORDS yvettecapr
Christiansen
om the heart
OCATION malibu, usa chauer, simon watson, courtesy of flamingo estate rioglio & sophie lewis
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C
handelier creative and the owl bureau founder richard christiansen talks to us about his refurbished 1940s la home flamingo estate, its bountiful gardens, the importance of nature as our greatest teacher and the estate’s latest offering – a sex tonic for summer.
“It was a beautiful collaboration and one of the greatest joys i’ve ever had of building something with someone. they pushed me outside of my comfort zone, but i also pushed them outside of theirs.” – Richard Christiansen
At the centre of Richard’s office is a coffee table made from a tree struck by lightning in the grounds of Versailles, France. This space also features the Roly Poly Chair by Faye Toogood, leather Togo Medium Settee by Michel Ducaroy for Ligne Roset and Percival Lafer Modular Sofa (rosewood & leather).
Flamingo Estate’s exterior is clad in green tiles from Morocco.
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How is your space a reflection of you? Flamingo Estate didn’t just change my life; it saved my life. It pulled me out of decades of sleepwalking. After working very hard in advertising for decades, it became a reflection of me because it’s the place I ran to, to realign. I was so tired and overworked. The house and the garden rescued me in every way. It was very much a place of repair and joy as I started working in the garden and planting. In the literal sense, I had a big part in the way it looks and feels. It’s a reflection of years of keeping my eyes open and looking for things that I love. More than anything else, it’s been a project about reprogramming my life. I think the pandemic saw a significant shift for so many people because when things fall apart, we return to nature. We were all searching for comfort, joy and pleasure. That’s where it all begins. I think there’s been a sea change in terms of our relationship with the green world – growing and harvesting. It’s long overdue. Describe your interior style. I worked with Studio KO, based in France. We met each other when I was working on a project in London. We met through the Chiltern Firehouse hotel, which is a hotel they designed. The hotel feels very residential; it feels warm and meaningful – in the way that the draws and cupboards open, down to the textures on the wall. It’s very intentional, and I loved it. Flamingo Estate saw two French architects (Studio KO) working with someone from rural Australia and a landscape architect who lives in Morocco – pulling references from places like Japan and India. Someone once described the house as taking the best pieces of the world and putting them in one place. It also used to be a porn studio, so the house needed to feel very sensual.
How did your design sensibility inform your collaboration with Studio KO on Flamingo Estate? I had been collecting images for a long time of dream houses and gardens. Coincidentally, six months into the project, I realised Studio KO designed a vast majority of those projects. I was so in awe of them; their taste and thoughtfulness was impressive. As a creative director, I’ve always been the creative leader in the room. It’s challenging for me to collaborate with someone else. With Studio KO, I found two people who far surpassed me in taste, intellect and thoughtfulness. It was the first time I’d experienced that, where I could sit across a table and throw them an idea, and they’d come back to me with something that wildly surpassed it. We had this beautiful creative ping pong that went on for many years. I promised them I wouldn’t bring even a teaspoon into the house that they didn’t approve of first. I sent them thousands of photos of things I saw and visa versa. Still today, they’ll be in a weird flea market somewhere in a foreign country, and they’ll send me a photo of something. It was a beautiful collaboration and one of the greatest joys I’ve ever had of building something with someone. They pushed me outside of my comfort zone, but I also pushed them outside of theirs. They have a very earthy palette, traditionally stone and stoic. I came to them like Willy Wonka, who wanted a Walt Disney edition full of colour and excitement. They took something that really could have been a bit much and put a tasteful patina over all of it. I will never sell Flamingo Estate – it will be my home forever. But if I ever had another house somewhere else, I would only ever work with Studio KO. They’re exceptional.
Richard’s unique collection of design objects in the living room includes a sofa by Belgian designer Jean-Philippe Demeyer, Gabriella Crespi coffee table, and David Hockney’s Caribbean Tea Time screen.
“Although there’s a lot of colours in flamingo estate, they’re not artificial. it feels optimistic but not chintzy.” – Richard Christiansen
You love ‘live out loud’ colour; how does it play out at Flamingo Estate? There’s lots of colour in Flamingo Estate, but it’s very intentional. One of the goals we had collectively was to bring the garden inside. You think about the main room, the living room, its big, bold green stripes – all of those colours were taken from different plants in the garden. The kitchen is very colourful, but again very intentional. You move through zones of colour throughout the house. It doesn’t ever feel juvenile or childish; it’s very much grounded in natural colours. When the designers and I were in India together, we looked at ceramics and rugs – and the different feeling between something modern and something older. You know, because the colour doesn’t vibrate. They didn’t have synthetic dyes 50 years ago; you have a red that feels like a blood-red instead of a lipstick red. Although there’s a lot of colours in Flamingo Estate, they’re not artificial. It feels optimistic but not chintzy.
Australia is a great touchpoint; Australians have a special relationship with colour. The colour of the sky is blue you don’t see anywhere else. I have a lot of Ken Done’s artworks in the house, and he is someone who loves the contagious enthusiasm of colour. But also, it’s very much derivative of colours he sees in the ocean or the landscape. Ken Done’s work feels very aligned with the idea of bringing the garden inside. There are so many distinctive objects in your home; what are some of your favourite pieces? The screen in the living room by David Hockney is probably my favourite. It’s one of my happiest possessions. My Ken Done art – all around my bedroom and on every wall – reminds me of home and Australia. When I go home to Australia, I always see Ken and buy a big piece of art. It’s become a ritual for me.
Inspired by an Italian hotel, Richard requested Studio KO work with local craftsmen to design a bespoke terrazzo floor.
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How are tactility and sensory experience important to you? If you close your eyes and you walk around the house, without thinking about the way something looks, but the way it feels, you run your fingertips across raw concrete, shiny cold marble, deep velvet and intricately textured wood. With the lights off, it’s almost more beautiful than with the lights on because you have this total sensory overload of textures, smells and feelings. It’s an adventure for all of the senses when you’re there. This is quite rare in today’s architectural landscape, where everyone wants something clean, shiny, and new. You’ve said Flamingo Estate was founded on the simple idea of pleasure; how does this manifest? Pleasure is a human right. Pre COVID-19, I feel like we may have lost sight of that. It was a bit of a time stop to put a hard filter on what brings us pleasure; the music we listen to, the people we bring into our world, the wine we drink, the food we eat, the sex we have – all of those basic human needs. It’s about questioning, ‘is this what I want?’ That’s the cornerstone of what we’re trying to do here. We’ve worked hard to create a series of spaces at Flamingo Estate that double down on those fundamental human pleasures; a great kitchen, good music, a long, deep hot bath, wide windows that open up to the garden wagon-loads of Jasmine growing outside of the bathroom window. It’s that idea of inspiration for all of your senses, all of the time. Living in that constant environment of joy is something everyone can edit for themselves, in big or small ways. I once had a friend that said the nicest thing about my house was that all of the windows opened up all of the way, so they could always hear the birds singing. Some of those simple human truths are the most important to embrace in a home.
Your house and incredible seven acres of gardens seem to meld seamlessly together ‘as one’. How does this influence your creativity? It sounds cheesy, but I think Mother Nature is the greatest creative teacher. My office, which opens up to the garden, is where I work all day long for both of my businesses. Quite selfishly, the different structures at Flamingo Estate were built to work in the garden and work in nature. I’ve often said that the most beautiful room in the house is the garden, influencing colour, texture and form. More recently, now that the house has become a brand under Flamingo Estate, we started thinking about how nature can be your best friend, therapist, and biggest inspiration. We began making shampoos and body washes because all of the water from the house runs into the garden and other products started to turn my roses brown. So we just started making products that could run directly into the garden, and that led to tinctures for jet lag and lotions for sleep and calm. We wanted to harness all the things we were growing and think about how we could use them on our skin or in our hair – in different ways to make ourselves feel better and find pleasure. We have been in business for a year and have sold so many products from the garden. I’m continually shocked at how many people have responded to it – and very grateful. It was very much an honest, generous act of wanting to open up my kitchen and bathroom to everyone. The garden pumps on all cylinders; it’s a happy garden.
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Is there a particular room you gravitate to? My favourite room is the bathhouse. When I first went to New York and didn’t have a lot of money, I shared a bathroom with six people living in a two-bedroom apartment. I promised myself that when I grew up, I would build my perfect bathroom. I am tall and wanted a large bathtub that I could stretch my legs out in. It’s the first thing I built – it’s the first thing I wanted to do. The bathhouse is a pilgrimage. It’s in the bottom of the garden; it’s solid concrete and has a fireplace. It’s oriented for the perfect sunrise viewing in the morning. I will happily spend an hour there in the morning and an hour at night and do most of my thinking, working from there. It’s where I wind up and wind down. What makes your home a home? There are stories everywhere in Flamingo Estate. There are layers upon layers, a patina we’ve built there. The whole house is full of art, objects and furniture from my creative friends. Even when I’m there alone, I feel like I’m surrounded by all of my friends. I’ve created such a beautiful network of creative people that make things – I can look at a chair I got with someone or the ceramic vase that someone made for me – I feel like my friends are always around me, I’m never lonely. That’s what makes it a home. My home is my best friend.
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Photography Porsche 911 on the slopes, Germany cira 1967
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the library Read from our edit of rare new and vintage books, inspired by Los Angeles bookshop, Owl Bureau.
VERSACE SPORT VERSACE
ROY LICHTENSTEIN: THE IMPOSSIBLE COLLECTION BOOK ASSOULINE
KEITH HARING JEFFREY DEITCH, JULIA GRUEN, SUZANNE GEISS, KENNY SCHARF AND GEORGE CONDO
THE ART OF MAKEUP KEVYN AUCOIN
DAVID LACHAPELLE: HEAVEN TO HELL ETHEL SENO
NINETEEN INTERVENTIONS: ARQUITECTURA‑G, SELECTED PROJECTS ... MOISES PUENTE, SAM CHERMAYEFF, AND ÒSCAR TUSQUETS
SEE MORE BOOKS >
PRADASPHERE PRADA
RICHARD PRINCE NANCY SPECTOR
DAVID HOCKNEY. A BIGGER BOOK. MARC NEWSON
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AT HOME WITH
JOHN PAWSON
One look at British designer John Pawson’s Instagram account, with its
staggering 369k followers, reveals one of his passions to be photography. The feed is a celebration of light and its effect on materials, landscape, interiors and buildings, there are few words and only intermittently featured is his lockdown puppy – a cockapoo named Lochie. “Although the aesthetic strands running through my work are pretty consistent, the influences feeding into the design process are typically eclectic and even the most unlikely subjects can provide food for thought,” he says.
DESIGN John Pawson PHOTOGRAPHY Gilbert McCarragher LOCATION Cotswolds, England WORDS Karen McCartney
Guests at Home Farm are seated on CH24 Wishbone chairs by Hans J. Wegner.
Of late the images focus on Home Farm, their country property located in the Cotswolds, which forms the backdrop to a new cookbook, a collaborative production with his wife Catherine, simply named Home Farm Cooking. Once a derelict series of rural buildings including a 17th century farmhouse, cottage, stables, a barn and pig sties sprouting giant hogweed, there has been a complete shedding of generations of detritus, an architectural paring back combined with a considered material insertion and careful planning of spatial flow. The connection of the farmhouse and barn creates a 50-metre span and so a kitchen was installed at each end to serve different purposes at different times of year and for varying occasions. A small-scale traditional kitchen with pantry in the farmhouse (cosy in winter) and a larger, more open kitchen in the converted barn which suits large groups of family and friends, especially in summer. A third kitchen is in the guest quarters, in the wainhouse (originally for wagons and carts). “Long before the work was finished, four generations of our family had sat down to eat together at the table in the barn and the list of significant occasions that have been celebrated here lengthens from month to month,” Catherine says. John Pawson is often referred to as a minimalist which can be misleading. His spare and reductive aesthetic is imbued with the warmth of his nuanced material palette and a carefully calibrated sense of space and light ensures beauty is omnipresent.
The Single Day Bed 32 by iconic designer Donald Judd in the living space.
“We found an aggregate that is local, so it’s similar colours to the Cotswold stone, although it’s modern concrete and it bands,” he said. “We put down a concrete terrazzo floor that was the same greys.” Elm, a timber originally used in the house was sourced, breathable lime plaster covers walls and furnishings throughout are restrained and beautiful - from Hans Wegner’s CH24 Wishbone chairs to a Swedish Gustavian sofa sourced by Catherine. This is the background against which the 100 recipes featured in the book are shot – seasonally themed – positioned in beautiful light with just enough propping (often with platters and utensils designed by Pawson for When Objects Work) to seduce with the honesty of the ingredients and their unaffected presentation.
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“I think that Catherine and I look at a beautiful piece of stone, timber or fish and essentially have the same response, which is that when a material or ingredient is perfect, do as little as possible to compromise or distract from that perfection. Placing value on simplicity is not only an aesthetic choice, it is an expression of an entire philosophy of living,” he says. While John creates the context, Catherine is the cook and her words introducing each chapter are wonderfully evocative in setting the scene for the season. “I love going out into the woods and hedgerows, to forage for wild garlic or blackberries, depending on the time of year. And being in the heart of agricultural landscape, you are so much more aware of the arrival of new lambs and the planting and harvesting of the various grain and vegetable crops,” she says. During the weeks and months of the various lockdowns the UK has experienced the Pawsons have been totally immersed in Home Farm, by the architecture itself and by the surrounding countryside. “You find yourself quietly observing the house,” he notes, “the way the light moves across a section of wall in the course of the day – but there is also a sense of being reciprocally watched over by the house, as the new routines and rituals of everyday life become more deeply engrained.”
Catherine and John Pawson’s Home Farm Cooking is published by Phaidon Press.
“Placing value on simplicity is not only an aesthetic choice, it is an expression of an entire philosophy of living,” – John Pawson
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The timber-clad attic bedroom features a Møller #80A bench.
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Saffron Chicken Tagine with Dried Fruits This is the most famous of all Moroccan dishes, traditionally cooked slowly in an earthenware tagine pot over an open fire. Any meat can be used, but lamb or chicken is the most commonly found versions. If like me, you do not own a tagine pot, any wide, shallow pot with a tight-fitting lid will work equally well. This is a dish you can prepare the day before to allow the spices to infuse and intensify. I serve it with bread, rice or couscous to mop up the juices. It is gluten-free if you serve it with rice. Preparation time: 20 minutes Cooking time: 1 hour 25 minutes Serves: 6
TO SERVE: – 50 g / 2 oz (1⁄2 cup) flaked (slivered) almonds, toasted – large handful of chopped coriander (cilantro), to garnish – Flatbreads, rice or couscous Heat the olive oil in a large, heavy saucepan or casserole dish over medium heat, add the onions and garlic and sauté for about 5 minutes until soft and
– 1 tablespoon olive oil – 3 onions, coarsely chopped – 4 cloves garlic, coarsely chopped – 3 tablespoons ras-el-hanout – 1 teaspoon ground cumin seeds – 1 teaspoon ground coriander
translucent. Add all the dry spices and sauté for another 5 minutes, then add
– 1 teaspoon ground ginger
the chicken pieces and stir to coat them in the onions and spices. Allow the
– 1 large organic free-range chicken (about 1.5 kg / 31⁄4 lb), jointed
chicken pieces to brown skin side down, turning the pieces after about 5 minutes to brown the other side. Stir in the preserved lemons and the saffron and steeping water. Pour in the stock (broth), cover and cook over low heat for 1 hour. While the chicken is cooking, soak the sultanas (golden raisins) in boiling
– 2 preserved lemons, chopped – 3 pinches of saffron strands steeped in 1 tablespoon of boiling water for 20 minutes – 200 ml / 7 fl oz (3⁄4 cup plus 1 tablespoon) chicken stock (broth)
saucepan, cover with water and bring to a boil. Drain the fruit and stir it into
– 50 g / 2 oz (1⁄3 cup) Iranian sultanas (golden raisins) or others if these are not available
the chicken with the olives. Cook for another 5 minutes and season well with
– 50 g / 2 oz (¹⁄3 cup) stoned (pitted) and coarsely chopped soft prunes
water in a small heatproof bowl. Put the rest of the dried fruit into a small
salt and pepper. Sprinkle the flaked (slivered) almonds and chopped coriander (cilantro) on top of the chicken and serve with flatbreads, rice or couscous to absorb the juices.
– 50 g / 2 oz (¹⁄3 cup) dried apricots – 100 g / 31⁄2 oz (1 cup) stoned (pitted) green olives – sea salt and black pepper
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BLANCO CARRARA BC02 CDK STONE
JOHN PAWSON BOWL WHEN OBJECTS WORK
LIMEWASH PAINT BAUWERK
SLEEVE BY JOHN PAWSON WONDERGLASS
OAK NATURA ADMONTER
JOHN PAWSON TAP OBUMEX
JOHN PAWSON DUTCH OVEN DEMEYERE
JOHN PAWSON CUTLERY WHEN OBJECTS WORK
JOHN PAWSON MERINO BLANKET TEKLA
HOME FARM COOKING JOHN PAWSON, CATHERINE PAWSON
CH24 WISHBONE CHAIR CARL HANSEN & SON
KALAHARI NATURAL & PUMICE ARMADILLO
Project Chamberlain Design Nickolas Gurtler
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est living x Rogerseller
Exploring Material and Finish in the Bathroom with Designer Nickolas Gurtler
READ MORE >
“We have balanced glamorous elements like Calacatta Viola stone, brass and Venetian plaster with more minimalist finishes like matt ceramic for the bath and basin and graphite for the tapware.” – Nickolas Gurtler
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The Makers’ Story Scandinavian design is synonymous with a profound connection to nature, quality materials and skilled craftsmanship passed down through generations. We uncover the inspiration behind some of the region’s finest furniture, to understand how age-old traditions and a penchant for the handmade inform today’s timeless classics.
WORDS Sophie Lewis
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THE LANTERN
Designed by Kaare Klint for LE KLINT Odense, Denmark While the label ‘Danish design’ is stronger than ever, only a handful of makers are left in Denmark today. Heritage lighting brand LE KLINT is one of them. Established in 1943, they have manufactured their lamps in Odense, Denmark, ever since. “It is a completely conscious choice that we have maintained our production in Denmark, and it is an important part of our DNA,” CEO Kim Weckstrøm Jensen says. The artisans, colloquially referred to as the ‘pleating ladies’, are the driving force behind LE KLINT’s hand-pleated paper and plastic lamp shade legacy. To become a skilled pleating technician at LE KLINT takes approximately three years until you instinctively know how to pleat and fold every design. One of the most iconic pieces in the LE KLINT range is Model 101, also known as The Lantern, designed by architect Kaare Klint in 1944. “The lamp unifies craftsmanship, technique and design,” Kim reflects. “It is almost unbelievable that a rectangular piece of paper can be folded into a three-dimensional ball with such a beautiful and complicated structure.”
Kaare Klint
e
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Christian Troels TEN TABLE
Designed by Christian Troels for dk3 Denmark
Jacob Plejdrup and his wife Ann Plejdrup established dk3 in 2009, introducing their signature timber plank tables to the Danish design scene. Denmark’s golden era ‘the Mid-century movement’ and a grounding philosophy of bringing the beauty of nature indoors for the cold climate inspired dk3. “Solid wood wrapped in minimalism and true craftsmanship that´s dk3,” Jacob says. “Good craftsmanship is good quality; we have passed this knowledge onto our highly successful TEN TABLE dining table collection.” Designed and produced in Denmark, the TEN TABLE collection reveals Jacob’s passion for honest, sustainable materials and minimal forms. Working with emerging Danish designer Christian Troels, they created a new concept for grooves on the legs and base. “The grooves are not stuck onto the base but are drilled into the solid wood legs and each leg is made of ten pieces of solid wood,” Jacob says. “The role of our carpenters has been essential for the creation of the TEN TABLE; the legs are a wood-engineering masterpiece.”
“What makes our factory quite unique is that some of our craftsmen have been with us since my grandfather was alive.”
– Kirsten Møller
Project Corner House Design Decus Interiors Photography Anson Smart
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MØLLER BENCH #63
Niels Otto Møller
Designed by Niels Otto Møller Aarhus, Denmark Kirsten Møller is CEO of famed Danish furniture business J.L. Møllers Møbelfabrik. Proud to stand by practices that have been around since their factory opened in Aarhus, Denmark, in 1944, Kirsten says the family-run business legacy is to never compromise on quality. “From 1951 until his death in 1982, my grandfather designed ten dining room chairs and corresponding armchairs, as well as benches, stools, tables and lounge chairs,” Kirsten says. There are no assembly lines in the Møller workshop, but production is streamlined – from cutting raw wood down to the final weaving. As Kirsten puts it – if you purchase a Møller piece today, it has been produced the same way it was when first designed. “New craftsmen are trained by hand, manually transferring knowledge; one of our craftsmen has been with us for 53 years now and could sand our chairs with his eyes closed,” Kirsten says. The Møller #63 bench reveals the signature technique of wrapping a single piece of paper cord around the soaped oak frame. “No screws or nails are used in assembling a Møller design – they are all hand-glued,” Kirsten says. “To weave a Møller bench model 63 with a natural paper cord, it takes almost an entire workday,” she adds.
Antrei Hartikain BASTONE CABINET
Designed by Antrei Hartikainen for POIAT STUDIO Fiskars, Finland
Interior and furniture design practice POIAT STUDIO, based in Helsinki and Fiskars, craft all of their pieces from wood and finish them by hand. “We don’t want to exclude new technologies, but feel when we desire a level of quality, it’s harder for a machine to mimic human craftsmanship,” Timo Mikkonen says, POIAT STUDIO co-founder. “We believe that skilful craftsmanship brings extra value to a product,” he adds, creating each collection in small quantities. POIAT STUDIO bring a ‘form follows emotion’ approach to the traditional Finnish design ethos of form follows function. “The objective is that the person who owns a piece of furniture has an emotional attachment,” co-founder Antti Rouhunkoski says. “This thinking enhances sustainability; when you have an emotional bond, you want to cherish it for decades.” The studio are long-time collaborators with Finnish designer and master cabinet maker Antrei Hartikainen, also based in the artisanal village of Fiskars. They worked with Antrei to prototype the Bastone cabinet. “Antrei’s inspiration behind the Bastone collection comes from admiring the tall and sparse woods where one can see how the light shifts through the trees,” Antti says. This is reflected in the cabinet’s wooden dowel rods that create an arched form, revealing the possibilities of wood as a material.
“The objective is that the person who owns a piece of furniture has an emotional attachment. This thinking enhances sustainability; when you have an emotional bond, you want to cherish it for decades.” – Timo Mikkonen, POIAT STUDIO co-founder
nen
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Jonas Bohlin VILDA 3 DINING CHAIR
Designed by Jonas Bohlin for Gemla Diö, Sweden
Founded in 1861 in Stockholm, Swedish furniture maker Gemla plays home to the country’s oldest furniture factory located in Diö, where their entire range is still handmade. Gemla partner and chairman Benny Hermansson says they make most pieces using the same technique of steam bending solid wood – where many moulds are more than a century old. “Everything produced at Gemla is built on solid craftsmanship, natural materials and a strong belief in being careful with resources,” he says. The VILDA 3 dining chair by interior and product designer Jonas Bohlin, known for hospitality design in Sweden, is a contemporary piece based on Gemla’s traditional taming of beech or ash wood. Jonas came up with the concept for the VILDA dining chair when designing Restaurant AG in Stockholm. “That’s how VILDA 3 was born,” Benny says. “The vegetable-tanned thick leather from Tärnsjö is vital to the updated look and the comfort of the chair – and will mature for a stunning patina”.
FORCE OF NATURE
VINCENT VAN DUYSEN’S PORTUGUESE HOME DESIGN | Vincent Van Duysen PHOTOGRAPHY | Ricardo Labougle LOCATION | Melides, Portugal WORDS | Bronwyn Marshall
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S
itting sculpturally in its arid and unaltered surrounding landscape, Casa M is subtly disguised amongst its terrain. Emerging from the ground some three years after the initial sketch, the resulting structure draws on the key essentialist principles that underpin Vincent Van Duysen’s work, while fusing an appropriate vein of Brutalism as a welcomed response to context. “Casa M is intended to be a shrine, a sanctuary, a Domus in which I can feel protected yet inspired, lulled by an unspoiled vegetation, so typical of the area,” Vincent says when describing the house’s serving purpose. For him, it’s an argument for eliminating noise and clutter from one’s life, to quite literally recede into the natural environment. Rising from the earth, a similar-hued aggregate concrete form sculpts the stepped platforms and encasing planes, opening to welcome the outside in. While textural variances absorb the passing sun, casting moving shadows throughout the day, it is the unique tonality that defines the form.
Vincent’s living room features a custom-designed sofa with fabric by Catherine Huyghe, chairs designed by Lina Bo Bardi in 1958, a wooden chair by José Zanine Caldas and a table by Atelier Carlos Motta.
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The kitchen is composed of Ipe wood cabinets and a sandstone benchtop, featuring the designer’s collection of pottery for When Objects Work and Passe-Partout tableware for SERAX.
“The remoteness and tranquillity of the area, the unspoiled vegetation, the pristine beaches, the umbrella pine trees, the simple life and the close rapport with nature – that is what drew me to this place.” – Vincent Van Duysen
“The bone-tinted hue vanishes into the sandy surrounds, where the compound achieves the opposite effect of its Brutalist forebears,” Vincent says, which tended to overpower the landscape. The materiality instead, embraces the surrounds unspoiled nature, “representing the texture-obsessed, materials-driven strain of warm brutalism that has come to define my work,” he adds. In its own way, the location spoke to its creator well before his response became clear. “The remoteness and tranquillity of the area, the unspoiled vegetation, the pristine beaches, the umbrella pine trees, the simple life and the close rapport with nature – that is what drew me to this place.” Vincent reflects. Monolithic in parts and softened through textural timber, Vincent says the house ismeant to take in the elements – sand, light, wind, sun, air, fog and the ocean in the distance; with a non-ornamental attitude. He says this lets the sculptural, umbrella-like canopies of the marine pines be the centre of attention. As a contemporary to previous iconic concrete structures such as Can Lis in Mallorca by Jørn Utzon and Casa Luis Barragán, Casa M opens its own conversation with locality, its history and its people, extending from the earth in its own wonderous way.
Vincent collaborated with local craftsmen for the dining chairs and table, with Akari 55A pendant by Isamu Noguchi above. Terracotta tiles feature on the floors, and on the home’s roof.
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NIDO Collection
Windsor Architectural Hardware has expanded its range of high-end brass hardware for the residential sector. The new NIDO collection unites simplicity and complexity in its designs. Sleek edges are embellished with raw texture, offering industrial elegance and a sensory experience. A key feature of the range is the addition of a series of on-trend knurled levers which offer a significant point of difference to the existing Windsor collection of solid brass door hardware.
www.windsorhardware.com.au sales@windsorhardware.com.au 1800 841 643 VIEW MORE WINDSOR PRODUCTS >
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THE COLLECTOR GEOFFREY THE COLLECTOR HATTY GEOFFREY HATTY WORDS | Rachelle Unreich
PHOTOGRAPHY | Michael Wee LOCATION | Victoria, Australia Originally published in The Alchemy of Things
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H
e may be one of Australia’s most respected collectors of 20th Century pieces with an eponymous store in Melbourne’s Cremorne, but that doesn’t stop Geoffrey Hatty from scrabbling through the hard rubbish on his street. Geoffrey recently came up with a sideboard from the house opposite him that he sold for $4000. It’s not good luck, in his case, but rather a knowledge of his craft that spans over three decades. “For me to go into an op shop is different from someone else,” he says. “I can scan it in five minutes to see if there’s anything of worth in there. But it’s not all about money. I buy something because it’s an interesting object. It’s about love from the heart.” Although he says he’s been a collector all his life, Geoffrey fell into his career by happenstance. After a rural upbringing, he moved to Melbourne at 18 to pursue hairdressing and fell into collecting after amassing inexpensive furnishings for his share house. “Because I was dyslexic, I couldn’t go through university, but I did become a great lateral thinker,” he says. “I also started to define my taste – I’d start by looking at something that had been produced with care and consideration and be curious to know more about it.” His pieces don’t revolve around a single theme; ceramics, furniture, music and art are all part of his personal collections.
A modernist German chaise lounge and Missoni rug.
A chair sourced from an auction in Paris, attributed to Francis Jourdain.
But, even when gathering things for himself, he has certain rules. He won’t buy something unless it has a designated place. He doesn’t like pairs of things; instead, he adheres to the rule of three. “Two is not enough to understand the variety,” he says. And he doesn’t want to purchase anything with an inflated reputation. “You’ve got to be the first person to buy Featherston chairs,” he says. “If you’re going to be doing this, you can’t be following trends.” And so in his store, you might see his unlikely obsessions; right now, that’s 1880s English pieces, “mainly because it’s unfashionable and no one else is buying it.” He understands too that his customers gravitate to him because he understands beauty rather than status. “The people who buy things from me buy them because they want to own beautiful things,” he says. “You can buy a lamp from me for $50,000 and none of your friends will walk into your house and say, ‘Oh, you’ve got a Max Ingram in the corner’. It’s not like buying a Nolan painting, which lets everyone know you’ve made it.” So far, he’s not at all tired of collecting. “Every now and then I look at something and go, ‘That’s beautiful!’ And what’s better than that?” An American desert turtle shell and undercarriage and two sawtooth shark bills on a speaker.
Geoffrey’s collection of European plates and Australian Folk Art furniture.
Visit Geoffrey Hatty Applied Arts, 1 Chapel St, Cremorne 3121
Behind The Lens Rory Gardiner London and Melbourne-based photographer Rory Gardiner captures light, materiality and form in a way that transforms his architectural photography into artworks.
PHOTOGRAPHY | Rory Gardiner WORDS | Emma-Kate Wilson
Aires Mateus designs some of the ‘most delicate’ architecture Rory has encountered—their approach seamlessly blurring between old and new.
Sensitively photographed, Rory encapsulates the playful restoration of the heritage Missionstrasse House in Basel by Buchner Bründler Architekten.
ory Gardiner has established a name in the global design community, working with some of the world’s most renowned architects. Growing up in Melbourne, Rory was introduced to architecture photography at an early age. “My dad was an architect and a keen hobbyist photographer,” the photographer reflects. “When I was sixteen, we did a road trip through New Zealand where he introduced me to the camera. From that point, I just became more and more obsessed with photography.” While finishing his photography degree in Melbourne, Rory was short-listed for a photography competition in London. This one-week trip turned into something more permanent, and he never flew home. “I lived and worked in London for the best part of a decade, and at first it wasn’t easy to establish myself there as the standard of work is so high,” he says. “The breadth of the creative community in London blew me away - something I’d underestimated before moving there.”
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Blending the lines between landscape and build, Rory captures the big ideas of French architect Ludwig Godefroy’s Mexico project, Casa Mérida.
“I get giddy when a project is set deep in the wilderness and lends itself to images that meld both the natural and built environment together.” – Rory Gardiner
Having a base in London quickly led to global projects in North America and Europe and also extended Rory’s network reach to like-minded clients worldwide who are interested in rethinking the image. “There are often formulas and well-trodden tropes in architecture photography that can feel stale, so it’s refreshing when clients are keen to push the envelope,” the photographer says. Rather than conceptualising the singular architecture shot within his photography, Rory instead aims to build a narrative—setting the scene through a 100% analogue process. “There are no screens on set,” the photographer points out. “This forces me and the people I collaborate with to engage directly with the camera itself, focusing on the image we are building together in real-time, rather than unpicking it from behind a computer.”
Intuitively modernist, Rory portrays the intersections of nature and the Los Terrenos house by Tatiana Bilbao. “This house is testament to the strength and originality of the thriving architecture world in Mexico,” the photographer says.
Rory almost always spends time at the location before the shoot without his camera to understand the way the light interacts with the architecture and how the composition can be captured in his distinct organic aesthetic. “My priority when photographing is being able to work intuitively, so for me, this means considering light, weather and timing prior to the shoot,” he adds. Thinking back over his career, a dream project for the photographer is one that invites a new perspective on location and scale. “I get excited about interesting urban contexts, particularly when the project offers me the chance to show the breadth of structure that it sits within,” Rory says. “Similarly, I get giddy when a project is set deep in the wilderness and lends itself to images that meld both the natural and built environment together.”
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“The 7th Room by Snøhetta is one of the most remote locations I’ve ever worked in,” Rory says. “This hotel in Swedish Lapland really made you feel like you couldn’t be any further away from daily life.”
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“Photography seemed like a very therapeutic way for me to process the world, and to this day, I maintain its the only thing I’ve ever had any natural ability at.” – Rory Gardiner
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A BLAST FROM THE PAST Get into the groove with the latest est playlist, transporting you to the seventies heyday of New York disco nightclub, Studio 54.
Photography Diana Ross at Studio 5
54 captured by Rose Hartman 1980
Where natural texture meets enduring beauty
www.naturalfloor.com.au Paddington 02 9550 2066 Marrickville 02 9569 6999
Cammeray 02 9960 6921 Armadale 03 9964 9946
AN ORD
Clean lines and tactil underlying sense of q Walnut
INTERIOR DESIGN PHOTOGRAPHY
LOCATION | Manhatta
WORDS | Lid
NEW DER
le details harness an quiet sophistication at House.
N | Mandy Graham | Manolo Langis
an Beach, California
dia Boniwell
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A
Californian family home renovated in the late 1990s felt disconnected from its facade before designer Mandy Graham’s intervention, which saw her take an equally refined and restrained approach to transforming each space. A reinterpretation of an existing boxy narrative has resulted in a home that now reflects features of postmodernism through large blocks of stone, softened by a signature arch motif.
The Up 5 Chair by Gaetano Pesce for B&B Italia features next to a slimline fireplace, evoking a European sensibility.
The kitchen features oak and bronze stools from Mandy Graham’s MG Collection and a Liebherr integrated fridge and freezer concealed behind plasterfinished cabinetry.
Inside, plaster-coated walls and floors in the main living areas create a textural canvas, while white European Oak flooring distinguishes the communal spaces from the private quarters; both chosen for the patina they'll develop over time. Mandy reimagined the once long and uneventful hallway into a grand series of arches, allowing the gentle interplay of light and shadows to become art in the space. The epicurean kitchen was the only element that was repositioned, now beneath the original skylights of the former living room, while working within the existing parameters of the home. An arresting four-metre-long monolithic island bench finished with brass joinery and tapware sits atop travertine blocks, letting light cut into the kitchen.
Elements of travertine are repeated throughout the home, including within the arches of the dining room. Here, an antique Swedish dining table complements vintage Matteo Grassi chairs.
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A hallmark of Mandy's work is sourcing vintage pieces and letting them mingle with more contemporary classics. In the formal dining room, an antique Swedish dining table paired with Matteo Grassi chairs speak to her affinity for unique preloved items, while the living room honours contemporary classics like the Up 5 Chair by Gaetano Pesce and Deisis Sofa by Antonio Citterio, both for B&B Italia. Custom-designed pieces from the designer's own MG Collection also create a highly personalised touch in each space. By reconceptualising Walnut House's exterior linear forms, Mandy Graham has articulated distinctive, fluid movements through corresponding geometry, creating thoughtful moments within.
Rosa del Monte Marble from Mandy’s collection in the ensuite defines the twin vanities.
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A hallmark of Mandy's work is sourcing vintage pieces and letting them mingle with more contemporary classics.
The master bedroom plays home to a custom-designed bed and vintage William Katavolos Leather Sling Chair.
Mandy Graham Signature Style
MIRANDA RUSSELL STUDIO GALLERY
ANSE PLANT VASE & POT FERM LIVING
LOUIS BLACK BENCH MANDY GRAHAM
ROSSO PORTOGALLO EURO MARBLE
TOASTED OAK ROYAL OAK FLOORS
POLSIHED PLASTER BISHOP DECOR
PUNK: CH CO ANDREW B
SATURINA LIGHT TRAVERTINE SIGNORINO
am
HAOS TO OUTURE BOLTON
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UP SERIES 2000 B&B ITALIA
COMPACT 02 WALL LIGHT DOUGLAS & BEC
MOROCCAN BENI M’RIRT 11 HALYCON LAKE
Australian Designed & Made. Kett furniture, Australian expertise competing with the best the world has to offer. Exclusive to Cosh Living.
Melbourne| Sydney | Brisbane | Perth www.coshliving.com.au
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A PRAGMATIC PURITY Timeless aesthetics and intuitive design extract purity through consideration and the guiding hand of pragmatics.
DESIGN | CJH Studio BUILD | KABSAV PHOTOGRAPHY | Timothy Kaye LOCATION | Melbourne, Australia WORDS | Tiffany Jade
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T
hrough a two-phase design intervention, CJH Studio has realised House Fin’s double-storey layout through a gentle fusion of existing and new, resulting in an enduring haven that yields to the evolving needs of a young family. The design team edited down the original collection of rooms to achieve spatial clarity and functionality, while an appreciation for intuitive usability has resulted in larger rooms, a study and a gracious master suite carved from two bedrooms. The home’s ground floor abides by traditional design cues at the front, with rooms branching off a central hallway before unveiling a contemporary open-plan living space and an economical kitchen. Cornices, architraves, ceiling roses and ornate fireplaces have evolved through a uniformly monochrome palette and the cohesive orchestration of natural light.
In the ensuite, CJH Studio specified black Pheonix Vivid Slimline fixtures, the Mini Glo-Ball wall lights by Jaspar Morrison for Flos and the Pujo Hanging Coat Rack Black by ferm LIVING. Beyond, the walk-in-robe features the BRAVE Linear Standard handles.
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The master bedroom features the Tufty bed by Patricia Urquiola for B&B Italia, Atollo Table Lamp by Vico Magistretti for Oluce and a bedside table custom designed by CJH Studio, built by Grange Joinery.
The materials, joinery, fixtures and fittings work cohesively to temper ornate design accents throughout, many of which are from Linear Standard, a range of architectural fixtures, fittings and products curated by CJH Studio’s director Cassie James-Herrick. The studio sourced furniture, lighting and artwork from an antipodean collection of global creatives, lending a worldly sophistication through pieces that perfectly conform to the spatial and sensorial qualities of the home. This bespoke approach to reconciling architectural and interior design elements has had far-reaching resonance for the studio, with a current project underway in New York. At House Fin, this bespoke approach to each project is evident in myriad subtle details which carry clever intentions. A shift from grey to creamy white wall paint in the formal lounge, for example, has a delineating line between the two shades intentionally sitting at picture rail height.
In a world dominated by countless decisions and the collective dissonance in overwhelming choice, there is a growing pull towards the longevity that CJH Studio have imbued in House Fin. The result is quiet clean spaces that are bathed in the purity of light and texture.
Grazia & Co. Dita stools sit up at the kitchen island with Tamil granite benchtop. CJH Studio also selected the Phoenix Tapware Vivid Slimline mixer and Artedomus Yohen Border wall tiles for this space.
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The 051 Capitol Complex Office Chair by Pierre Jeanneret and Mobil 46 wall sconce by Monika Mulder for Pholc in the study nook.
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Product Alky Armchair by Giancarlo Piretti for Castelli & Mila Side Table for Pulpo Project House Fin Photography Timothy Kaye
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GLOBALLY SOURCED
CJH Studio director Cassie James-Herrick seeks out eclectic pieces for every project. We asked Cassie to share her four favourite design finds collected in her travels, from London to New York City.
1972 Groovy Chair By Pierre Paulin
2011 Wu Side Table
By Egg Collective
2017 Puffball Room Divider By Faye Toogood
2018 PIEDRA Onyx Wall Lights By Allyson Keenan
the
DETAIL
Express a personalised design narrative through handcrafted pieces, natural textiles and bold artistic gestures.
Project Watch Hill House Design Studio Giancarlo Valle Photography Stephen Kent Johnso Photography Stephen Kent Johnson Location Rhode Island, The United States
L
THE DETAIL
FINE ART Explore contemporary colour through abstract art.
STEPHEN ORMANDY DRYDOCK, 2012 OLSEN GALLERY
LANDON METZ UNTITLED, 2018 SEAN KELLY GALLERY
IMI KNOEBEL ANIMA MUNDI, 2016 - 7 COURTESY FOX JENSEN/SYDNEY
CAROLINE DENERVAUD CONVERSATION ROUGE ENTRE BLEU ET ROSE, 2019 OTOMYS CONTEMPORARY
RICHARD ANUSZKIEWICZ SEQUENTIAL III, 1972 ROGALLERY
VIEW MORE ART >
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Artwork Jonny Niesche Project Canopy House Design Leeton Pointon Architects + Interiors Photography Lisa Cohen
ISSUE #41 / THE G LOBAL ISSUE
Project Shagwong Residence Design Adam Jordan Architecture Styling Hamptons Good Design Photography Eric Petschek
THE DETAIL
EASY CHAIRS Statement easy chairs defined by patina.
BOLLO ARMCHAIR FOGIA
MP-61 PERCIVAL LAFER
CAMALEONDA CHAIR B&B ITALIA
LC3 POLTRONA CASSINA
SAARINEN WOMB CHAIR KNOLL
SMOCK CHAIR MOROSO
PLATNER SIDE CHAIR KNOLL
DS-266 RECLINER CHAIR DE SEDE
LE BAMBOLE ‘07 ARMCHAIR BAMBOLA B&B ITALIA
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THE DETAIL
WALL SCONCES A sculptural wall sconce sits at the intersection of art and design.
IMI WALL LAMP PIERRE YOVANOVITCH
TALISMAN LOOP SCONCE APPARATUS STUDIO
MELT MINI SURFACE TOM DIXON
GOTHIC WALL 2 LYFA
DOUBLE CUP WALL LIGHT ANNA CHARLESWORTH
PETRA I TWIN CHRISTOPHER BOOTS
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DIABLO SCONCE STILNOVO
JOY WALL LAMP DRAGA & AUREL
ALABASTER WALL SCONCE ALLIED MAKER
ISSUE #41 / THE G LOBAL ISSUE
Project Apartment Saint Germain Design Emmanuelle Simon Photography Damien de Medeiros
ISSUE #41 / THE G LOBAL ISSUE
Project Bondi Junction Home Design Alexander & CO. Styling Studio CD Photography Anson Smart
THE DETAIL
VESSELS Artisanal ceramic vessels manifest an ancient design language in organic form and finish.
VULCA VASE FERM LIVING
CERAMICS STEPHANIE PHILLIPS
TORN ONISHI VASE KERRYN LEVY
SPHERE CERAMIC VASE - BUBBLE 101 CPH
CERAMICS MEL LUMB
MARMARO ROMETTI
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WHITE NECKLACE VASE KIRSTEN PERRY
PAPER CLAY PAOLA PARONETTO
ETTORE SOTTSASS VASE BITOSSI
THE DETAIL
TEXTURAL RUGS Textural rugs crafted using age-old weaving techniques.
ELLE RUG TRIBE HOME
1725 BANEH PURE WOOL KILIM LOOM RUGS
TERRA - NATURAL ARMADILLO
LUNAR ADDICTION RUG - DARK CC TAPIS
MANGAS ORIGINAL SPACES RUG GAN
NUDO WHITE BEIGE CARAMEL HALCYON LAKE
MEADOW HIGH PILE RUG FERM LIVING
TRES VEGETAL NANIMARQUINA
KUEPPER BALADI TIGMI TRADING
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ISSUE #41 / THE G LOBAL ISSUE
Project BS Residence Design Vincent Van Duysen Photography Juan Rodriguez
ISSUE #41 / THE G LOBAL ISSUE
Project Darley House Design Arent&Pyke Photography Anson Smart
THE DETAIL
FABRIC Renowned design collaborations reimagine old classics.
BRUSHSTROKE - TOBACCO FABRIC LEE JOFA
GRAFFITO - SALMON CREAM KELLY WEARSTLER
FEZ STRIPE KVADRAT
HEDGEROW PELLE LEATHERS
VITIM #164 MISSONI HOME
SAHCO SAFIRE KVADRAT
CLAREMONT #170 MISSONI HOME
MEMORY 2 KVADRAT
V I E W M O R E FA B R I C >
DISTRICT - SILT KELLY WEARSTLER
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