ASPIRE by Forty One Madison

ANDREA DE CARVALHO AMBER EL-AMIN RICHARD HUTTEN DANIEL MALDONADO LUCIANO GALÁN LAUREEN ROSSOUW ULI WEBER

SPRING ABUNDANCE SPRING 2021 SEEKING THE SUBLIME

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EDITOR’S LETTER SPRING 2021 KEEN ON SPRING Spring is notably a time we refer to as a rebirth. I am working at putting some pep in my step. Shedding the winter pall and employing a spring ‘tude, swapping out my overcoats for a cardigan and liberating my claustrophobic feet. No doubt we are all ready to move on to greener pastures, and in this issue, we go with modern-day technicolor designs as harbingers. So, let’s shed the winter doldrums, open our windows and let spring’s abundance in.

76.

Artist Andrea de Carvalho’s home studio of iconic furniture designs and bold displays of cutting-edge art knocks us off our feet.

E X P E R I E N C E

V I S U A L

C O M F O R T

Renowned photographer Uli Weber – hailed for his keen eye and

technique – welcomes a design wild card now and again 84. pristine with a shockingly pink salon in his Italian retreat. Exvotos team – Daniel Maldonado and Luciano Galán – surround 96. The themselves with a highly eclectic and energetic environ. Dutch design rock star Richard Hutten shares his 108. Multidisciplinary evocative home life with displays of his classic graphic Droog designs. designer Laureen Rossouw’s Bauhaus property captivates 116. Interior our attention with vivid midcentury aplomb.

Till we meet again in summer!

L A K M O S L A R G E TA B L E L A M P

134.

Amy Sneider

amy@aspiremetro.com

A self-professed cubicle escapee, entrepreneur Amber El-Amin – proprietor of The Gardener’s House in Marrakech – channels her active imagination to furnish interiors in a bohemian, hippie chic way. Her B&B doubles as a rug showroom of epic eye-catching proportions.

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Franco-English illustrator Adele Leyris specializes in bold and colorful artwork and often mixes media by adding embroidery to her illustrations. Last year, she ran a workshop at the London Illustration Fair called ‘Embroidered Tattoos’ which introduced people to this unusual technique.

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“As an illustrator, I’m always looking at how to make my drawings more interesting and impactful. We’re moving closer and closer to a fully digitalized world, but I know that most humans still have a love for real tangible experiences.” – Adele Leyris

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We Make

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ASPIRE DESIGN AND HOME (USPS 22790), Volume 13, Issue 1 Spring 2021 Periodical postage paid at Cornwall, NY 12518 and at additional mailing offices. POSTMASTER: Send address changes to ASPIRE DESIGN AND HOME, PO Box 3000, Denville, NJ 07834.

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CONTENTS 6 FROM THE EDITOR

14 CONTRIBUTORS

DESIGN AND LIFESTYLE B R O O K LY N , N E W Y O R K

40 DOUBLE OR NOTHING JDK Interiors merges two Brooklyn duplexes creating double the fun M A N H AT TA N, N E W Y O R K

44 ART APPRECIATION Designer Phillip Thomas hits a high note reharmonizing a client’s art collection F R A N K L I N, T E N N E S S E E

50 COME RAIN OR COME SHINE Nashville-based interior designer Robin Rains shares her joyful celebration of domestic comforts F O L I G N O, I TA LY

76 TRANSCENDING SPIRIT A world of magical energy radiates in the home and studio of artist Andrea de Carvalho P U G L I A , I TA LY

84 HOLD IT! When it’s time to say basta to all the globetrotting, renowned German-born photographer Uli Weber heads to his home retreat under the Italian sun S E V I L L E , S PA I N

96 IMPERFECTLY PERFECT For Daniel Maldonado and Luciano Galán, home is where the art is R O T T E R DA M , T H E N E T H E R L A N D S

108 HIND QUARTERS Witty Dutch designer Richard Hutten lives in a Dutch Colonial home, but far be it for him to conform CA P E T OW N, S O U T H A F R I CA

116 FROM BAUHAUS TO OUR HOUSE This covetable midcentury home has been sensitively renovated and is a unique showcase for 20th-century design L O S A N G E L E S, C A L I F O R N I A

128 A HOME AWAY Designer Kristi Nelson transforms a nondescript Century City condo into a home that oozes European charm MARRAKECH, MOROCCO

MOROCCAN DAYDREAM 134 The Gardener’s House is an enchanting bed and breakfast set amid a classic Moorish garden – it’s also home to Amber El-Amin’s custom rug company

ARCHITECTURE P O Z N A Ń, P O L A N D

54 ECO-ACTIVISM Awarded Winner of Best House Poland – this three-cornered home tips the scales of equitability THE BIG APPLE

60 EQUAL MEASURE Architect Alexander Gorlin and designer Bachman Clem have fun creating interior views that converse with exterior New York panoramas

ROUNDUP

66 Taking the highball road

COUP D’OEIL

(at-a-glance)

WA T E R M I L L , N E W Y O R K

48 Poolside Lounge Area Mabley Handler Interior Design G E N E VA , S W I T Z E R L A N D

48 Dining Room Jaime Beriestain Studio

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

49 Master Dressing Room Martin Young Design RADOŚĆ, POLAND

49 Home of Interior Designer Malgorzata Kochańska, co-owner of the Sztuka Wyboru Bo Studio

ALESSANDRA DELGADO ORGE BAR CART Available in gold, copper, brown and black finishes and trays in Pau Ferro, Freijó, Oak or Walnut. alessandradelgadodesign.com

WROCŁAW, POLAND

72 Cottage of Interior Designer Maja Reinhard

IN EVERY ISSUE ARCHETYPES 30 A Brazilian consortium BOOK NOOK 31 and 32 ART 35 MUSE Graphic artist and illustrator Ian Murray

DESIGNED ESPECIALLY FOR ESPASSO PLUS CE BAR BY GISELA SIMAS Cart with tambour door in Oak, Walnut or Pau Ferro. giselasimas.com

GOODS 38 Modular Seating 58 EDITORS’ PICKS 59 SIDEVIEW DANISH BREAKTIME BoConcept PEEKING BEHIND THE CURTAIN viola! LAST WORDS A crossword puzzle

ON THE COVER: Jo Springthorpe and Jeffrey Liss’ residence in Newlands, South Africa. The view from the courtyard to the living room and dining room. A central part of architect Ana Corrochano’s brief was to create this seamless transition from one end of the house to the other which has been successfully achieved. Photo: Warren Heath Stylist: Sven Alberding

NAUU BACCHUS SIDEBOARD BACCHUS, the Roman God of wine, and the wooden barrels holding this delicious beverage provide the inspiration for NAUU to create this stainless steel and ironwood sideboard. nauudesign.com

STORES

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SPRING 2021

Introducing a consortium of five divergent Brazilian designers whose original works are united by a common theme: their innate ‘Brazilness.’ It’s an approach that synthesizes the country’s natural beauty and the artisans’ natural creativity in unexpected forms which are firmly rooted in modern design. Collectively, they represent some of today’s most prolific and interesting contemporary designers.

ARSHAM-ISMS: DANIEL ARSHAM

Edited by Larry Warsh Princeton University Press • $15 Contemporary artist Daniel Arsham blurs the lines between art, architecture, archeology and design. In his distinctive style, he takes ancient art works and objects from twentieth-century pop culture and casts sculptures of them in geological materials such as quartz or volcanic ash, colliding past, present and future in haunted yet playful visions that prompt viewers to question their everyday surroundings.

Toddy Holland

GWEN DONOVAN

FABRICATOR

André Poli andrepoli.us

Q&A

What inspired the design of your Equilibrium Stool? The Equilibrium Stool, as its name implies, is a piece that is constantly searching for balance/equilibrium. My inspiration came from a debate between art and design and a proposal of a new path for it.

SPRING 2021

Edited by Larry Warsh Princeton University Press • $15 A collection of quotations from the renowned fashion designer, DJ, and stylist, Virgil Abloh. Artistic director for Louis Vuitton, making Abloh the first American of African descent to hold that title at a French fashion house. Gathered from interviews and other sources, this selection of compelling and memorable quotations from the designer reveals his thoughts on a wide range of subjects, including creativity, passion, innovation, race and what it means to be an artist of his generation.

Edited by Larry Warsh Princeton University Press • $15 Futura is a living legend – a worldrenowned painter, designer and photographer who was a pioneer of graffiti art and New York City’s “subway school.” Futura-isms is a collection of essential quotations from this fascinating artist. Compiled from four decades of interviews and panel discussions, this memorable selection illuminates Futura’s thoughts on legal and illegal art, his influences, fellow artists, and the past, present, and future.

PATENTED: 1,000 DESIGN PATENTS

Thomas Rinaldi PHAIDON • $40 A one-of-a-kind collection of original patent documents celebrating the creative genius of designers, inventors, creators, innovators and dreamers the world over. The range is phenomenal: patents by Eero Saarinen, Charles Eames, Isamu Noguchi, Ettore Sottsass, Raymond Loewy and George Nelson sit alongside everyday designs for tape dispensers, pencil sharpeners, food processors, desk fans and drink bottles to create a valuable reference that’s also an irresistible browse.

EQUILIBRIUM STOOL

JELLY FURNITURE LINE FROM F.WAY

What is your favorite Brazilian furniture design and why does it appeal to you? The first piece that comes to mind is a coffee table by Jorge Zalszupin named Petala. Although that table was created in 1962, to me, if that was made today, it would be up-to-date. Which designers from the past and present do you feel were groundbreaking? From the past I like Charles and Ray Eames because of the path they opened for new designers. Today I’m a huge fan of Frank Gehry; I love his architectural projects and I also like that he designed amazing furniture such as the experimental chair Carumba.

ABLOH-ISMS: VIRGIL ABLOH

The “stool” Equilibrium is a statement piece. It is an object that proposes the discussion between art and design. It is built from the stresses of its own shapes creating a visual effect that is both solid and unstable. The print based on the fractal design of the leaves of a palm tree also contributes to the concept of the piece. Wooden structure (laurel gaucho) covered in leather with a handdrawn print with a razor.

ARCHETYPES

Ruy Teixeira

There’s a sensuality to Brazilian design, whether it’s in the curvature of an armrest or detailed carving of a chair leg. Can you speak to the popularity of this design detail that is so prevalent in Brazil? Brazil is a country that shows its sensuality in a very explicit way, from our weather, amazing bodies on the beach, music, rhythm, colors, seasons…everything is about sensuality.

Futura-ismS : FUTURA

FABRICATOR

Jelly is an elaborate set of modular seats and tables that create a collaborative environment in complete harmony. Playful and rounded shapes complement each other in a unique design language. Jelly seats and tables can be configured in curved or straight lines, tailored to make up the most varied designs. The seats are accompanied by steel support tables and the Jelly bag base table, which incorporates a fabric compartment for storing magazines or gadgets.

Ricardo Bello Dias studiobellodias.it

Q&A

What are some of the ingenious concepts that Brazilian designers are using today? I believe that the use of sustainable materials and production techniques has grown in Brazilian design, as well as greater attention to ergonomics and functionality. Who is your favorite Brazilian furniture designer? Brazilian architect and designer Patricia Anastassiadis is a favorite, I admire the elegance and delicacy in the design of her furniture, with details of classic and cultured forms. Have any American designers influenced your work? Two designers I admire are Charles and Ray Eames, for their creation of furniture that was creative, innovative, elegant and at the same time simple, influencing our industrial design today and always. I agree with the idea that “The role of the designer is comparable to that of a kind and attentive host who knows how to foresee the needs of his guests,” a quote that’s attributed to Charles Eames.

ASPIREDESIGNANDHOME.COM

STUDIO WILLIAM HEFNER

extension of art meant to be touched, used, and admired. This mindset is at the heart of Brian Paquette’s interiors. How does a person allow their lifestyle to resonate within their home? Through fabric? A particular scent? Surface texture? Light exposure? By sharing a process of design for the ten homes featured in this book, readers can begin to consider their own memories and aspirations for how they too can create a home interior that is a true reflection of themselves—past, present, and future.

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COLOURS AND FACES OF INDIA:

Introduction and Photography by David Krasnostein TeNEUES • $65 David Krasnostein captures the experiences and histories of everyday people in India. His striking images are prefaced by an introduction describing the Indian culture, religion and rituals he has come to know and love.

Photography by Olga Michi TeNEUES • $60 A new photographic look at how indigenous cultures and their people change under the influence of the outside and still maintain their traditions. 164 photographs of intense impact.

STUDIO WILLIAM HEFNER: CALIFORNIA HOMES II

William Hefner Images Publishing • $85 A follow-up to the success of 2013’s California Homes, this book includes imagery, sketches, design notes and behind-the-scenes stories chronicling the homes he built and designed.

PA Q U E T T E

OLGA MICHI: VULNERABLE

E VO C AT I V E A N D A R T- FO R WA R D I N T E R I O R S

B R I A N PA Q U E T T E PHOTOGRAPHS BY HARIS KENJAR

AT HOME: EVOCATIVE AND ART-FORWARD INTERIORS

Brian Paquette Photography by Haris Kenjar GIBBS-SMITH • $35 Interior design should not be sterile or static; it’s a living extension of art meant to be touched, used and admired. This mindset is the heart of Paquette’s interiors.

Thayse Gomes

Interior design should not be sterile or static; it’s a living

AT HOM E

E VO C AT I V E A N D A R T- FO R WA R D I N T E R I O R S

AT HOM E E VO C AT I V E A N D A R T- F O R WA R D I N T E R I O R S

Evoking memories of the past and aspirations for the future to create unique contemporary interiors.

AT HOM E

CALIFORNIA HOMES II

FABRICATOR

Sérgio J. Matos sergiojmatos.com

Q&A

POLTRONA ANAHÍ -TRATADA CHAIR

What is your favorite Brazilian furniture design and why does it appeal to you? Banco Kansai by Ronald Sasson. The piece is beautiful, intriguing and haute couture of the industry. It is made of brass and leather but inspired by woven fiber baskets.

ARREIO CHAIR

The art and crafts of the tannery imbue the concept of the “Poltrona Arreio” with regional identity. The belts designed to tie the saddle to the horse’s body and mined at the open market in Campina Grande in Paraíba gain evidence as a raw material.

Which American designer do you greatly admire and why? I really like Victor J. Papanek’s ideal of believing in social, ecologically sustainable design and products that are not just industrial.

Q&A FABRICATOR

Wagner Archela

raizproject.com/designers/wagner-archela

LISBOA TABLE

The “One Note Samba” is a song composed by Tom Jobim and is well known for a curious characteristic: with only one note, the composer sings all the verses, however, in a very Brazilian way. Tom Jobim surprises us in the chorus using all the notes of scale. Lisboa refers to the famous tiles from Lisbon, Portugal which are blue monochromatic. The design conception of the Lisboa table is in the monochromatic color work, but not so much ... the tonal nuance of blue composes, just like in the song, the movement of the color scale through design.

SPRING 2021

Who do you most admire in the design world and why? I admire Vladimir Kagan mainly for the projects in organically carved wood, they are true pieces of art that influenced the furniture industry of the 20th century tremendously. Kagan had an alternative trait to German modernism, a style that almost glimpsed an idyllic future for design objects.

Q&A What is your favorite Brazilian design and why does it appeal to you? I’d choose my Machina & Manus chaise lounge for its sensual flowing shape, a true sculpture on which you can comfortably lay.

Wagner Ziegelmeyer

Débora Zandonai

PAZETTO CHAIR

My Pazetto chair is one of my favorite pieces and has aspects that motivate me a lot. It has graphic elements of Brazilian modernism from the 1950s that I admire very much. The other important characteristic is part of my way of thinking about design: in my pieces I always avoid using noble woods that have been taken directly from nature, instead, valuing trivial raw material such as MDF that uses wood waste, turning it into a high-value design piece. For me, it is a way to reframe the fate of the raw material and the perception of what a valuable object means.

Joyful bursts of color are a mainstay in Brazilian design; does the use of vibrant colors reflect Brazil’s cultural and artistic communities? Color is nature’s most important survival tool; it draws attention to food, resting places and warns of danger. Color is light-dependent, so maybe for this reason Brazilian design is characterized by the use of colors. We live in a region that is fully bathed in light most of the year, everything is more colorful… insects, birds, flowers and fruit. The appropriation of color by the senses is indeed a community phenomenon because it is not restricted to design or just the arts. In a way it influences all aspects of life, even in speaking and reacting to life’s problems. Brazilian design objects have part of their conception linked to this feeling that is both personal and collective.

FABRICATOR

Guto Indio da Costa indiodacosta.com

AVA CHAIR

The Ava chair was inspired by the side view of a flower; the Ava backrest and seat are beautifully curved surfaces which freely emerge from the same origin, as petals usually do. It was designed to be extremely comfortable with very slim and delicate surfaces, opposing the idea that comfort needs volume. The tripod configuration, the proportions and the slenderness make this a very distinctive contemporary armchair.

Is there one designer who has inspired you throughout your career? My choice is Hartmut Esslinger. Although he was originally born in Germany, we could say he’s got a very American soul since he has lived and worked in the U.S. for such a long time. He is a designer who has influenced a whole generation with the concept “Form Follows Emotion,” going against the previous idea of “Form Follows Function.” Esslinger is the founder of Frog Design, and is a true design legend.

MACHINA & MANUS CHAISE LOUNGE

ASPIREDESIGNANDHOME.COM

KIOSK DELUXE “BAZAAR” CHAIR Vintage oriental rug has been refashioned into one fluid line extending from the ground up to form the seat and backrest, then snaking its way back down. The sculpted contours catch the eye and although the chair appears strikingly simple, close attention has been paid to the details of its construction. iconic-world.com

TIME WARP Ian Murray’s work conveys the sense that everything is here today and gone tomorrow

MUSE TEXT JORGE S. ARANGO

SPRING 2021

ASPIREDESIGNANDHOME.COM

hen 54-year-old Ian Murray was growing up in Liverpool, the Beatles’ hometown was a graveyard of industrial decay, “especially around the docks,” recalls the graphic artist and illustrator. “I liked exploring those liminal spaces that have been abandoned or don’t belong to anyone.” There was something about silent, vacant buildings, dilapidated wharfs, rusted steel and broken windows that spoke to him of ephemerality and the passing of time, of the poignance of memory. The power of this affinity was confirmed years later in his readings of psychogeography – the study of the effects of places on people’s minds and emotions. At the time Murray became a graphic designer, this sensibility resurfaced, merging with other inspirations that included a childhood love of comic books; artist idols such as Pablo Picasso, Kurt Schwitters and Jean-Michel Basquiat; the movie posters of Saul Bass; advertising imagery of midcentury master Paul Rand; and jazz and electronic music. Today his style – which makes its way into branding imagery for companies like BBC, Canon and Mercedes-Benz, but also shows up on original artworks, embroidered patches and cards that he sells on his website – has a blocky graphic quality, a wonderful sense of humor and a playful scrappiness that’s all his own. Murray’s process is both spontaneously progressive in its layering of elements and intricate in terms of materials. “Sometimes I’ll take something old such as pages from books or magazines and paste it onto backing board,”

he explains. “Then I’ll varnish it, print or draw over it. I’m not comfortable doing everything on a computer. I like to have my hands on the real thing, even though eventually it all gets scanned into the computer.” Also fed into the computer are rubbings he makes of interesting surfaces he comes across, photos of textures, monoprints and more. These become a kind of inventory of elements that he can then manipulate digitally or manually, layering them to create a visual richness of depth and texture. “The art of it is knowing when you’re at the tipping point,” Murray admits, adding with a humble self-effacing chuckle, “Sometimes I’ve lost the plot.” The resulting images evoke a retro sense of nostalgia. The psychogeographic undercurrent is further enhanced by Murray’s use of papers he ages in myriad ways. “I nearly always have something buried in the ground or under wood,” he observes. “Or I’ll put paper in the oven, stain it with tea – decaffeinated works best for some reason – or I’ll wrap paper around rusty nails and submerge it in salty water.” These, too, join his image library so that, “Even if you’re layering something digitally,” he explains, “it takes on the warmth of water stains and old books.” An admirer of wabi-sabi, the Japanese aesthetic that values transience, imperfection and incompleteness in nature, Murray concludes: “What really runs through it all is the idea of being imperfect, the feeling of having a bit of grit.” mrmurray.co.uk

Murray’s process is both spontaneously progressive in its layering of elements and intricate in materials.

“Its Grim Up North”

SPRING 2021

“die Katze im Auto”

“The Baltic”

“KitKat Club”

“Pylons”

“The Flâneurs”

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LIGNE ROSET SAPARELLA + DIABOLO MODULAR OUTDOOR SEATING DESIGNED BY MICHEL DUCAROY The convex Saparella Fireside Chair is a perfect companion to the concave Diabolo Chair, uniting in a shapely core of modular, moveable outdoor seating. Connected by a piece of mirror-polished stainless steel designed by Michel Ducaroy, these allfoam designs are enhanced by a footstool for the perfect moment of Zen. Creativity is encouraged in new compositions which are just as fitting on a penthouse terrace as they are in a garden of wildflowers. Soft, rounded lines and a cozy, comfy vibe make this seating as welcome as the first day of spring. ligne-roset.com NOAH LIVING NOAH SOFA MODULAR FURNITURE SYSTEM Presto Change-o, the Noah Sofa rises to the occasion when it comes to flexibility and endurance without ever skimping on style. Its clever plug-in system means the modular Noah can be rearranged and reconfigured easily, no tools needed. Well-designed to endure for generations, not only can all parts be replaced and recycled, the removable and washable Noah fabric resists dirt. We call that a win-win. iconicawards.com

LEN FURNITURE BAUHAUS SEATING SYSTEM DESIGNED BY HELEN KONTOURIS The Bauhaus Seating System gets an A+ in versatility with extra credit for its playful, multi-colored aesthetic. It was commissioned by the National Gallery of Victoria in Melbourne, Australia, and the building’s Great Hall stained-glass ceiling, as well as Alma Siedhoff-Buscher’s timber Bauhaus Building Blocks, are inspirational touchpoints. Daring lines are revealed in beveled chasms which are visually bold, richly textured and plumply quilted. The geometric mix of squares, circles, triangles and rectangles can be re-grouped in numerous compositions to enhance private or shared experiences. Likewise, the Bauhaus is suitable for a range of interiors, including professional, public or educational environments. A singular graphic dimension and a strong visual identity? Yes and yes. stylecraft.com.au

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1 Bain De Soleil wallpaper and fabric PIERRE FREY, JOIE DE VIVRE COLLECTION pierrefrey.com 2 Taínos wallpaper THE VALE LONDON, WORLDS END COLLECTION thevalelondon.co.uk 3 Balade En Toscane wallpaper ÉLITIS, LES PETITES HISTOIRES COLLECTION elitis.fr

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B R O O K LY N, N E W Y O R K

This duplex dweller with three young children had a dream. Well, actually, many. On her wish list: A lofty living room ceiling, a fairy-tale retreat for her daughter, creative storage built-ins – and bespoke extras for the very social lifestyle her family enjoyed pre-COVID (and will resume as soon as it is safe). The Prospect Heights homeowners had two apartments side by side; they lived in one and rented the other. The time had come to combine them. Cue the fairy godmother of decorating, Jenny Dina Kirschner, principal of JDK interiors and fellow Brooklynite. Her mantra: “Things can’t just be beautiful. They have to be practical.” The vintage library ladder in the mudroom rolls to reach the higher pistachio-green cabinets – and the bench, with silvery bolsters, is pretty but it is also where kids sit to pull on boots. Like any wish maker worth her sparkles, Kirschner has the best resources at her fingertips – an orbit of exclusive tiles, fabrics, lighting and furniture mixed with retro and Target finds (see velvet quilt in master bedroom) for good measure. “My client was aching for height in her living room. They had very low ceilings,” explains Kirschner. With a little

DAUGHTER’S ROOM

DOUBLE OR NOTHING TEXT ALICE GARBARINI HURLEY PHOTOGRAPHY RYAN DAUSCH INTERIOR DESIGN JDK INTERIORS

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D Designer Jenny Dina Kirschner merges two Brooklyn duplexes, creating twice as much space and color for a family of five

MUDROOM

magic and a lot of hard work, she had the second-floor

The client wanted a whimsical bunk bedroom for her daughter

bedroom walls (thick concrete slabs) moved back about

– for future sleepovers. Kirschner redid the small, narrow space,

12 feet to create space for a soaring ceiling that holds,

adding a staircase with built-in drawers for treasures and reading

like a royal jewel, a Lladro porcelain chandelier.

lights at every bunk that turn on when extended. (The designer

One of two new entries opens into the mudroom, with

has two young daughters of her own. “I had to figure out how to

cork wallcovering to complement the painted cabinetry.

install lighting without using sconces in the bunks, or the girls

The dad and three kids each get one vertical row, from

would bump their heads on them.”)

floor to ceiling, with hooks, backpack cubbies, charging

Kirschner found a butterfly sconce on Houzz and a faux

outlets. The top cabinets hold suitcases and ski gear. (The

finisher who echoed its vibe on the ceiling with gold-leaf, silver

mom has a full closet on the opposite wall.)

and champagne paint colors. She pulled in more pink with Cole

Kirschner sees potential where others may not. The

& Son Woods wallpaper and two mini sixties stools scored on

bench was made from vintage Lucite legs – “almost like

Chairish. “They came with the gold-leaf legs, but the fabric was

ice” – that she found on Chairish. She added cushions

beaten up,” she says. “I had them reupholstered in peachy pink,

wrapped in embossed leather.

butter-soft shearling.”

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In the master suite, with upholstered bed, a tiered nightstand lights the way. The sitting room has a 1990s chair in ivory alpaca and a fireplace that burns eco-friendly ethanol fuel. (The surround is Calacatta Gold marble from 1stDibs.) Since the couple loves entertaining – plus early coffee and late snacks – the suite features a kitchenette that’s almost a second kitchen, sans stove. An ice maker was a must for cocktail cubes. The wet bar is in a large family room with drop-down movie screen and custom sofa. The bar top is etch-resistant Fusion Wow marble with leathered finish from Artistic Tile; take a seat on mint-green leather covered stool cushions. Green glass sconces pop against Maya Romanoff wallcovering, handcrafted in Chicago and easy to wipe clean.

FASHION FOLLOWS FORM FOLLOWS FUNCTION FOR JENNY DINA KIRSCHNER.

LIVING ROOM Sofas: Donghia Chandelier: Lladro Art: Samantha Sandbrook Wall Behind Art: Plaster Ombré, Custom by JDK Coffee Table: Restoration Hardware Poufs/Stools: Lorenza Bozzoli, 1stdibs Rug: The Rug Company Pillows: Kevin O’Brien Studio Built In Cabinetry: Custom by JDK Wallpaper: Elitis

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BOYS BATHROOM Bath Tub: Duravit Wall Tile: Artistic Tile Accent Wall Tile: Ann Sacks Flooring: Artistic Tile (Porcelain Flooring) Towels: Margo Selby Sconce: Rejuvenation Ceiling: Benjamin Moore OC65 Chantilly Lace in Eggshell

MASTER SUITE / VESTIBULE Fireplace: Ecosmart Fire, Clad in Marble from Artistic Tile Ceiling Light: 1stdibs Wallpaper: Phillip Jeffries Sconces: Vintage, 1stdibs Mirror: R&Y Augousti Area Rug: The Rug Company Chair: Vintage Chairish Chair Upholstery: Part Donghia, Part Sandra Jordan Prima Alpaca Table: Matthew Studios Floor Lamp: RH

WET BAR

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Art Appreciation

Designer Phillip Thomas hits a high note reharmonizing a client’s art collection

With ceilings so high, pendant fixtures are definitely part of the program; in the living room, a custom Garbo Chandelier by Fortuny. Opposite: An Oyster 75 Pendant Light in Custom Two-Tone Finish by Best and Lloyd graces the home’s amply proportioned foyer.

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The eyes have it. Whether gouache or oil, threedimensional or flat, art is as much a part of a room as furniture, drapes and rugs – and its placement demands as much, or more (much more) consideration than where to position the TV.

Manhattan, NY

When New York designer Phillip Thomas took on the redo of a client’s commodious Upper West Side one bedroom, he knew there was more to the job than giving the grandly proportioned space a fresh, contemporary twist. “The apartment was traditional, very colorful, with heavy textures,” recalls Thomas. “With this iteration, the clients really wanted to honor the building’s past and its wonderful details, but also make the space more up-to-date by using a lighter palette that also allows the art to be the focal point.”

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TEXT THOMAS CONNORS PHOTOGRAPHY JEAN-FRANCOIS JAUSSAUD INTERIOR DESIGN PHILLIP THOMAS

In re-imagining the residence, Thomas took several of the client’s existing pieces and gave them a new place to live within the apartment. “I told my clients when we started, that while we were going to re-use quite a few pieces of furniture, I wanted them to think outside the box and push themselves to put things in places they have not been before. I think that is important because it brings new life and new meaning to each of the pieces. So often when people do a renovation where they reuse existing pieces of furniture, they put them right back in the same places they were before.” Thomas took the same approach when it came to the couple’s art collection, a strategy that proved spot on. With furniture and art re-situated, the homeowners are enjoying all kinds of new vistas. That does not necessarily mean living with the outrageous or the avant-garde. But it does mean arranging art so that it can really be seen, so that is has an opportunity to hit the eye, and hopefully, the heart and mind, as well. “Even if you don’t have a large collection, you really should look beyond the obvious places to put your work and look for those spots where it can really capture attention,” asserts Thomas. While serious art-lovers blanche at the idea of using paintings and sculpture for decorative effect, the truth is, they have to play well with others. Thomas took a purple-hued canvas from the living room and hung it in the library, where it works well with the room’s dark taupe color scheme. “It also creates the illusion of greater depth over the fireplace and injects an energy into an otherwise very tonal space,” observes Thomas. With almost more art than wall space, Thomas had to get creative, turning a hallway into a gallery. Hallways are not always the best place to hang pictures, especially if they are narrow. But Thomas punctuated the hallway with an arch to suggest greater width and positioned a painting directly across from a doorway leading off it. The picture not only benefits from the natural light streaming in, but it forms a focal point from within the adjacent room. In the full scheme of Thomas’ project, it is a minor moment, but it speaks a thousand words. The custom dining table from Keith Fritz is surrounded by Phillip Thomas Inc. chairs, upholstered with Greta in Neptune by Evitavonni Collections through Angela Brown Inc.

Thomas believes that no matter one’s taste, “art is supposed to be provocative and it should elicit a response from the viewer.” 46

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In scale and hue, the canvas over the fireplace is the perfect companion to the towering bookcases in the library.

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Photo credit: Costas Picadas

Photo credit: Manolo Yllera

Photo credit: Jose Manuel Alorda

Photo credit: Jola Skóra /Alicja Trusiewicz

WA T E R M I L L , N E W Y O R K

G E N E VA , S W I T Z E R L A N D

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

RADOŚĆ, POLAND

PROJECT Poolside Lounge Area INTERIOR DESIGN Mabley Handler Interior Design

PROJECT Dining Room INTERIOR DESIGN Jaime Beriestain Studio

PROJECT Master Dressing Room INTERIOR DESIGN Martin Young Design

PROJECT Home of interior designer Małgorzata Kochańska DESIGN Małgorzata Kochańska, co-owner of the Sztuka Wyboru Bo studio

Side Tables | “Tivoli” by Kingsley Bates • Towels | “Lara” by Missoni • Planters | Ceramic Glazed Heads from Kalalou

Dining chairs | Amélie by Minotti • Dining Table |Custom Jaime Beriestain Studio • Suspension Light | Volta from Estiluz

Millwork paint color | Pratt & Lambert, Indigo 24-17 • Ceiling, Window and Window Trim paint color | BM Acadia White OC-38 • Chair | custom designed, upholstered in Edelman Leather, Royal Hide in Rum • Throw | Designer’s own collection • Rug | Vintage Aubusson sourced through 1st Dibs • Light Fixture sourced through 1st Dibs • Built-in Dressing Table and Closet Cabinets are original to the 1924 Spanish Revival house.

Screen | Design and Production Sztuka Wyboru Bo studio, Manuel Canovas “Dara” wallpaper • Chair | Owned by the family since the beginning of the 20th century, Clarke & Clarke fabric • Empire Table | Owned by the family since the beginning of the 20th century • Sculpture | Maciej Kochański • Espresso Cup | Villeroy & Boch • Pillow | MissoniHome • Lamp | Lee Broom

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come rain or COME shine

By retaining the original fireplaces and mantels, and by leaving accents of exposed brick, it allowed the building’s “great bones” to take center stage.

FRANKLIN, TENNESSEE

Nashville-based interior designer

n 2018, Rains and her team were

creating moments of visual interest and

was exposed early

approached by two long standing clients.

illuminating the space. For Rains, “Lighting

to the art of creating beautiful spaces. Her

They commissioned her to transform the

is everything.”

father was a contractor and for Rains it was

Pope-Robeson building in the historic

Two armless, 70’s orange-leather chairs

clear from the start that she would pursue

district of downtown Franklin, Tennessee

with chrome bases face one another in the

interior design. For nearly two decades as

from an impersonal, commercial storefront

foyer, exemplifying how vintage pieces can

proprietor of Robin Rains Interior Design +

into a warm, vibrant home meant for living

enliven a space, and how a pop of color

Antiques, Rains has created timeless, liveable

and entertaining. Erected in 1899, the

can add an element of aesthetic drama

sanctuaries. Her visually stimulating oeuvre

1,000-square-foot structure is now a house

and intrigue to a space. The core of her

is a joyful celebration of domestic comforts.

with one bedroom, one bath, kitchen, living

design work is to highlight the classical

room, foyer and a combined bar and dining

while integrating modern elements. Rains

area. The brief for this modest project on the

prefers antiques to new pieces for their

TEXT ELLA BAUM

historic registry of Williamson county, was

craftsmanship, patina and the stories that

PHOTOGRAPHY LESLEE MITCHELL

whimsy, play and respite. By incorporating

they carry. “These pieces offer a lot of

INTERIOR DESIGN ROBIN RAINS,

unique lighting fixtures into the home,

opportunity for play,” she concludes.

KATE LADD CHLEBOWSKI,

Rains and assistant designer, Kate Ladd

ROBIN RAINS INTERIOR DESIGN

Chlebowski, elevated it from its commercial

ARCHITECT SCOTT WILSON, LLC.

character and infused it with warmth,

Robin Rains

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Radiating warmth from its original 1899 windows, the Pope-Robeson building – first named the Pope building and then the Pope-Cross building – is located directly off of historic Franklin Square.

MASTER BEDROOM: The Louis Phillippe-style mirror and the French accent chair were purchased in Europe by Rains. The small line drawing is from Lucky Fish Gallery.

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MASTER BEDROOM: Tastefully sparse, with a custom bed by Mario & Marielena. Fabric from ROMO and linens from John Robshaw. The blue sconces from Urban Electric and the orange throw from Alicia Adams add pops of color to the room. Vintage nightstands, sourced from Europe. DINING AREA: A vintage table and chairs all thrifted in Europe by Rains. The chairs are reupholstered in Dedar fabric. The chandelier is from Apparatus. A lacquered built-in bar completes the space.

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ARCHITECTURE

ECO - A C TI V I S M

This three-cornered home tips the scales of equitability

The heart of the home is the sleek interior/exterior connection. A flat triangular wood deck not only added another gathering space for the family but is a visual focal point. “The huge windows with the wood frame exterior look like a painting that is constantly changing.” – Architect Bartek Bajon

TEXT THERESA KEEGAN PHOTOGRAPHY TOM KUREK ARCHITECTURE AND INTERIOR DESIGN BARTEK BAJON

P O Z N A Ń, P O L A N D It is appropriate that the “Triangular Rectangle” home is shaping not just a holistic lifestyle of the occupants, but also the lush suburban area outside of Poznan, Poland, a bustling city of half a million people. This beautiful home’s affordability is one of the main reasons it was selected as the Best House in Poland, 2019, by the country’s architectural jurists. “This house shows that when you don’t have a big budget you can still execute gratifying architecture,” proclaims Bartek Bajon, principal at PL. architekci, a firm he and his architect wife oversee. “This type of architecture is not contemporary; it is how we live.” The home has proven so popular in the neighborhood the architect has been commissioned to design another house two blocks away and is in discussion with yet another neighbor. The home itself is small by some standards – just 200 square meters (about 2,125 square feet), and was constructed for under $250,000. However, it appears large and elegant, as Bajon emphasized blending the outdoor space with the indoor environment. The huge windows, glass doors and skylights open onto the lush parcel, which sits adjacent to a forested greenbelt with lakes and trails. The location allows the family of four to be outdoors and active. Before putting the mechanical pencils to paper, Bajon began this project by meeting with the clients, delving into their lifestyle, priorities and budget; then he reviewed the plot and developed the comprehensive design process, which included furniture. “Architecture and interiors are always connected for us,” he explains. The clients modified just a few things when presented with the design – the proposed black wood exterior rectangles were replaced with white concrete for budget reasons. A key concern for the owners was they wanted easy contact with their children, ages 7 and 10, even if the children were in an upstairs bedroom. Bajon’s solution was resoundingly embraced. He made the second floor a setback mezzanine, with an open hallway and partial glass enclosure for safety. “We opened up the first floor so you see what’s happening and you can hear what’s going on in the children’s rooms,” informed Bajon. He adds, “Ultimately, creating a home so connected with the seasons and our type of life nowadays. It’s easier to clear your mind – to enjoy life.” The home is set in a lush suburban neighborhood from the city of Poznań. There’s a greenbelt area that runs through the community, allowing for easy outdoor recreational opportunities. The triangular roof peak reflects the angular terrace that extends from the first floor.

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1 The first floor of the house is poured white resin, which warms the home and reflects and accentuates the natural colors outside. The front hallway opens to the larger living area of the home. 2 The home’s main terrace connects the kitchen, and dining, living areas, opening up the rooms in a way that expands the actual room proportions. 3 At first glance, it seems the kitchen is deprived of kitchen attributes. However, the oven is hidden behind an additional front in the HAVA system and the range hood is hidden in the ceiling. 4 Bottlegreen sofas, from the Polish manufacturer SITS, harmonize with the grass outside the window. The colorfully striped carpet is from IKEA.

5 WIDE-EYED AND BUSHY-TAILED The huge hare sculpture, about nine feet tall, was obtained at a charity auction. Although it was the last item placed for the home, it has become a beautiful complement to the site and the signature of the house. 6 The second floor is an open mezzanine set back from the first floor so that there is easy communication throughout the home. 7 The high oak kitchen cabinets hold traditional kitchen supplies while light from the outdoor terrace streams into the room through the floor-to-ceiling glass. The family enjoys cooking but didn’t want to see an ensuing mess from the dining/living areas. 8 The oak stairs by the kitchen lead up to the second-floor sleeping area. There is a master bedroom and bedrooms for the kids.

A few designer objects are found throughout the dining area, including Panton Chairs (Vitra) and Hay lamps painted green. The functioning black side table is where the owners display their art and books, leaving the rest of the room with a clean look.

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Editors’ Picks

Danish Breaktime

STUDIO GREYTAK UNIVERSE COLLECTION IMPACT TABLE (SPACE) By John Greytak

SI DE VI E W

A decades-old ethos seen in our brand’s well-established design DNA and services

The Universe Collection is truly a million years in the making, exploring the intersection between design by nature and design by humans. Studio Greytak creates stunning objets d’art, furniture and lighting, and jewelry out of a curated collection of the Earth’s finest gems and minerals.

A recent collage installation reminiscent of a giant 3D jigsaw puzzle rendered in rainbow colors reflects Katrien Van der Schueren’s bold yet whimsical appreciation of the design world.

studiogreytak.com

NEW RAVENNA THE STUDIO LINE LUPITA

Sam Cooper

Hand-cut stone mosaic tile shown in polished Dolomite and Rojo Alicante with Indigo, Aloe, and Cornflower Glazed Basalto, is part of the ready-toship mosaics.

newravenna.com

Peeking behind the curtain of L.A.’s viola!

SAMAD SEVILLE COLLECTION MATADOR RUG IN TANGERINE Hand-knotted in India with wool & sari silk. samad.com

STUDIO FLORIS WUBBEN TULIP CERAMIC FLOOR LAMP

After six years of innovative research in extruding ceramics, Studio Floris Wubben undertook a new step in their exploration. In their latest collection, specifically created for The Future Perfect, you’ll recognize familiar extruded shapes, but now they have been connected with other extruded designs and united with different materials, such as glass and wood. These clever conjugations allow for new functional objects to arise. Dia.28 x H 53 . thefutureperfect.com

FBC LONDON FIONA SIDE CHAIR By Designer Fiona Barratt-Campbell The outdoor living collection features chairs, tables and sofas. These versatile designs can also magnificently function indoors! The Fiona can be tailor-made to bespoke sizes and finishes. fbc-london.com

Raise your hand if you’re ready for a design refresh using cleanPhiladelphia coffee table (1583340) Philadelphia coffee table (1583341) lined Scandinavian furnishings that make a bold statement without overwhelming a room. Danish design powerhouse BoConcept is previewing their new capsule collection of scaled-back furniture, as they unveil a call to action ad campaign. Steen Knigge, Director of Marketing for The Americas, believes a less-is-more approach is a perfect fit for the way we’re living today. “The new capsule collection arrives at a time when demands on the home are at an all-time high,” he notes. “During times of lockdown, family members will share space for an unprecedented number of hours per day.” As interiors shift to accommodate areas for an office, gym, classroom andtable spa, the flexible capsule collection is ready and Augusta dining (1583323) able to meet the changing demands of daily living. This concept of re-imagining our floor plans dovetails with 5 BoConcept’s new tagline – Live ekstraordinær – a rousing call to action that speaks to everyone’s pursuit of their own form of ekstraordinær. “The tagline will launch as part of the brand’s new ad campaign: Extraordinary Ideas Start Small. The campaign works around the notion that big impact can come via small, well-considered changes, and the impetus to make a start,” Knigge explains. This message comes to life through three aspirational client stories depicting BoConcept’s ability to match the buyer’s personality. “From a more functional perspective, these hero narratives will be supported by a plethora of tips and tricks, showing how consumers can make their spaces season-ready,” Knigge reveals. GWEN DONOVAN boconcept.com

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“A Life Well Framed” could be the working title of a biography about the talented Belgian-born artist Katrien Van der Schueren. Soon after opening a small Los Angeles frame shop in the 2000s to showcase her quirky collection of vintage European posters, it grew into a hotbed of art and design known for creating Hollywood stage sets, repurposed furnishings, experimental artwork and innovative lighting. Today, the studio’s museum-quality framing is enhanced by a full-service furniture design and fabrication company serving global commercial, hospitality and residential clients. The rapid progression of this inventive business even surprised Van der Schueren herself. “From paper I quickly added vintage furniture finds and art. I’d end up with large collections of weird and not-so-weird stuff. Like the whole library of a cloister and a cellar full of educational charts, or thousands of glove molds and a bunch of airplane noses and windows,” she recalls. These handpicked finds fueled an edgy, humorous aesthetic displayed throughout the studio, now a wellspring of creativity for L.A.’s artistic community. Van der Schueren’s ability to remain fluid is a testament to her resilient outlook. In summer 2020, during the Black Lives Matter protests the studio’s windows were smashed; her teenage daughter, friends and protestors used the boarded-up windows as canvases splashed with art and positive messaging to support the Black Lives Matter movement. This attitude of acceptance and perseverance sums up the way she lives. “I don’t like the idea that something isn’t possible. I’d rather find a way to make it work, and in order to make it work, I’ll study until I find a solution,” she reveals. “I am also very open to change. I love change, actually, and I think that’s an important trait to have when you are in a creative business in this everchanging world.” GWEN DONOVAN voilacreativestudio.com

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ARCHITECTURE

EQUAL MEASURE Architect ALEXANDER GORLIN and designer BACHMAN CLEM have fun creating interior views that converse with exterior New York panoramas

t’s the long-simmering skirmish between purity of form and decorated livability. Architects frequently see their spaces as large-scale sculpture, practically speaking in tongues with terms like “articulated volumes” and “programmatic adjacencies.” Designers have been known to effuse over window treatments and throw around phrases such as “comfortable elegance” and “couture details.” Architect Alexander Gorlin and interior designer Bachman Clem acknowledge this classic clash. TEXT JORGE S. ARANGO PHOTOGRAPHY ERIC PETSCHECK INTERIOR DESIGN BACHMAN CLEM ARCHITECT ALEXANDER GORLIN

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OPPOSITE: The van der Helst Lounge Chairs above the Open

17th-century “Militia Company of District VIII Under the Command of Captain Roelof Bicker” by Bartholomeus hangs behind a Dunbar sofa from FAIR, a rug designed by interior designer Bachman Clem, midcentury Karelia by Liisi Beckmann for Zanotta and Goffredo Reggiani’s 1960s Totem Floor Lamp. ABOVE: Lee Broom’s Split Mirror Sky Crosby Chair by Gaetano Pesce. Nearby, Clem gathered Gorlin’s quirky collections in a glass-shelved built-in.

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Clem made Atelier Areti’s Plate & Cone Ceiling-Mount Light into a sconce by the kitchen sink, next to which is another of Gorlin’s eccentric folk art pieces.

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Beetle dining chairs from Suite NY surround a Knoll Saarinen Tulip Table with custom black base and marble top. Shelving is from Rakks.

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Fortunately, they have a sense of humor about it too. “It’s hit or miss when I work with designers who are foisted upon me,” jokes Gorlin. Affecting mock indignance, he adds, “And sometimes they ruin my work!” So, when Gorlin purchased a 13th-floor Greenwich Village penthouse some years ago, he initially decided to decorate it himself. The allure of the 700-square-foot, L-shaped studio was its terrace and wide panoramas. “It wasn’t just about the space, but the sense of time you got from the view,” he recalls. “From here I can see everything from First Presbyterian Church, built in 1846, to the One World Trade Center; from the 1880 Jefferson Market Library to the first modernist building in the city, Joseph Urban’s 1929 New School.” Gorlin pulled down drop ceilings, jettisoned the bathroom’s ridiculously over-scaled tub and ripped out weird closets that incongruously blocked these vistas. He installed large quartzite slabs in the bath and new oak floors throughout. But when it came to devising an interior scheme, he realized he had no idea

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what he wanted beyond an Eero Saarinen dining table. Enter Clem, his downstairs neighbor and friend. The architect brought with him a Gaetano Pesce Chair, an occasional table and a quirky collection of architectural models, kitschy busts of famous dictators and a bevy of toy robots. Clem’s dilemma? “How do I put it together in a space he wanted to be clean and sharp?” In a studio, of course, incorporating a bed requires finesse. Gorlin had recently returned from a historic homes tour through the South of France and was transfixed by Eileen Gray’s Villa E-1027 in Cap-Martin. “Her bed was part of the living area but appeared as a kind of lounge,” observes Gorlin. Inspired by this, Clem’s interpretation of it was to partially segregate Gorlin’s bed behind sheer curtains but extend the channeled headboard beyond it, to connect it with the main space. Gradually a design emerged. “We started with a sedate palette to let all his collections take center stage,” recalls Clem. “But then he said, ‘We should

have a punch of color,’” which arrived in the form of green Beetle dining chairs around the custom black marble Saarinen table, as well as a pair of olive lounge chairs by Liisi Beckmann for Zanotta, as well as the blue-green velvet channels around the bed. Clem gravitated toward sculptural forms because, he explains, “I wanted a couple of things in the apartment that pulled you back in from the spectacular view.” Hence the Beckmann chairs and other carefully selected pieces such as a new Dunbar sofa and a 1960s floor lamp by Goffredo Reggiani. “I realized I wanted something to stand up to the view,” echoes Gorlin, this time referring to art. “And it needed people who were in dialogue with it.” The solution was a reproduction of an Old Master painting from the Rijksmuseum in Amsterdam. Painted in 1643 by Bartholomeus van der Helst, it depicted a company of soldiers. The photo printers at Duggal printed it on an 18-foot-long canvas. “It cost $2,500,” notes Gorlin with some satisfaction. “The money I saved I spent on Bachman’s furniture selections.” (When told of this

good-natured jab, Clem laughed out loud.) Gorlin is nothing if not eccentric and funny, and the painting, along with his quirky collections, somehow evokes that personality. “He embodied my sense of humor,” Gorlin says of Clem. “You walk in and can’t quite figure out what these 29 soldiers are doing in the apartment. There’s a sense of irony and quotation about it.” And that’s the point, believes Clem. “I don’t like interiors where everything is perfectly placed,” he maintains. “There’s no spontaneity; everything is exactly where you expect it to be. I want something with personality rather than have it look like it’s a W Hotel.” No fear of that here.

A door near the bedroom area’s Cassina Chair opens to a terrace with views of the One World Trade Center to the south. Clem surrounded the bed with channels upholstered in five different shades of teal velvet from Maharam and hung a silvery gray Jack Lenore Larsen sheer for privacy. Above the bed is a 1970s John Leslie Mirror sculpture backed with more mirror.

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TEXT DEBORAH L. MARTIN

TAKING THE HIGHBALL ROAD

LEFT:

PROJECT: New York, NY

For the Project Worldwide New York City headquarters, the designers created a bar that functions as the welcoming hearth of the firm’s amenity and arrival space. The design is refined industrial style and uses Banker’s Wire S-51 Architectural Woven Mesh in bronze in the display cabinets.

STUDIOS ARCHITECTURE

studios.com bankerwire.com

Old Fashioned or Sauv Blanc Why choose? Cocktail lounge or dive bar Cocktail Lounge Shaken or stirred Shaken! Harry’s Bar, Paris or King Cole Bar, New York Devil Wears Prada... King Cole Bar, of course.

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PROJECT: Truckee, CA

In a dark, hidden space adjacent to a fire niche and hot tub, Greg Faulkner created a minimalist bar in a palette of concrete, walnut and basalt. Because spirits and wine are best kept out of the light, Faulkner was inspired to create a dark place to hide out, have a drink and share a rare bottle.

GREG FAULKNER, FAULKNER ARCHITECTS Courtesy STUDIOS, Photography by Tom Minieri

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Joe Fletcher

faulknerarchitects.com

Old Fashioned or Sauv Blanc Negroni Shaken or stirred Stirred Eden Roc in Miami, or The Greenbriar in West Virginia Neither Harry’s Bar, Paris or King Cole Bar, New York Harry’s Candlelight or sunlight Candlelight by night and slivers of sunlight by day.

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PROJECT: Las Vegas, NV

In Daun Curry’s design for the high-roller suites at the Cosmopolitan, every surface is vital visual real estate. The bar is rendered entirely in white glass with hand finished gold-leaf moldings that extend the full height of the space, embodying the devil-may-care attitude of vintage Vegas in the golden age, but updated for the 21st-century traveler.

PROJECT: Memphis, TN

In this man cave, the design started with the collection of masculine-leaning vintage photography. The space, separate from the main house, is used for watching football, hosting meetings and pool parties. The bar is perfect for serving snacks and beverages to guests without having to run back and forth into the main house.

DAUN CURRY DESIGN STUDIO dauncurry.com

Old Fashioned or Sauv Blanc Old Fashioned Cocktail lounge or dive bar Cocktail lounge Cut glass crystal or modern glassware Cut glass crystal Shaken or stirred Shaken Harry’s Bar, Paris or King Cole Bar, New York King Cole Bar Plushy sofas or sculptural bar stools Both Candlelight or sunlight Candlelight

FRAN KEENAN DESIGN

frankeenandesign.com

Hector Sanchez

Old Fashioned or Sauv Blanc Sauv Blanc Cocktail lounge or dive bar Lounge Cut glass crystal or modern glassware Crystal Eden Roc in Miami, or The Greenbriar in West Virginia The Greenbriar... I love Dorothy Draper! Harry’s Bar, Paris or King Cole Bar, New York Even though I’m a New Yorker at heart... put me on a plane to anywhere in Paris! Plushy sofas or sculptural bar stools Sofas Candlelight or sunlight How could I choose?!

PROJECT: ASPEN, CO

This bar was designed with the same approach as the rest of the house, inspired by the environment and the arresting views of Aspen Mountain, perfectly framed by the bar windows. The materials capture the surrounding natural elements in a modern way.

PEMBROOKE & IVES

JC Buck

Matthew Sandagen

pembrookeandives.com

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Old Fashioned or Sauv Blanc Old Fashioned Cocktail lounge or dive bar Dive Bar Harry’s Bar, Paris or King Cole Bar, New York Both! Plushy sofas or sculptural bar stools Sculptural bar stools Candlelight or sunlight Sunlight Casablanca or Lost in Translation Casablanca

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PROJECT: Washington, D.C.

PROJECT: Chicago, IL

In a house with formal bones, a wine bar and tasting area sits between a dining room and a more casual family room. The palette started with deep navy cabinetry, Calacatta Gold Marble herringbone mosaic floors and satin brass hardware and lighting. The wood table, from Victoria Sanchez of Victoria at Home, was a perfect fit.

In the Whitney Architects headquarters, the firm’s guests are welcomed into the heart of the space – the work café and bar, designed as a testament to the hospitality they extend to both visitors and staff. Flat wire mesh in an antique copper plated finish adds warmth and texture.

KATE LOGAN, WHITNEY ARCHITECTS whitneyad.com bankerwire.com

NADIA SUBARAN, AIDAN DESIGN

Old Fashioned or Sauv Blanc Sauv Blanc Cocktail lounge or dive bar Could go for a good dive bar… or any bar right now. Shaken or stirred Shaken Harry’s Bar, Paris or King Cole Bar, New York Paris baby!!! Candlelight or sunlight Sunlight Casablanca or Lost in Translation Casablanca

aidandesign.com

Angie Seckinger

Kendall McCaugherty, Hall and Merrick

Old Fashioned or Sauv Blanc Old Fashioned Cut glass crystal or modern glassware Both Harry’s Bar, Paris or King Cole Bar, New York Harry’s Bar Casablanca or Lost in Translation Casablanca

PROJECT: Paris, France

Café Scribe, a tea room by Wilson Associates, was part of the renovation of the Hotel Scribe in Paris, not far from the Opéra Garnier. The initial mission was to create a tea room also dedicated to the sale of travel cakes and tea. The space was the first Louis Vuitton shop in 1871, where they sold travel trunks, and the International Company of Wagon Lits and Orient Express was just down the street. The designers incorporated the travel theme throughout the space, with displays reminiscent of travel trunks and colors inspired by nature in shades of brown, ocher, green and blue.

PROJECT: San Diego, CA

John Ike designed a bar in his own midcentury modern home, with a focus on Southern California indoor/outdoor living. The room embraces both the design aesthetic and the spirit of San Diego, and is the focal point of the project. The bar itself is upholstered and decorated with upholstery nails representing either a scene from Genesis or an idealized view of San Diego.

IKB: IKE KLIGERMAN BARKLEY

WILSON ASSOCIATES ATELIER TRISTAN AUER

ikekligermanbarkley.com

Cocktail lounge or dive bar Cocktail lounge Shaken or stirred Stirred Harry’s Bar, Paris or King Cole Bar, New York Neither Plushy sofas or sculptural bar stools Sculptural bar stools

wilsonassociates.com

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Yann Deret

Darren Bradley

Old Fashioned or Sauv Blanc Simply good tea or coffee Cocktail lounge or dive bar Cosy Tea lounge Cut glass crystal or modern glassware Ceramic cup Eden Roc in Miami, or The Greenbriar in West Virginia The Scribe! Harry’s Bar, Paris or King Cole Bar, New York I can’t remember, can you book me a flight to NY to verify? Candlelight or sunlight Both moods Casablanca or Lost in Translation Casablanca for the extreme elegance.

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PROJECT: Cara Woodhouse

In a Victorian home, the designer used emerald green through the interior spaces as well as the exterior and carried that out to the pool house as well. A striking black-and-white graphic floor creates a fun foundation and, on the bar, an opulent 3-inch-thick bullnose black-and-white Corian bar top and a punch of green on the stools adds a glam touch.

CARA WOODHOUSE INTERIORS

carawoodhouse.com

Cara Woodhouse Interiors

Old Fashioned or Sauv Blanc Sauv Blanc Cocktail lounge or dive bar Cocktail lounge Shaken or stirred Shaken Plushy sofas or sculptural bar stools Plushy sofas Candlelight or sunlight Sunlight Casablanca or Lost in Translation Casablanca

PROJECT: Moscow, Russia

Kevin Allen

For a restaurant in Moscow, the designer created a bar that is literally made of money. The bar front has the words “Made of Money” written in coins. The design team collected coins for five weeks, in two cities. The bar is hand covered with 126,578 coins in total.

For this living room, Proxmire suggested a bar after she found an antique secretary in Atlanta. It became a beautiful focal point when not being used as a bar, because it has a display area for glasses and barware items. The size of the secretary was also needed to balance the rest of the large living room furniture, and the distinctive green glass doors and vintage gray paint fit perfectly with the color scheme of the room.

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YUNA MEGRE, MEGRE INTERIORS

KELLY PROXMIRE, KELLY PROXMIRE INC. kellyproxmire.com

Old Fashioned or Sauv Blanc Sauv Blanc Cocktail lounge or dive bar Cocktail Lounge Cut glass crystal or modern glassware Cut Glass Crystal Shaken or stirred Shaken Eden Roc in Miami, or The Greenbriar in West Virginia Greenbriar! Plushy sofas or sculptural bar stools Plushy Sofas Candlelight or sunlight Candlelight Casablanca or Lost in Translation Casablanca

megreinteriors.com

Mikhail Stepanov

PROJECT: Washington, D.C.

Old Fashioned or Sauv Blanc Sauv blanc Cocktail lounge or dive bar Cocktail lounge Harry’s Bar, Paris or King Cole Bar, New York Harry’s Plushy sofas or sculptural bar stools Plushy sofas Candlelight or sunlight Sunset Casablanca or Lost in Translation Forrest Gump

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WROCŁAW, POLAND

PROJECT Cottage of Maja Reinhard DESIGN Maja Reinhard STYLING Magda Zabierzowska Desk | Josef Motus Tailor Workshop, 1960s • Clock | Hermle, 1950s • Floor | Moroccan Tiles from Marrakech • Painting | “Roses” by Alfons Karpiński • Graphic on Desk | Dive Center Atmosphere logo by Moras • Chair | 1930s Photo credit: Celestyna Krol/Alicja Trusiewicz

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F O L I G N O, I TA LY

A snake-like light piece on the floor is among the eye-catching pieces lining this art filled enfilade.

TRANSCENDING SPIRIT A WORLD OF MAGICAL ENERGY RADIATES IN THE HOME AND STUDIO OF ARTIST ANDREA DE CARVALHO

Two thirty-year-old cactus Euphorbia Eritrea and examples of her own work mark the foyer of Carvalho’s Italian home and studio.

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Carvalho working clay in her home studio.

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The red, black and gold – the essence of Carvalho’s palette – play out vibrantly in the living room.

There are countless ways to go about achieving that sense of place we

is minimalist with a small M. The simplicity of its arrangement appears as

call ‘home’. For some it’s family photos, books and a sofa that can take

much a matter of chance as design. And while undeniably orchestrated, the

a beating. For others, it might be gallery-like spaces where the furniture

disposition of everything in it seems to speak of inner personal necessity,

is arranged just so. Andrea de Carvalho’s sunlit home in Umbria exists

not a desire to impress, or even intrigue.

somewhere in between. Expressive, but not effusive, composed but not rigidly so, these interiors project imperturbable self-possession. Born in Brazil, Carvalho studied fashion and fashion history in Paris and

Drawn to the “magical energy” generated by the apartment’s spacious rooms, high ceilings, and large windows, Carvalho treats her home as an installation. “In this mystical place, I can intertwine my artistic emotions

Milan before turning to art and creating curious, romantic objects from

with my daily life,” she says. “It’s a place where I can work at any time of

all kinds of material, including ceramics, mirrored glass and textiles. Her

the day and where I can preserve my works over time.”

home and studio – situated in a former convent in the town of Foligno —

Although the primary decorative impulse in the home stems from

TEXT THOMAS CONNORS PHOTOGRAPHY JOLA SKÓRA / JAM KOLEKTYW / ALICJA TRUSIEWICZ STYLIST ANNA OLGA CHMIELEWSKA / JAM KOLEKTYW

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“I have always made my own clothes,” says Carvalho, whose bold garments are anything but everyday.

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A monster pendant packs a punch in an otherwise strictly functional bathroom.

the display of her work, rather than a determinedly sophisticated

gold, these almost ceremonial pieces are displayed nonchalantly in

presentation of iconic furniture designs or bold display of cutting-edge

her bedroom. In the living room, it’s not the loosely slipcovered sofa

pieces, there really is nothing gallery-like about these interiors. True,

that grabs one’s attention, but the various Afghani war rugs which

it’s impossible not to notice Carvalho’s singular creations – a fabric

incorporate images of conflict and weaponry.

draped chandelier in the soggiorno (like a massive Portuguese man o’ war bobbing in the ocean), or a ceramic-studded tapestry in a hallway

relaxed environment. In the kitchen, cooking utensils are gathered in a

– but the reasonable arrangement of these pieces makes for a seamless,

crock and set atop a humble wooden plant stand. Although one might

authentic whole.

be tempted to tag this assemblage “sculptural,” it’s really just a bit of

With its motley seating and a big, mosaic-like heart on the wall, the The installation in the foyer combines a bust from Carvalho’s Cabeças Series, with suitcases, “Memories,” says the artist, “of going from one place to another with body and soul, and in this moment that we are all stuck in, very meaningful to me.”

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Even everyday things assume an eye-pleasing presence in Carvalho’s

clever functionality – but also a gesture that reflects Carvalho’s quest

dining room is clearly a place for conviviality and conversation, not

for a sense of harmony and her attention to “breathing space.” Like

formality and food fetishes. The artist’s interest in fashion is manifest

everything in the apartment, it is evidence that this home is not so much

in the striking garments she has designed. Fashioned in red, black and

decorated, as inhabited.

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HOLD IT! P U G L I A , I TA LY

When he puts down his camera and steps away from the studio, Uli Weber heads to his retreat under the Italian sun TEXT THOMAS CONNORS PHOTOGRAPHY ULI WEBER IN COLLABORATION WITH ALICJA TRUSIEWICZ

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WE ALL NEED ESCAPE. Some of us more than others. You might count Uli Weber among the latter. The renowned German-born photographer – whose dynamic fashion work and revelatory portraits of celebrities and artists occupy a huge space in our visual consciousness – makes his home in London, but is always on the go. So when it’s time to say basta to all the globetrotting for a bit, Weber heads straight for his palazzo in Puglia. Hailed for his keen eye and pristine technique, Weber seems to have shot anyone who is anyone, from Sting (swathed in a vividly red, fake fur coat) and Keira Knightley, to Kate Moss and Lily Cole. But stars and cover girls aren’t his only subjects. He’s captured architect Oscar Niemeyer and designer Achille Castiglioni and produced an entire book covering the Goodwood Revival, the vintage motor event held on the West Sussex estate of the Duke of Richmond.

first floor, with its great, vaulted rooms and marble and tile floors. Gathered over time, his furnishings range from Art Deco to a white leather B&B Italia sofa from the 1980s. “The main criteria” he says for anything he chooses to live with, “is that I must like it visually. But I don’t mind a wild card every so often. Things don’t have to be perfect. I’d rather mix and match.” While no country cabin, Weber’s singularly stylish home-away-fromhome shares with the humblest getaway a just-the-essentials aspect. True, a shockingly pink salon sports a photo he made of a nude model adorned in a riot of body paint. But the sparsely furnished dining room looks almost empty, thanks to a quartet of Philippe Starck’s Ghost Chairs. And Weber doesn’t rely on much more than a coolly linear MDF Italia bed and a tiny, tripod side table to make himself a bedroom.

Weber’s own country retreat was once the home of local nobility. The house, parts of which date to the 16th century, had lain empty for decades before the photographer acquired it. Not surprisingly, the property required some considerable TLC. The new padrone di casa executed an extensive renovation while exercising admirable respect for original details – floors, doors and windows – that are key to the character of the place. He even embraced the pink porcelain fixtures in the master bathroom. He also saw to it that the garden was refreshed, and installed a beautifully big pool. Weber transformed the former stalls and servants’ quarters on the ground floor into a guest apartment with a 70s vibe and made himself at home on the

The places we live impact how we feel, even how we move through the day, how quickly we get out of bed, the meals we opt to make. In the city, one might be content to pass the weekend at home, ordering in and reading or binging on a favorite Netflix show. In the country, it’s only natural to get outside, even if that just means sitting in the sun and letting the mind wander. “I am very much at ease,” reflects Weber of his sojourns in Italy. “They allow me to relax, entertain friends or spend a few days simply in my own company. Not to forget the proximity of the sea and the ever-changing winds.” Who could ask for anything more?

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IMPERFECTLY PERFECT S E V I L L E , S PA I N

FOR DANIEL MALDONADO AND LUCIANO GALÁN, HOME IS WHERE THE ART IS.

Ensconced in the city’s historic center, Daniel and Luciano enjoy a view of the Seville Cathedral.

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TEXT THOMAS CONNORS PHOTOGRAPHY DANIEL SCHAEFER

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Daniel Maldonado and Luciano Galán in their studio.

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Just steps from the couple’s home, their studio is chock-a-block with the tools of their trade and objects in various stages of completion.

nspiration doesn’t run on a schedule. And it may not strike like lighting. It’s more apt to come when you’re doing laundry or looking for your keys. It doesn’t arrive fully formed either. Instead, a kernel of an idea presents itself and only time can bring it to fruition. At the risk of relying on a cliché, one has to say, the highly individual Seville studio and residence of artists Daniel Maldonado and Luciano Galán are nothing short of inspired – in the true sense of the word. A ceramist, Maldonado’s training included study of the della Robbia style of 16th-century Florence, as well as Portuguese techniques. A carver of wood and stone, Galán also spent time learning mask making in Venice. Working alongside each other in a studio adjacent to their home, the couple employ clay, wood, ceramic, stone, paper and fabric to fashion almost talismanic decorative pieces from lamps and candlesticks to curious figures inspired by ex votos. Their atelier – crammed with materials and tools – is the definition of the word “workshop.” It is a place where things are made, and where the disparate elements of craft converge to create a visually hypnotic environment. That busy, somewhat disjointed element plays out in their apartment, as well. Maldonado and Galán reside in a 1930s building designed by architects Antonio Delgado Roig and Juan Talavera. Located not far from the 16th-century Gothic cathedral that defines the historic quarter, in an area replete with restaurants, bars and shops, the couple’s home seems wonderfully in the process of becoming. While obviously composed, the abundance and variety of the things populating their space (all enveloped by worn, plastercovered brick walls) generate a satisfying sense of ongoingness, a feeling that the place has not yet come to rest. And the furniture – such as the red metal chairs paired with a humble trestle table – are much more about function than looks. The real eye-catchers here are the art and decorative pieces that animate this industriallooking environment. That approach is evident everywhere. In a corner of the living room, above a futon outfitted with kilim-covered pillows, the wall is adorned with a wooden pediment; a medallion from an 18th-century church organ; and a hand-embroidered Persian textile. On a particularly battered bit of brick wall, a small, contemporary tempera on cardboard painting brings to mind the Infanta Margaret Theresa of Las Meninas, by Velázquez. From a fragment of an 18th-century Spanish altarpiece, carved in wood and covered with 22-karat gold, to the bold, orange suzani acquired on a trip to Istanbul and now covering their bed, all is a testament to the artists’ wide-ranging interests. “We are lovers of beauty,’ remarks Galán, “and we are of the firm conviction that to create beauty, you have to be surrounded by it.”

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“WE ARE CURIOUS MEN, WE LOVE ANCIENT GREECE, THE ROME OF THE CAESARS, THE OTTOMAN EMPIRE, BUT WE ALSO SOAK UP CONTEMPORARY CULTURAL REFERENCES,” SHARES GALÁN. “WE LIKE

HARMONIOUS SPACES, BUT WITH MOVEMENT, COLORS THAT SUPPORT OUR WELL-BEING AND A MIXTURE OF FURNITURE AND OBJECTS OF DIFFERENT STYLES.”

Finished pieces await shipping in a cabinet rescued from a haberdashery. An 18th-century wooden figure of Santa Catalina de Siena stands nearby.

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The home-like studio features tables that can do double duty as places to work or organize a lunch.

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An unrelated but utterly comfortable collection of seating forms this cozy corner of the living room.

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The tableau above the bed includes a tiny silver temple from the 17th century and two carved and gilded wooden palm trees made by the artists themselves. A Suzani coverlet adorns the bed.

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This well stocked corner of the space exemplifies the couple’s full-on embrace of eclecticism. Opposite: Recipient Head – inspired by the offerings Romans made to their gods.

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Hind quarters

Obsessed with chairs, Hutten has so many that they crowd a small mezzanine hovering over another lounging area.

Interior design with a sense of humor in Rotterdam, the Netherlands TEXT JORGE S. ARANGO PHOTOGRAPHY FILIPPO BAMBERGHI

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cloud-shaped chair made from thousands of discs of Kvadrat fabric in 100 different colors. A drinking cup with double handles reminiscent of Dumbo the elephant. A table and chair made entirely of stacked books…No one would accuse the Dutch multidisciplinary designer of all these objects – 53-year-old Droog alumnus Richard Hutten – of being incapable of having fun. So, you wouldn’t expect the Rotterdam-based Hutten to live in a Dutch Colonial home either – with its gambrel roof, curved eaves and tidy layout of interior rooms. Instead, Hutten resides with his girlfriend and three children (age eight to 21) in a loft-like space he carved out of a circa 1938 car garage. “The trusses are the only original detail,” he says of the framework that offers practical support for the ceiling. From there down, however, Hutten’s aim is clear: “Playfulness is the core,” he explains. “I built this house to play in – not only for me, but for my kids.” The structure also happens to be eco-friendly. When Hutten bought the garage over a decade ago, it was heated with gas. He ripped up the floor and installed radiant heat using water pumped from 450 feet underground and warmed by electricity. “Back then I was crazy,” he recalls. “Now I’m a visionary” (the Netherlands recently outlawed gas for new builds, requiring they be heated more sustainably). Ample fenestration and an enormous skylight ceiling also allow the harvesting of passive solar heat. The Droog design collective arose out of the cheeky Memphis movement in the 1990s and distinguished itself not only with pragmatic designs often incorporating recycled materials, but also by its “droog” (Dutch for “dry”) humor. “Playfulness is the essence of my work,” admits Hutten, whose insouciant humor pervades his prolific industrial and interior designs, which have earned him inclusion in prominent museum collections around the world. But Hutten’s ethos does not solely arise out of Droog’s manifesto. He is enamored of Dutch cultural theorist Johan Huizinga’s writings, specifically Homo Ludens, the 1938 treatise in which Huizinga postulated that play is an essential condition for the generation of culture; one that expresses freedom, that is not necessarily ordinary or “real,”

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that has its own creative order and civilizing function, and from which no monetary value can be gained. It is play as culture. The large main room of the 5,400-square-foot home is segregated into distinct areas in a few ways. Hutten’s own colorful Skyline Rotterdam Cabinets zone off the “living room,” where a custom carpet by CS Rug (he’s the firm’s art director) anchors a space that brings together Golp ven Lieshout sofas, an appropriately kinetic Thomas Heatherwick Spun Chair, a red chaise by Ineke Hans, a Jürgen Bey Chair and, on the periphery behind his own limited-edition desk, Marcel Wanders’ Knotted Chair. At this point we should probably explain that Hutten is, yes, obsessed with chairs. He has so many that they crowd a small mezzanine hovering over another lounging area. Here, an enormous work by Dutch artist Anouk Griffioen keeps company with Gerrit Rietveld’s famous Der Stijl Chair (“He is my hero,” says the designer, who has sometimes been hailed as “the new Rietveld” by the Dutch press), Bertjan Pot’s Random Chair and Jerszy Seymour’s denim Muff Daddy Chair. Around the corner is Tejo Remy’s Rag Chair and his Chest of Drawers, “You Can’t Lay Down Your Memories” – both iconic designs – which stand near Hutten’s own Cross, a combo table-seat. No two chairs around his Layers dining table (Gispen’s industrial version of the Book Table mentioned above) are alike, except that they are all black. There are specimens by Hutten, Wanders and Pots as well as Luca Nichetto and Michael Young. Rugs are another way of defining separate spaces within the main open plan, as with the one grounding the living room and another under – what else? a Foosball table. Above it is Hutten’s own Dandelion Lamp for Moooi. Hutten also used color to demarcate the kitchen (not shown), which he describes as a black “cockpit” that he based on a similar design he did for Amsterdam’s Lloyd hotel. “It’s important to have contrast in a space this large,” he explains. The playful ethos extends right into the master bath, where a bathtub is arbitrarily sunken into the middle of the floor. His explanation? “I did it for fun, no other reason.” Well, naturally.

1. Richard Hutten 2. Hutten’s own colorful Skyline Rotterdam Cabinets zone off the “living room.” 3. Tejo Remy’s Chest of Drawers, “You Can’t Lay Down Your Memories” 4. Tejo Remy’s Rag Chair, Hutten’s own Cross, a combo table-seat.

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An enormous work by Dutch artist Anouk Griffioen keeps company with Gerrit Rietveld’s famous Der Stijl Chair (“He is my hero,” says the designer, who has sometimes been hailed as “the new Rietveld” by the Dutch press), Bertjan Pot’s Random Chair and Jerszy Seymour’s denim Muff Daddy Chair.

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The large main room of the 5,400-square-foot home is segregated into distinct areas in a few ways. In the forefront is Richard Hutten’s limited-edition desk. Foreground above a Foosball table is Hutten’s own Dandelion Lamp for Moooi.

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3 1. No two chairs around his Layers dining table is alike, except that they are all black. There are specimens by Hutten, Wanders and Pots as well as Luca Nichetto and Michael Young. 2. Hutten’s 3 Minus1 Cabinet and Marcel Wanders’ Knotted Chair. 3. The playful ethos extends right into the master bath, where a bathtub is arbitrarily sunken into the middle of the floor. His explanation? “I did it for fun, no other reason.”

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A custom carpet by CS Rug, anchors a space (Hutten is the firm’s art director).

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TEXT ROBYN ALEXANDER PHOTOGRAPHY GREG COX INTERIOR DESIGN LAUREEN ROSSOUW IN COLLABORATION WITH RENÉE ROSSOUW

THIS COVETABLE MIDCENTURY HOME HAS BEEN SENSITIVELY RENOVATED AND IS NOW THE CENTER OF A FAMILY’S LIFE, AS WELL AS A UNIQUE SHOWCASE OF 20TH-CENTURY DESIGN

FROM BAUHAUS TO OUR HOUSE 116

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ABOVE: Homeowner and interior designer Laureen Rossouw in the sitting room adjacent to her en suite bedroom features a round table and Josef Hoffmann chairs. The rattan ceiling fan is by Newport Lighting and the fluted copper wall sconce is by Ernst Eloff. The rug is custom designed by the homeowner. OPPOSITE LEFT: The glass display cabinet from Onsite Gallery is used to store glassware and is topped with pieces from the homeowner’s extensive collection of 50s vessels as well as a mustard vase by Anthony Shapiro. The painting is by Renée Rossouw. OPPOSITE RIGHT: The home’s central staircase now features a mural created especially for the stairwell by Renée Rossouw.

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Homeowner and interior designer Laureen Rossouw and her husband Koos were about to move out of their old apartment, when she spotted a picture of a dilapidated house with classic Bauhaus lines in the newspaper. She was smitten. “I immediately phoned Koos to tell him I had found my dream house. When he saw how much work there was to tackle, he could not hide his disappointment,” but she finishes her tale with a characteristic flourish: “We always buy everything in a few hours and deal with the consequences later.” The Rossouws had been living in one of Cape Town’s iconic Art Deco buildings, in an apartment that had been spectacularly renovated by Laureen some years before. In this new home, she explains, “the lines were there; it was the layout that was unpractical. It clearly needed a thoughtful update to adapt it for 21st-century living. “The exterior had all the good elements of a midcentury meets Art Deco house, [but] the interior spaces were a bit of a mess and were almost completely redone [as] the interiors didn’t have flow or enough light.” Together with her architect daughter, Renée Rossouw, the pair turned the garden- and park-facing kitchen into a breathtaking double-volume space, and added more glazing elsewhere too, including a large circular porthole in the dining area, as well as clerestory windows and interior glass and metal doors. “[Creating] new, bigger windows and bigger volumes that flow into nature was a driving force,” reveals Renée, as the aim was to reconnect the house with its beautiful garden – also much worked on during the renovation and now a lush masterpiece – and the greenery of the park landscape beyond it.

ABOVE: In the main bedroom, the bed is covered with a linen throw in a magnolia print by Isobel Sippel. The bedside pedestal and vintage Kaiser Lamp are both from The New Modernist and the lotus cushion is by South African textile designer Jenny Gifford. OPPOSITE LEFT: In the main bedroom, the walnut Art Deco desk is from Piér Rabe Antiques and the 60s swivel chair, original Kaiser Lamp – the epitome of Bauhaus style – and mirror are all from The New Modernist. OPPOSITE RIGHT: A beech-wood Art Deco table was a junk-store find. The Sanell Aggenbach artwork is from What if the World gallery. Cream 50s vases and a lamp base from Rhys van Dijkare; the raffia lampshade is from Eagle Lighting .

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Once inside the house now, it’s impossible not to be captivated by the visual feast created by the classic 20th-century furniture, authentic design objects and special artworks that fill the interiors. But what really makes Rossouw’s painstakingly curated collection shine is the way it fits into the context of the reworked spaces.

THE OVERALL RESULT IS THAT AS WELL AS HAVING AN ABUNDANCE OF NATURAL LIGHT IN ITS INTERIORS, THE HOUSE IS AN INTRIGUING AND VISUALLY PLEASING EXERCISE IN GEOMETRY. IT HAS BECOME AN ILLUSTRATION OF THE FACT THAT MEZZANINE-LEVEL FAMILY ROOM AND STUDY AREA is one of architect Renée Rossouw’s favorite spaces in the house and features an aesthetically pleasing mix of vintage pieces and custom-designed elements, as well as ‘photos [featuring] both sides of the family and my mom’s poster collection I grew up with [that] make this room have the most nostalgic feel.’ The 50s blue metal desk is from The New Modernist, while Renée herself designed the black and cream wool tufted rug. The gorgeous yellow leather Basculant Armchair by Le Corbusier, is from Onsite Gallery, while the black leather 70s Italian leather swivel chair was found at Delos Antiques Emporium. The Pernilla chaise and footstool, designed by Bruno Mathsson, are from furniture collector and dealer Le Roux Viljoen, the L-shaped couch – upholstered in grey linen – was custom made by Leon at CCXIX and the vintage globe is from Rhys van Dijk. The cushions on the couch and lounger, as well as the original paintings are by Renée Rossouw, and the ceramics by Laureen and her younger daughter, Laura. Laureen has collected the classic posters – including the one commemorating the Munich 1972 Olympics – over the course of many years, mostly when traveling abroad.

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GEOMETRIC SYMMETRY IS NOT ABOUT STRAIGHT LINES, BUT RATHER, IS AN EXPRESSION OF THE MOST PLEASING COMBINATIONS OF SHAPES BASED ON RECTANGLES AND CIRCLES, AS WELL AS THE USE OF THESE ELEMENTS IN CONCERT WITH ONE ANOTHER.

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ABOVE AND OPPOSITE: Adorning the wall of this dressing room cum bedroom is a set of photographs of the slopes of Table Mountain taken by Laureen’s husband, Koos Rossouw. The 50s chair is a junk-store find. This bedroom features a custom-made bed by Leon at CCXIX, which is covered with a classic Basotho blanket from Heartworks. OPPOSITE: The painting on the left is by Francois Roux, purchased from the Voorkamer Gallery at Chandler House, and the selection of artworks also includes “The Prime Minister” by Anton Karstel (top right).

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“My mom and I often collaborate,” declares Renée. “We alternate between creator and editor for different projects, depending on whose project it is. We have a similar understanding of color and style: I’m a bit more minimalist and stripped down whereas Laureen is more energetic and passionate.” In this project, she adds, “My mom was the driving force. I acted mostly as a sounding board and gave architectural ideas about light and volume and space. Once she started with the interiors, I designed some of the surfaces – like floors and a mural, and some furniture pieces. She furnished the space from her ideas and desires.”

LAUREEN, FOR HER PART, EXPLAINS THAT “SO MUCH INTERIOR DESIGN IS BASED ON FORMULAS ABOUT HOW SPACES SHOULD WORK,” ADDING THAT A FORMULAIC APPROACH “HAD TO BE TRANSCENDED” IN THIS HOUSE. “EVERY SPACE HAD TO BE CONSIDERED AND DESIGNED – AND THEN FURNISHED – ON ITS OWN TERMS,” SHE DECLARES. THE RESULTS ARE BEAUTIFUL: 20TH-CENTURY DESIGN PIECES INCLUDING LE CORBUSIER CHAIRS AND A BRUNO MATHSSON CHAISE SHARE THE SPACE WITH CUSTOM-DESIGNED FLOORING AND WALL PANELS CREATED BY RENÉE. THE COLORS USED THROUGHOUT ARE VIBRANT, YET ALWAYS ABOVE AND OPPOSITE LEFT: Laureen and Renée removed the old kitchen ceiling to create a dramatic, double-volume space that opens onto the garden beyond and incorporates a petite dining and living area too. The floor is finished in custom-made tiles by Moroccan Warehouse. Open shelving allows Laureen to display a variety of kitchenware pieces collected over the years. The Tulip Table and original Eames chairs are both by Vitra. OPPOSITE RIGHT: In an open-plan format, the dining room connects with both the main living room and the kitchen and opens to a patio and the garden beyond via double-volume, steel-framed windows that were custom made by Jambmax. The large porthole window was added during the renovation. The Pierre Jeanneret lookalike dining chairs and the vintage brass chairs are sourced from The New Modernist. Swedish designer Bruno Mathsson created the red leather Jetson Swivel Chair sourced from furniture collector and dealer Le Roux Viljoen. Rugs from Tirmah Interiors.

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TONALLY ARRANGED TO PERFECTLY SET OFF ONE ANOTHER WITHIN EACH ROOM. AND THE FINAL LAYER IS FORMED BY LAUREEN’S COLLECTIONS OF

CLASSIC

POSTERS,

LOCAL

ARTWORKS

AND

COLLECTIBLE

OBJECTS.

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BELOW: Renée Rossouw designed the wicker and steel bench. The wrought-iron recliners (they are Victorian and were secondhand store finds) are paired with cushions in outdoor fabric by Hertex, and the midcentury outdoor wire table and chairs are all from Haute-Antiques.

AMONG THE HOME’S MOST CHARMING SPOTS IS THE OUTDOOR LIVING SPACE, COMPLETE WITH MATURE TREES, A FIRE PIT AND A COMBINATION OF VINTAGE AND

CUSTOM-DESIGNED

GARDEN

FURNITURE.

THIS, RENÉE NOTES, IS THE PLACE WHERE “WE SIT 126

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FAMILY...IT

FEELS

REALLY

SPECIAL.” ASPIREDESIGNANDHOME.COM

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A HOME AWAY Designer Kristi Nelson transports her client to where she wants to be

TEXT THOMAS CONNORS PHOTOGRAPHY SARAH R. WAUTERS INTERIOR DESIGN KRISTI NELSON

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It’s not impossible to transform a nondescript, architecturally null Century City condo into something special, but it’s not easy. Especially when your client is dreaming of something out of the 16th arrondissement. Faced with just that task, L.A. designer Kristi Nelson didn’t say “Non.” But she didn’t utter “Pas de problème” either. Nelson knew a bombe chest here and directoire writing table there weren’t going to get the job done. The 70s-era property required a complete reinvention. Equally at ease tackling a Georgian Revival or a modern bungalow, Nelson approached the project with a solid sense of proportion. To give the space – the vibe of a house, rather than that of an apartment – she gutted and reconfigured the unit, expanding the foyer, opening up the kitchen, and cutting the living room down to a more inviting size by shaving off some square footage to create a separate den. She laid new floors and introduced space enhancing millwork to establish a cohesive envelope and then set about generating a world of knowing sophistication. Nelson’s architectural interventions – “an effort to create a sense of grandness” – are matched by her assured and judicious orchestration of everything from rugs and drapes, to furniture and wall treatments. “My client had been in the garment industry, in a company that manufactured jeans, and she’s very familiar with fabrics and construction,” explains Nelson. “So, she appreciates details, like nail heads on an upholstered wall. And cozy fabrics are a big deal for her, so we used tons of chenille, tons of velvet.” Drawing from the client’s own possessions (including a 19th-century Pembroke table that Nelson ebonized) and sourcing new items (such as a Baccarat chandelier for the dining room) that support the Continental ambience she was out to achieve, Nelson devised interiors that project both luxury and ease – rooms that express both an appreciation for unmistakably nice things and the knowledge that comfort is a true luxury, too.

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

OPPOSITE: WITH ITS TILE FLOOR AND A FOIS BOIS TABLE FROM DAVID SUTHERLAND, THE KITCHEN TERRACE STRIKES A SMART RUSTIC LOOK. ABOVE: RICH WOOD AND ATTRACTIVE FABRICS — FROM CONCERTEX AND KRAVET — GIVE THIS KITCHEN SEATING AREA THE GRACE OF A FORMAL DINING ROOM.

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While this pied-à-terre certainly has its knockout spaces – that den, with its gold leaf ceiling and handsome built-ins housing a collection of Chinese export porcelain, and a master bath with classically-styled cabinets and custom mosaic tile floor – Nelson’s skill shines, too, in rooms that can sometimes look more off-the-rack than outstanding. Take a living room; there’s only so much you can do with a sofa, a couple of chairs, and a coffee table. But the right pieces in the right hands can result in something special. The space Nelson designed for the client – measured but not mannered, smart and not stuffy – is a room you want to be in. “Part of it,” suggests Nelson, “is having a mix of things that look as if they came from here and there over time. And the feeling that things can be moved around and adjusted, that nothing is too perfect. So, we have a reproduction chinoiserie table and a sofa that looks like it could have been reupholstered a hundred times.” That wide and welcoming embrace plays out vivaciously in the kitchen, where a stunningly upholstered banquette (with an 18th-century, gilded starburst Italian mirror on the wall above) keeps company with a pair of shell back chairs and a custom, walnut topped table resting on a fluted, cast cement base. “The fluted base of the table talks to the rays of the mirror that talk to the pattern in the chairs,” relates Nelson. “It’s knowing how things relate, establishing a repetition of form or shape or line.” Formality is an attitude, but formally designed spaces don’t have to have attitude. That fact is clear as one absorbs Nelson’s rendering of a home a world away from L.A. Even the small kitchen terrace – with its ocher tile floor, wicker chairs and fois bois table – has a richness about it, but one spun from the simple play of color and material, not self-important snootiness. Bon travail!

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ABOVE: SILK AND TAFFETA, GOLD LEAF AND A LARGE FORMAT PHOTOGRAPH BY MASSIMO LISTRI ALL CONTRIBUTE TO THE RELAXED FORMALITY OF THE LIVING ROOM. BELOW: A CUSTOM-COLORED WALL TREATMENT IN A MING GARDEN MOTIF IN THIS HALLWAY MAKES FOR A WONDERFULLY WELCOMING PRELUDE TO THE DINING ROOM.

DEEPLY HUED WALLS, A GOLD LEAF CEILING AND SUBSTANTIAL BUILT-INS MAKE THIS DEN A REAL JEWEL BOX OF A ROOM.

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OPPOSITE: THE CUSTOM DESIGNED HEADBOARD IN THE PRIMARY BEDROOM IS COVERED IN A SOOTHING SCALAMANDRÉ FABRIC. AN EARLY 19TH-CENTURY VENETIAN WALNUT TABLE FROM THE CACHE COLLECTION IN WEST HOLLYWOOD SERVES AS A NIGHTSTAND. ABOVE: THE IMPRESSIVE BUILT-INS IN THIS BATHROOM ARE PAINTED A CUSTOM BENJAMIN MOORE HUE AND FINISHED WITH A STRIE TREATMENT.

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SET AMID OLIVE GROVES AND HERDS OF SHEEP, A MOROCCAN BED AND BREAKFAST DOUBLES AS A RUG EMPORIUM

TEXT / JORGE S. ARANGO PHOTOGRAPHY / CÉCILE PERRINET-LHERMITTE STYLIST / ELEN POUHAËR

“I’M A CUBICLE ESCAPEE,” QUIPS AMBER EL-AMIN. “I ran from an administrative job in a law office with all my savings from the previous two years, then risked it all on 12 vintage rugs within the first month in Morocco.” That was the genesis of her custom carpets firm, then known as Pink Rug Co., on the outskirts of Marrakech. Today, it’s called The Gardener’s House and includes under its entrepreneurial umbrella an enchanting bed and breakfast set alongside a classical Moorish garden.

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MARRAKECH, MOROCCO

El-Amin is part Moroccan and part German, “the outcome of the true roving, adventurous spirit of the 1960s and ’70s,” she says, something that evidently influenced her. “In my adult years, I set out to live for extended periods in London, Italy, India and Morocco, and have spent weeks and months traveling through Europe. I’ve backpacked through Thailand, Malaysia and Indonesia. There have also been cross-country U.S. trips. I’ve explored a lot of the West Coast, from the very top into Canada to the very bottom into Mexico.” Today, El-Amin, her husband and their five-year-old boy toggle between Morocco and the suburbs of Virginia. The building housing the bed and breakfast was originally built as a warehouse for the company’s rugs. But the couple renovated a few years ago, isolating the storage area in one part of the property and converting the rest into the six-bedroom B&B operation, which opened in 2018. (It is open to those who have been vaccinated – a travel requirement decreed by the King of Morocco.) If El-Amin had her druthers, she says, “The Gardener’s House would have been a large palatial villa and the guest cottages would all be separate and set along a winding pathway at the outer edges of the property. There would have been a beach-entry-style swimming pool crisscrossing the front yard, where guests could swim under bridges while other guests walked overhead. As you can see, I have an active imagination.”

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Given the existing architecture, however, everything but the kitchen is housed in one cement building swathed in traditional Moroccan tadelakt plasterwork. The couple put up walls, including a lattice room divider punctuated by three arches. They also created a covered colonnade along the front façade, “which lends more of a villa feeling to the exterior,” believes El-Amin. There is now also an arbor “hallway” that meanders through the front lawn around a three-tiered fountain. “I actually designed the architecture of the kitchen and guest bathrooms,” notes El-Amin. “As you can see, I have a great love of wall niches, which comes from lots of time spent in Pushkar, India and extensive travel in Italy.” Then El-Amin channeled her “active imagination” to furnish interiors in a bohemian sort of hippie chic. “Nearly everything in the spaces is vintage, sourced online and then shipped by container to Morocco,” she explains. “There are a few Edward Wormley sofas, Marco Zanuso armchairs and an authentic Saarinen conference-size dining table.” Other pieces, adds El-Amin, “were made in Marrakech, which has a very rich culture of artisan work. You can find skilled craftsmen in really any age-old tradition, including metalwork, carpentry, marble cutters and textile weaving.” However, regionally common handcrafted touches – ornately carved wood doors, colorful tilework (arabic zellij) and intricately painted ceilings (Zouac) – do not overwhelm the restrained, minimal design. The interior palette, a highly textured array of soothing neutrals, imparts warmth to the modernity. Throughout there are pops of gold and dusty pink. Considering the former name of El-Amin’s rug company, the latter is an apparently favored hue. But it also relates to the Moroccan sunsets of the locale, which, she declares, “looks very biblical – shepherds and their flocks are a common sighting. The roads are dirt, and the houses are mostly mud brick. It is agricultural land surrounded by olive groves.” Given the origins of the B&B and the raison d’être from which it sprang, the whole property “doubles as a rug showroom,” shares El-Amin, noting that “any rug on the property can be purchased.” They are displayed overlapping or side-by-side indoors, under the covered colonnade along the front of the house, even laid on the grass for an impromptu picnic. It may not be what El-Amin imagined. But, she says, “What we have now is also very beautiful.”

MARRAKECH flair

By Marisa Berenson Assouline • $95 Berenson fell in love with Marrakech eight years ago and once she found the perfect riad, she decided to call it home. It has been said that Marrakech awakens all of the senses. Whether it is seeing the intricate zellige tilework, smelling the various spices sold at the souks, hearing the call to prayer emanate from the nearby mosques, touching the supple leather used to make a pair of babouches (leather sandals), tasting a flavorful tagine, Marrakech never fails to excite. Located just west of the Atlas Mountains, the city has been inhabited by Berber farmers for centuries. It has been dubbed the “Ochre City” because of the proliferation of red sandstone buildings and the red city walls, which now enclose the Medina, home to Jemaa el-Fnaa, one of the busiest squares in Africa. Marrakech overflows with culture and has been inspiring visitors for decades.

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SPICED LAMB TAGINE WITH APRICOTS, DATES AND MINT The term “tagine” refers to the name of this traditional Moroccan meat stew, as well as the clay pot with a conical lid in which the stew cooks over a live fire. This recipe uses a more practical lidded casserole in which to cook the tagine with equally delicious results. Enjoy the tagine over hot, fluffy couscous. Victoria Abbott Riccardi writes about food and travel. victoriariccardi.com The resident cook prepares meals for guests in the kitchen El-Amin designed with built-in cubbies of tadelakt, inspired by her time spent in India and Italy.

SHOPPING LIST

4 tablespoons olive oil, divided 4 pounds boneless lamb shoulder, trimmed and cubed Salt and freshly ground black pepper 2 tablespoons sweet butter 2 medium onions, peeled and chopped 2 teaspoons ground coriander 1 1/2 teaspoons ground cinnamon 3 cloves garlic, peeled and minced 1 tablespoon minced fresh ginger Pinch saffron threads 2 1/2 - 3 cups beef stock (or water) 1/2 pound pitted apricots 1/2 pound pitted dates 3 tablespoons honey 3 tablespoons toasted sliced almonds 3 tablespoons chopped fresh mint

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1. Heat 2 tablespoons of oil in a heavy Dutch Oven or casserole over medium-high heat. Add half the lamb cubes, season with salt and pepper and cook until lightly browned all over, about 6 minutes. Transfer the cooked lamb cubes to a plate and repeat the process with the remaining oil and lamb cubes. 2. Over medium-low heat, melt the butter in the same Dutch Oven or casserole dish. Add the onion and sauté until translucent. Stir in the coriander, cinnamon, garlic, ginger and saffron. Then, add the browned lamb cubes and their juices back to the casserole, stirring to coat the meat with the onion and spices. Sauté for 2 minutes. 3. Add enough stock to just cover the meat, about 2 1/2 cups, and bring to a boil. Reduce the heat, cover and simmer the tagine for 1 hour, or until meat is tender. Stir in the apricots, dates and honey. Simmer, covered, for approximately 20 more minutes; add a little more stock as necessary, to yield a syrupy sauce. Season the finished tagine with more salt and pepper to taste. Serve garnished with the almonds and fresh mint.

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last words CREATED EXCLUSIVELY FOR ASPIRE DESIGN AND HOME BY MYLES MELLOR

SINCE 1953

JAMES MALONE FABRICS BUCCO WALLPAPER Inspired by costume designs by Henri Matisse and Pablo Picasso for the Ballets Russes. thomaslavin.com

Across 1 4 8 9 10 11 13 15 16 17 20 22 23 25 28 30

Lilac or violet Playful water creatures Mother-of-pearl Shade of green Maroon or cardinal Pinkish-orange color Dimple spot Reserved to come forward Sunrise time Cheerful tempo Dry as wine Turquoise and navy Cut decoratively Spring flowers Contend for superiority Popular color for kitchen cabinets 31 Small branch

Down 1 2 3 5 6 7 9 12 13 14 15 18 19 20 21 24 26 27 29

Sunrise color Ornate 18th-century style Are situated Blue color Brown colored Arizona town known for its red rocks Light grey shade Guidelines Lovey-dovey sound Color crudely Spring flowers Energy Tan color Thin fragment New Haven’s state, abbr. Dark purplish color Grey color “___ on the Spring” by Thomas Gray __shell, neutral color

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florense.com A&D BUILDING, NEW YORK 150 E 58th Street, 3rd Floor T 212 371 4100 DCOTA, MIAMI 1855 Griffin Road, Ste B-112 T 954 922 7384

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