NEW LUXURY
architecture interiors design fashion ISSUE
44
A S E AT T L E S TAT E O F M I N D
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WE EXPL AIN TO THE WORLD WHO WE ARE THROUGH THE THINGS WE DO.
The First Light project is under development and all information contained herein, including, without limitation, pricing, concept drawings, illustrations, renderings of the building, units or landscaping, description or depictions of amenities, unit specifications, depictions of views, floor plans, common areas, and proposed finishes or other detail are for illustrative purposes only, and are based on current development plans that are subject to change without notice. Any stated square footages or dimensions are approximate and will vary with actual construction. THE IMPROVEMENTS DEPICTED ARE PROPOSED AND NEED NOT BE BUILT. This document is not an offer to sell or a solicitation of an offer to buy a condominium unit. Prospective buyers should not rely on any content contained herein, and any purchase and sale of First Light condominium units will be governed exclusively by the terms of purchase and sale documentation, public offering statement, condominium declaration, and other documentation required by owner. Construction of the project and the sale of units will further be conditioned upon the satisfaction of all requirements under the laws of the State of Washington and any other applicable law. Represented by S&P Realty Services WA Corp.
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no. 44 : luxury
16. HELLO
Defining luxury.
news 30. HAPPENINGS
Design news and events.
fashion
features
38.
48.
FAMILY TIES
Sumptuous couture by Catherine and Eva Regehr has graced Middle Eastern royalty and Russian socialites, but the mother-daughter duo draws inspiration from the great outdoors.
COLD COMFORT
The flip of a switch transforms an imposing, weather-proof fortress into an inviting ski retreat in Whistler, British Columbia. 60.
NEW STEEL
Meet the under-the-radar architectural fabrication company that has become the secret weapon of many highprofile firms.
42. WELL-SUITED
A bespoke suit becomes a journey of sartorial self-affirmation for a transgender man. 64.
THE CHAMPAGNE OF TAPROOMS
In a region dedicated to craft beer, a new cider spot raises the taproom bar with elegant, moody décor and a plethora of custom details.
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GRAY MAGAZINE
on the cover
Catherine Regehr’s Spring 2019 collection. Photographed by Alexa Mazzarello. SEE PAGE
38
64
90
72
interiors + architecture 72. DOUBLE IDENTITY
back of book 90.
GRAY’s Top 20 Kitchen + Bath round-up showcases the best in fine furnishings, fixtures, finishes, and more.
Using restrained materials and minimal décor in a renovated office space demonstrates the power of less-is-more design. 78.
BENEATH THE SURFACE
100.
FARMHOUSE MODERNE
A derelict farmhouse is made fresh for a family of five, with unexpected details woven throughout its revamped rooms.
114.
LAST LOOK
Artist and designer Andi Kovel on her “punk luxe” decanter set and how it gives new meaning to raising a glass.
SPEC-TACULAR
A visionary interior designer races to customize a new spec home within a two-week window.
Seattle’s most controversial company is now responsible for its most beautifully designed bar. 82.
KITCHENS + BATHS
104.
BEST IN SNOW
Anchored by simple architectural forms, a starkly modern home reenvisions the traditional Northwest ski cabin without losing its sense of place.
GRAY MAGAZINE
15
hello
true luxury is the ability to surpass all ordinary circumstances and achieve something extraordinary.
T
he late Arthur Erickson, an exemplar among legendary architects, noted during a speech at the McGill University School of Architecture in 2000: “A thing of beauty is not pretty, nor perfect, nor flashy—but restrained, often odd, tough, indefinable—it touches a higher sense than the emotions alone. Out of the most ordinary circumstance a transcendental experience is distilled.” It’s this idea of transcendence that resonated with me, and I drew upon it when considering what luxury means today and how we would apply the theme to this issue. Once rather surface level, today’s idea of luxury has depth. It means enriching one’s life with beauty or comfort, but as it’s achieved through experimentation, rulebreaking, self-reflection, or empowerment of expression. We touch on all of these points and weave them throughout the following pages. Whether the concept of luxury is explored in an exquisitely designed ski retreat that blurs the physical boundaries between the home’s interior and exterior (page 48), or in a personal journey of self-discovery undertaken by one transgender man that brings to light the boundaries of traditional
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GRAY MAGAZINE
tailoring (page 42), true luxury is the ability to surpass all ordinary circumstances and achieve something extraordinary. ---For GRAY, one element of luxury is the forward momentum we continuously experience, perhaps as a result of our own quest for the extraordinary. It’s on that note that we debut the magazine’s redesign. Doubling down on print, we’re using a heavier paper and giving it a narrower trim for a sleek, tall shape. In the year ahead, we’ll continue to dive deep with stories that explore the intersection of design and social or civic issues, profiles of game-changing visionaries, and more. Finally, as we discuss the future, I’m thrilled to introduce our new editorial director, Tiffany Jow, who joins the team this month. Previously at Surface magazine, Tiffany will apply her passion for design and her vast industry knowledge to GRAY as we continue to move forward in our own state of luxury! Shawn Williams Publisher
roomandboard.com
CEO + Publisher SHAWN WILLIAMS
Chief Creative Officer STACY KENDALL
Associate Publisher DIXIE DUNCAN
dixie@graymag.com Senior Editor RACHEL GALLAHER
Account Executives ALAN BRADEN
Managing Editor
alan@graymag.com
JENNIFER MCCULLUM CRAIG ALLARD MILLER
Digital Content / Special Publications
craig@graymag.com
LAUREN MANG
Copy Editor LAURA HARGER
Production + Editorial Assistant ABBY BEACH
Contributing Editors RACHEL EGGERS BRIAN LIBBY NESSA PULLMAN RENSKE WERNER AMANDA ZURITA
Administrative Manager TRACEY BJERKE
tracey@graymag.com Newsstand Manager BOB MOENSTER
Public Relations PAXSON FAY
info@paxsonfay.com PA to the Publisher AMY BROSKA
Contributors GEORGE BARBERIS SAMA JIM CANZIAN CHRISTOPHER DIBBLE PETER ECKERT LARRY GOLDSTEIN HARIS KENJAR JENNIFER BAUM LAGDAMEO ALEXA MAZZARELLO MARTIN TESSLER
Interns CLAIRE BUTWINICK KATHRINE GUZIK TAMAR LEVESON
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PORCELANOSA SEATTLE 88 Spring Street, Suite 120 88 Spring Suite 120 Seattle,Street, WA 98104 Seattle, WA 98104 206.673.8395 206.673.8395 www.porcelanosa-usa.com www.porcelanosa-usa.com
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Inquiries info@graymag.com editors@graymag.com advertising@graymag.com events@graymag.com subscriptions@graymag.com To stock GRAY, contact: distribution@graymag.com No. 44. Copyright ©2019. Published bimonthly (DEC, FEB, APR, JUNE, AUG, OCT) by GRAY Media, LLC. All rights reserved. Permission to reprint or quote excerpts granted by written request only. While every attempt has been made, GRAY cannot guarantee the legality, completeness, or accuracy of the information presented and accepts no warranty or responsibility for such. GRAY is not responsible for loss, damage, or other injury to unsolicited manuscripts, photography, art, or any other unsolicited material. Unsolicited material will not be returned. If submitting material, do not send originals unless specifically requested to do so by GRAY in writing. POSTMASTER: Send address changes to GRAY, 5628 Airport Way S., Ste. 330 Seattle, WA 98108 Subscriptions North America: $60 us for one year (6 issues) Intercontinental: $144 us for one year (6 issues)
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contributors
JENNIFER BAUM LAGDAMEO Jennifer Baum Lagdameo is a freelance writer whose work has appeared in the San Francisco Chronicle, Dwell.com, Elle Decoration Philippines, and Art Asia Pacific to name a few. Jennifer has lived in Washington DC, Brooklyn, Tokyo, and Manila—and now calls Portland home. Living in the Pacific Northwest has made Jennifer realized that her love for nature is right up there with her love for art, architecture, design, and fashion.
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GEORGE BARBERIS
RACHEL EGGERS
George is a lifelong New Yorker, converted to the West Coast and is currently residing in Portland. He shoots for brands, designers, and magazines in Seattle, Portland, Los Angeles, San Francisco, and New York. He strives to find the subtly of form in his still life and interior work. He is also an avid gardener.
Rachel has written for GRAY since 2013 and was named contributing editor in 2017. Specializing in arts and culture, she has written for City Arts and Travel + Leisure, and worked on the Seattle International Film Festival. Eggers is currently the manager of public relations for the Seattle Art Museum.
Photos courtesy of CMGT Construction Group
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ar chi te ct s
Take a look at these firms first for your next project. Visit their portfolios on graymag.com or link directly to their sites to learn more.
The following architecture and design firms are among the
4D Architects 4darchitects.com
babienko ARCHITECTS pllc babienkoarchitects.com
best in British Columbia, Washington, and Oregon. They also support GRAY’s effort to advance the region’s vibrant design community. We are proud to call them
BjarkoSerra Architects bjarkoserra.com
our partners.
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Eerkes Architects eerkesarchitects.com GRAY MAGAZINE
AKJ Architects LLC akjarchitects.com
Artisans Group artisansgroup.com
Atelier Drome atelierdrome.com
Baylis Architects baylisarchitects.com
BC&J Architecture bcandj.com
Ben Trogdon | Architects bentrogdonarchitects.com
Board & Vellum boardandvellum.com
David Coleman Architecture davidcoleman.com
Designs Northwest Architects designsnw.com
Eggleston | Farkas Architects eggfarkarch.com
Emerick Architects emerick-architects.com
First Lamp firstlamp.net
architects
Giulietti | Schouten AIA Architects gsarchitects.net
Guggenheim Architecture + Design Studio guggenheimstudio.com
H2D Architecture + Design h2darchitects.com
Johnston Architects johnstonarchitects.com
JW Architects jwaseattle.com
KASA Architecture kasaarchitecture.com
Risa Boyer Architecture risaboyer.com
RUF Project rufproject.com
Scott | Edwards Architecture seallp.com
Stephenson Design Collective stephensoncollective.com
Studio Zerbey Architecture studiozerbey.com
Sturman Architects sturmanarchitects.com
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Hoshide Wanzer Architects hw-architects.com
Janof Architecture janofarchitecture.com
Lane Williams Architects lanewilliams.com
Openspace Architecture openspacearchitecture.com
Richard Brown Architect, AIA rbarch.com
SHKS Architects shksarchitects.com
Stark Architecture starkarchitecture.com
Steelhead Architecture steelheadarchitecture.com
Tyler Engle Architects tylerengle.com
William Kaven Architecture williamkaven.com
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Take a look at these firms first for your next project. Visit their portfolios on graymag.com or link directly to their sites to learn more.
interior design The following design firms are among the best in the Pacific Northwest. They also support GRAY’s effort to advance the vibrant design community. We are proud to call them our partners.
Finley Grace Design finleygracedesign.com
Caitlin Jones Design caitlinjonesdesign.com
Carol Williamson + Associates cwainteriors.com
GATH Interior Design gathinteriordesign.com
Hyde Evans Design hydeevansdesign.com
Michelle Dirkse Interior Design Penny Black Interiors michelledirkse.com pennyblackinteriors.com
Van Sickle Design Consultants vansickledesign.com
Tammara Stroud Design tammarastroud.com
Weedman Design Partners weedmandesignpartners.com
no. 44 : luxury
NEWS
GLOW UP GLASS CAN BE A HUMBLE OR A HIGH-MINDED MATERIAL. Nathan Allan Glass Studios, a Surrey,
WEIQI JIN
British Columbia–based manufacturer, has achieved the latter with the recent unveiling of the more than 1,000 square feet of custom kiln glass it created to envelop the Louis Vuitton store in Beijing. The focal points of the upscale Shin Kong Place shop, these architectural glass walls are composed of 32 seamless panels that reproduce the fashion brand’s famous logo in a stylized floral pattern. The 3D cast glass also harbors a luxurious secret: millions of glittering crystals are fused onto the back of each panel. —Claire Butwinick
GRAY MAGAZINE
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news
grande opening DEBUTING ITS FIRST EUROPEAN ROASTERY THIS PAST FALL IN CENTRAL MILAN, Starbucks has returned to founder Howard
Schultz’s initial inspiration for the world’s most famous coffee company: the bustling café culture of Italy. Designed inside the Palazzo delle Poste in the Piazza Cordusio, the previous site of a historic post office, the 25,000-square-foot Reserve Roastery Milan boasts local products and finishes including a Milanese-manufactured Scolari coffee roaster, handchiseled palladiana flooring, and a bar of fluted wood and Tuscan marble, all tributes to the Italian roots, and now newest location, of the global coffee giant. —Tamar Leveson
focal range Octave 9, the latest addition to Benaroya Hall, home of the Seattle Symphony, is an interactive environment dedicated to music education and community engagement. Designed by LMN Architects, the flexible audiovisual space will replace the Soundbridge Seattle Symphony Music Discovery Center in March. Octave 9 can be transformed into a performance space, a meeting room, or an interactive classroom to suit the needs of an activity or performer, and its acoustically absorptive celled ceiling conceals microphones, speakers, and other necessary tech. —TL
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Vancouver design group Circle Wellness Studios has created an innovative, therapeutic multipurpose wellness room contained in a chic, minimal shell. The WellPod, a self-enclosed prefab studio, is designed for meditation, stretching, relaxation, and various kinds of physical therapy. The multisensory experience gives the user full control of the unit’s temperature, light, sound, and airflow. Its modern envelope features fire-torched cedar inspired by the Japanese burning technique shou sugi ban, and the interior is lined with glowing salt bricks (said to confer benefits such as cleaning the air and the respiratory system, relieving skin problems, and emitting negative ions, which elevate moods). Sustainable and customizable elements allow the pods to be set up in diverse environments, from single-family residences to public health centers. The result? An energy-efficient and aesthetically aspirational space to sustain the mind, body, and spirit. h
CLOCKWISE FROM TOP: STARBUCKS; RENDERING COURTESY LMN ARCHITECTS; PAUL HENNESSEY
WELL DONE
Susanne Grønlund © 2019 Design Within Reach, Inc.
Designer of the Noomi Swivel Chair Experience the best in modern design at our stores. Stop by today or book a complimentary design session in advance at dwr.com/studios. 825 NW 13TH AVE., PORTLAND | 503.220.0200 1918 FIRST AVE., SEATTLE | 206.443.9900
news
Thank you to our sponsors, partners, and volunteers: AGS Stainless, Design Within Reach, Marvin Windows and Doors, Dowbuilt
(formerly Schuchart/Dow), Roche Bobois, Roberts Group, Brizo, Porcelanosa, BoConcept, Kartners, Real Carriage Doors, ARCADE, Kate Duncan’s ADDRESS, Design Milk, Gossip & Glamour, v2com, AIA Portland, AIA Seattle, ASID, FGI Seattle, IDSA, Seattle Made, Seattle Sewn, Bamboo Beats, Browne Family Vineyards, Confëte Party Box, David Albright Media, Dry Sparkling Soda, Gruet, Kontent Partners, Moe’s Home Collection, OOLA Distillery, Phototainment, Cort Party Rental, The Fix Photo Group, The Sanctuary, and Paxson Fay Public Relations, and red carpet host Scott Carty.
And judging panel: AvroKO, Ken Fulk, Jaime Hayon,
Adam Lippes, Elaine Molinar, and David and Peter Walker.
GRAY Awards judges William Harris and Kristina O’Neal, AvroKO.
Design’s Night Out ON NOVEMBER 29, we celebrated the PNW design
community and the best work of the region at the 2018 GRAY Awards. Our second-annual party was held at The Sanctuary in Seattle, adorned with a custom balloon installation by Confëte Party Box. Each award announcement was accompanied by video and commentary from our renowned judges, and every victory was punctuated with a shower of silver confetti as the winner received their oneof-a-kind trophy, designed by Pacific Northwest glass artist John Hogan. GRAY’s band—all designermusicians—provided the soundtrack, and celebrated drag revue Le Faux delivered stunning diva-centric performances (including a spot-on “Cher”). Before the dance party broke out, dancers in tinsel wigs distributed our December/January Awards issue via a Soul Train–style line. We are proud to report that our attendee ticket sales have enabled us to donate more than $14,000 to our charity partner, the homelessness-focused BLOCK Project. h
See more photos and video at grayawards.com Photographed by
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news
In-House Talent
Design House Northwest Series | Part 2 IT TOOK MORE THAN A YEAR of whirlwind conceptualizing and planning before the doors of the 2019 Design
House Northwest first opened to creatives last October. Designers and interior architects from the region—all vying for a spot on the Design House Northwest renovation dream team—had the chance to walk through the expansive 90-year-old Seattle estate’s halls and explore its rooms before pitching their detailed plans for its overhaul. The resulting submissions showcased the designers’ proposed creative visions for the transformation of 25 different spaces in the 12,000-square-foot home. Choosing which designs would prevail fell on the eager shoulders of the design jury, a panel of industry elite. “It was great to see so many creative ideas and solutions,” jurist Stuart Silk of Stuart Silk Architects says. “Having so much energy at this stage is a great indicator of just how incredibly exciting the finished home promises to be.” The historic waterfront manse will be ready for its close-up in the fall of 2019, when the public will have the opportunity to tour the renovated home. Follow our Design House Northwest series throughout the design process in each issue of GRAY leading up to the event. h
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Lyons and Lauren Hockema, K&L Interiors; Libby Mansour, Studio Mansour; Stuart Silk, Stuart Silk Architects; Marilyn Deering, Deering Design Studio; Caitlin Jones Ghajar, Caitlin Jones Design; Brian Paquette, Brian Paquette Interiors; Kirsten Conner, Kirsten Conner Interior Design; Cathleen Summers, Summers Studio; Andrea Bushdorf, Inner Space Designs; Stewart Horner, Penny Black Interiors; Susan Marinello, Susan Marinello Interiors; Barbara Hyde Evans, Hyde Evans Design; Natalie Hyde, Susan Marinello Interiors; Ann Lundquist, Ann Lundquist Design; Joey Jagod, Joey Jagod Designs; Julie Kleiner, Massucco Warner Miller; Kate Robertson and Susie Bumstead, Trove Interiors. DESIGNERS (BACK ROW, FROM LEFT): Kelly
DESIGNERS (FRONT ROW, FROM LEFT):
Suzie and David Lucas, Lucas Design Associates; Chelsea Molnar, Stuart Silk Architects; Reneé Sibley and Amanda George, Amanda George Interior Design; Michelle Yorke, Michelle Yorke Interior Design; Benni Adams, Hyde Evans Design; Estefanie Bazán, Summers Studio; Angie McPhail, Gussy Home; Anna Kimmel, Finley Grace Design; Hilary O’Hara, Gussy Home; Karen Painter, Karen Painter Interiors; Tammara Stroud, Tammara Stroud Design; Aimee Meisgeier, AM Interior Design.
Williams, GRAY Media; David Weatherford, David Weatherford Antiques and Interiors; Stuart Silk, Stuart Silk Architects; Stacey Winston-Levitan, Winston Wächter Fine Art; Moira Holley, Realogics Sotheby’s International Realty; Luly Yang, Luly Yang; Caitlin Jones Ghajar, Caitlin Jones Design. DESIGN JURY (FROM LEFT): Shawn
GRAY MAGAZINE
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no. 44 : luxury
FASHION “Luxury in fashion today comes down to time. It means taking the time to design and create pieces that will last for generations.” —Eva Regehr, fashion designer
ALEXA MAZZARELLO; MODEL: JULIA MAMEN
The silk taffeta Hollywood top, designed by Vancouver couture label Catherine Regehr, is a versatile statement piece that bares the shoulders and wraps softly at midback. Created by Catherine’s daughter, Eva Regehr, with the house’s younger client in mind, the piece feels vintage and modern at the same time. In a welcome rebuke to contemporary fast fashion, hand-stitching the top took eight hours.
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fashion
Family Ties
The mother-daughter designers running this East Vancouver atelier are elevating the concept of “Northwest couture.” Written by RENSKE WERNER : Photographed by ALEXA MAZZARELLO
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t
he law of parsimony is a problemsolving principle, often deployed in scientific discussion, that states that the simplest solutions tend to be the right ones. Vancouver fashion designer Eva Regehr, who worked in a neurobiology lab in university, applies that concept to her work on a daily basis. Ranging from embellished pullover tops to elaborate, hand-sewn silk gowns adorned with Swarovski crystals, her pieces—designed and created in collaboration with her mother, Catherine, who founded her eponymous Vancouver-based company in 1986— flaunt meticulously crafted classic silhouettes and playful, unexpected details. “It’s a way to tweak designs to perfection,” Eva says of her method, in which she modifies hems and necklines of previous seasons’ designs to keep them current. In 2016, Eva officially joined her mother at the company. The duo works closely together on each new collection in their East Vancouver atelier, but Eva’s scrupulous design skills have allowed Catherine to shift her focus to her new passion: the studio’s home collections of throws, cushions, and poufs. At first glance, their upscale offerings might seem incongruous in the casual-dressing region, but in truth the pair are exactly where they need to be. “Nature is our main source of inspiration,” Catherine explains, “and you cannot beat the natural environment of the Pacific Northwest.” »
Regehr made a splash in the international fashion scene in 1992 with her shawl collar dress, which debuted in New York and remains an anchor piece for the label. The single draped shoulder and spiral laser cuts of the silk crepe Salomé gown, part of the Catherine Regehr Spring 2019 collection, bring movement and texture in a fresh way. OPPOSITE: The Alexandra gown, also part of the Spring 2019 collection, is a bold statement piece in classic black.
MODEL: KATIE KEOUGH
THIS PAGE: Catherine
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Catherine Regehr customers include film stars, the Russian elite, and Saudi princesses, but the mother-daughter design duo stays down to earth when they seek inspiration. “A lot of our textures and details are inspired by repetitive forms found in nature,” says Catherine of the 160 hand-sewn lasercut silk discs on the sleeves of this kimono. “One summer, I saw a similar texture in the southern bays of Atlin Lake in the Yukon [where she has a house and spends most summers]. Shale had broken off, and the lake was full of it, like fallen dominos.” h
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MODEL: BEA BRIDGE
fashion
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fashion
wellsuited
The future of inclusive tailoring is happening in Portland. Written by STACY KENDALL Photographed by CHRISTOPHER DIBBLE STANDING IN FRONT OF A MIRROR HAS ALWAYS BEEN A STRUGGLE for Seattleite Jay Mahoney. The 34-year-old,
assigned female at birth, recently transitioned to male, a step years in the making for the Montana native. So, when clothiers Wildwood & Company offered Mahoney a customcrafted three-piece suit last summer, he stepped into the elite world of bespoke tailoring—and the emerging space of transgender-inclusive custom tailoring.
n Jay Mahoney on the day he received his finished custom suit from Wildwood & Company.
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estled in the historic Hamilton Building in downtown Portland, four-year-old Wildwood’s retail space, with its dark wood paneling, clubby leather furniture, and whiskey close at hand, is emblematic of the opulence often associated with bespoke suiting. Yet, owner Joseph Mueller has made it a priority to buck stodgy convention with causes he cares about, such as the Human Rights Campaign (HRC). While brainstorming possible collaborations with them last spring, Boston University graduate student Tazzy Cole contacted Mueller looking for an internship—and it so happened that she was studying costume production with a specialty in gender-inclusive tailoring. Cole, who identifies as a queer cis woman, wanted to create a custom suit for a transgender client as part of her thesis project. “When Tazzy reached out, it was like the universe was telling me something,” Mueller recalls. She started almost immediately. The pair continued Mueller’s initial outreach to HRC, focusing on ways to be a resource for people of all gender presentations, and through this they met Mahoney, an HRC volunteer. Initially, Mahoney, who manages an office of consultants in Seattle, only anticipated a discussion about tailoring issues specific to the transgender community. But, after several email exchanges and »
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fashion
Every line and detail of the suit Wildwood made for Mahoney was attuned not only to his body measurements, but to his fit preferences—something he hadn’t experienced in prior tailoring situations.
meeting in person, it was clear to Cole and Mueller that Mahoney was the perfect candidate to offer the sartorial opportunity of a lifetime: a custom three-piece suit made just for him, in an inclusive environment, free of charge. “I hadn’t had the best experience with tailors in the past,” Mahoney recalls. “I would be told how I should want things to fit on my body, but only in the context of fitting for a woman’s body.” Custom tailoring, already an opaque process to most people, is even more challenging for those who don’t fit the traditional suiting mold. “There is a dearth of modern solutions that adapt to any silhouettes other than cis males,” Cole explains. “Resources for plus-sized people, women, and those looking for nontraditional fits are substantially fewer and lower-quality.” People within the transgender community can be reluctant to draw attention to the shape of their bodies, may be sensitive to being touched in specific areas, and potentially are experiencing major changes in the way they look due to hormone therapy or surgery. Cole, under the Wildwood team’s supervision, undertook the suiting process with Mahoney, making sure that inclusivity started before the
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first measurement. “First, you create a safe place to talk about the body,” she says. “Being sensitive to touch and pinning and asking, ‘What are your pronouns?’ set up a feeling of safety.” As a collaborator, Mahoney adds, “I wanted a feeling of open dialogue during my fittings, and I made sure to give feedback about what felt okay and what didn’t. I was very included in the process.” Cole estimates that the suit, a threepiece gray flannel with silky, paisley lining, took 206 hours—including more than four fittings—to complete. “It’s hours of research and inventing new systems,” says Cole, who, in addition to completing her thesis, hopes to eventually create an inclusive drafting system for tailors. “Tailoring is so structural. Introducing a curve takes a lot of problem-solving: including or hiding it, depending on the person. It’s a unique challenge.” Custom details on Mahoney’s suit include a breast-pocket lining that can be pulled up to create a pocket square (genius) and a hand-sewn buttonhole on the cuff in the same wine-red hue as the suit’s bold lining. “I’m humbled by the opportunity to help Wildwood engage more with my community and others who are not
gender conforming,” Mahoney says of the experience. Mueller underlines the point: “A perfectly fitted suit is that wish-list item that represents the pinnacle of any wardrobe, and it’s just as important, if not more so, for someone transitioning.” To that end, Wildwood continues its outreach to diverse communities by dedicating time to pro bono style consultations. When he saw the finished suit for the first time, Mahoney recalls, it looked “better than I could have possibly imagined.” He plans to debut the garments at a family friend’s wedding this month, where most of the guests have known him only as a woman. “Knowing that there are people like Joe and Tazzy out there who want to make people feel comfortable is reassuring,” he notes. “Dysmorphia is unpredictable; there will be days when I feel like I just don’t fit. When I put on this suit, though, I’m like, this is it—it’s the person I don’t often see in the mirror. Putting it on makes me feel like a man.” h
no. 44 : luxury
FEATURES “Most of our work is relationship-based and we grow our relationships with architects over multiple projects. It’s important to have an open and honest dialogue at every stage of the project as we try to build a more direct bridge between architecture and fabrication.” —Ted Hall, founder, Spearhead
ANDREW LATREILLE
The flower-inspired hybrid timber-and-steel pavilion of the Great Northern Way restaurant, which opened in 2018 in downtown Vancouver, was fabricated by Canadian firm Spearhead and designed by Perkins + Will. Read more on page 60.
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cold comfor Transforming from impenetrable fortress to inviting ski retreat at the flip of a switch, a lush mountainside home in Whistler, British Columbia, combines next-level design with statement-making interiors.
Written by RACHEL EGGERS Photographed by LARRY GOLDSTEIN
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The front entrance of this Alta Lake ski house, designed by Olson Kundig and constructed by Dowbuilt, boasts a large steel door custom made by Canadian fabricator Spearhead and painted Ferrari red. OPPOSITE: Because the lake freezes over in winter, Olson Kundig used wood louver shutters (which can be individually deployed) throughout the project to reduce reflected glare. » THIS PAGE:
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rug woven of wool from just the right flock of Nepalese sheep. A massive double-sided concrete fireplace with metal doors that expand and contract to produce the precise amount of warmth and flame. A switch-button system of shutters, in Doug fir and steel, that calibrates the amount of snowy mountain light streaming through the windows. At this family
ski retreat set amid the bracing natural beauty of Whistler, British Columbia, not a luxury is overlooked, from the smallest organic detail to the grandest technological gesture. After the client had selected the rugged lakeside site in the mountains, she realized that her new home would have to withstand dramatic local weather conditions: high winds, occasional high
waters, bright sunlight, and snow . . . lots of snow. Her respect for natural settings led her to hire Seattle-based Olson Kundig to design the four-bedroom house. “Our work has always been contextdriven,” says principal Tom Kundig. “It’s about how we, as architects, draw on a specific context to create spaces that feel authentic, meaningful, and human in scale. If you start with the primacy of
the site, everything else becomes a direct response to that particular place.” Kundig brought his trademark industrial, almost cinematically grand spirit to the project, planning out a two-wing structure connected by a glass-enclosed 80-foot bridge, all of which is elevated above the ground to cope with snowdrifts and lake flooding. The main wing holds spaces for gathering, while the smaller »
The expansive main living room is anchored by Olson Kundig’s organic palette and brought to life by Gregory Van Sickle’s luxurious design choices. The fireplace surround is a custom masonry build, fabricated on site.
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“It’s about finding beauty in as many ways as you can. In a welldesigned space, people feel calm and inspired.” —Gregory Van Sickle, designer
The custom black-walnut dining room table—the perfect size for large parties but not overpowering for a couple—is surrounded by Cassina CAB leather chairs that echo the light tones of the home’s Douglas-fir glulam ceiling beams. The chairs at the head and foot are from Roche Bobois, draped in Icelandic sheep hides to add a mix of drama and comfort. The David Weeks Studio Sarus mobile chandelier enhances the strong architecture of the house, and the cabinetry is custom blackened steel with a hand-waxed finish. »
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Olson Kundig is renowned for its elegant way of working within challenging natural settings. The elevated design of the house not only accounts for snowdrifts and floods, but also gives those inside its glass-sheathed walls a sense that they’ve been set down among the trees. »
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“TO ME, LUXURY HAS ALWAYS BEEN ABOUT ENGAGING THE LANDSCAPE.” —Tom Kundig, architect
A sea of stunning Zebrano marble covers the floors and walls of the master ensuite, which extends outward from the house’s main structure to give bathers a sweeping view of Alta Lake. The master bedroom has an impressive charcoal shagreen headboard, a surrounding bench upholstered in caramel-colored leather, and dangling Lindsey Adelman Studio clamp lights.
wing offers additional bedrooms for kids and guests. One face of the glasssheathed home looks out into dense forest, while the other takes in views of often frozen and snow-covered Alta Lake. When the house is unoccupied, a customdesigned exterior shutter system and weathered-steel doors fortify it against the elements. When the family is in residence, they can control amounts of natural light coming in by flipping a switch to adjust a series of Doug-fir shutters—perfect for afternoon couch
naps, midday movie viewing, and helping protect vulnerable upholstery. And this is upholstery you want to protect. Working closely with the client, Gregory Van Sickle of Vancouver-based Van Sickle Design Consultants planned out the home’s luxe interiors over a year and a half. The duo had worked together before on several projects, and their longstanding relationship made collaborating on the new space a seamless experience. Out of that easy rapport grew a cohesive array of design choices, most of » GRAY MAGAZINE
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which echo Kundig’s architectural palette of concrete, blackened steel, and pale fir. Van Sickle selected textural, richly organic materials and furnishings that suggest a range of design influences, from midcentury classics such as an Arne Jacobsen Egg chair to alluring silhouettes that recall the 1970s and ’80s to earthy touches such as Icelandic sheepskins. Centering it all is a dining table that Olivier Godbout of Pemberton, BC–based Woodstreams made out of a black walnut slab. “We were going for a quiet luxury,” says Van Sickle. “The overall effect is warm, inviting, and understated.” These nuanced, style-bending moments are carefully layered, lending both public
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and private spaces a comfortable, lived-in atmosphere. Pieces exude casual elegance, and nothing is too precious. In the main living room, a Living Divani charcoal suede couch sets off a custom-designed natural shagreen coffee table, and two vintage Finn Juhl Chieftain chairs flank a variegated copper cowhide daybed. The area just off this room has a Roche Bobois Mah Jong sofa in a punchy assortment of plaids and stripes that invites all-hours lounging. It’s a look that Van Sickle dubs “sexy mountain retreat,” and the marriage of sleek architecture and sophisticated interior design is enough to make even the most avid skier eager to leave the slopes for the comforts of home. h
A concrete fireplace bisects the living room, creating a formal section for gatherings (page 50) and a kids’/lounge area whose inviting aprèsski mood is enhanced by a vintage Sputnik chandelier and a Roche Bobois Mah Jong modular sofa. A ski room has practical concrete floors, and a George Nelson platform bench from Herman Miller is covered in Icelandic sheep hides.
BENJAMIN BENSCHNEIDER
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BEN HALL
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Spearhead provided both timberwork and architectural elements for the Aspen Art Museum in Colorado. The museum was designed by Tokyo-based Shigeru Ban Architects. OPPOSITE:
new steel
Cutting-edge technology and integrative design solutions make a small architectural fabrication company the secret weapon of high-profile firms. Written by RACHEL GALLAHER
AS A TEENAGER IN THE EARLY ‘80S, budding entre-
preneur Ted Hall and his older brother spent many long hours over several summers swinging hammers and pulling saws with a group of Danish carpenters in Vancouver. Hall’s parents had hired Bob Todd and David Vance, two family friends who were also popular local architects, to design them a modern family home. Along with that project came the Danish carpenters, and for young Ted— who would go on to found Spearhead, the Nelson, BC– based manufacturing and architectural fabrication company—they provided an early lesson in the value of hard work and craft training. “This crew had been working together for more than 30 years,” Hall explains. “In Western Europe, you don’t call
yourself a carpenter unless you have extensive training and education, as well as years of practice. It’s really a lifelong art form, and to see that at a young age—well, it really stuck with me.” It stuck with him long enough that nearly a decade later, in 1994, Hall founded Spearhead in Vancouver. Two years later, he and two employees packed up and left Vancouver for the rugged, mountainous terrain of Nelson. In 1999, Hall brought on his friend Randy Richmond as a partner. A multifaceted manufacturing facility that specializes in the design and fabrication of architectural timber and steel—from structural framing and complex formed structures (think curved roofs) to the crafting of uniquely shaped decorative elements—the firm has grown »
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“The industry is so divided into various silos that keep design (both quite removed from each other. We offer easy integration of the designers to really stretch their thinking regarding what they can from a handful of employees to more than 50 working in a 30,000-square-foot facility (they also have a satellite office in Whistler, BC). Spearhead was an early adopter of both computer-aided design (CAD) software and using computer-numerical control (CNC) machines for cutting heavy timber in North America. To put it plainly, Spearhead has developed a system that allows Building Information Modeling software (a 3D model–based process that gives architecture, engineering, and construction professionals the insight and tools they need to efficiently plan and build projects) to interface directly with CNC machinery. For architects, this integration means less chance of redundancies in the design
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process; they’re also given more accurate cost analyses and a chance to assess the feasibility of their designs at an early stage of the process. The Spearhead system can also save time and money—two compelling draws for its clients. “Ted and his team are true collaborators,” notes Ray Calabro, principal architect at the Seattle office of Bohlin Cywinski Jackson, which first worked with Spearhead in 2005 on the Grand Teton National Park Discovery and Visitor Center project in Jackson, Wyoming. “They understand the design intent from the earliest concepts, and bring their expertise and love of materials to help solve design, fabrication, and construction challenges. Their curiosity helps push a project well beyond what any of us could do alone.”
FROM LEFT: MATTHEW MILLMAN; JAMES DOW; MATTHEW MILLMAN; AUDREY HALL; SPEARHEAD; BELOW, FROM LEFT: MICHAEL MORAN; MATTHEW MILLMAN; COURTESY PORT LIVING
Spearhead works on both residential and commercial projects, including a private residence in Napa, California, designed by Field Architects; the Temple of Light ashram in Kootenay Lake, British Columbia, designed by Patkau Architects; a wine cellar in a Jackson, Wyoming, residence designed by Carney Logan Burke Architects & Interior Design; and the Deep Dive bar underneath the Amazon Spheres in Seattle, designed by Graham Baba Architects. FROM LEFT:
Spearhead worked closely with Tokyo-based Shigeru Ban Architects on the Aspen Art Museum, and custom-fabricated a steel staircase in a private residence in Hawaii designed by Walker Warner Architects. The firm has teamed up again with Shigeru Ban on Vancouver’s Terrace House project, which, when completed, will be the world’s tallest hybrid timber building; Spearhead is fabricating the top nine stories of heavy timber. FROM LEFT:
architectural and structural) and construction two to help move projects along faster and allow do with a structure.” —Ted Hall, founder, Spearhead In addition to Bohlin Cywinski Jackson, Spearhead’s roster of clients includes Olson Kundig, Graham Baba Architects (to read about that firm’s work on the Deep Dive bar in the Amazon Spheres, see page 78), Patkau Architects, Shigeru Ban Architects, Walker Warner Architects, and other top-notch firms. If an architecture firm confronts a sticky design problem (how to elegantly cover unsightly exposed HVAC systems in commercial spaces; how to best create a 40-foot cantilevered dining room in a private residence), they often call in Spearhead to help solve the issue, or at least figure out the feasibility of the idea. Some of the projects Spearhead has been involved in include Filson’s Boston and NYC locations, the
Aspen Art Museum, the Seattle tasting room for Charles Smith Wines, and dozens more. Spearhead is able to manufacture, cut, deliver, and install architectural elements in both steel and wood, and their precision is unmatched. In essence, for Ted Hall, every day at work involves a bit of puzzle-solving, and more hands (and brains) help make his firm’s work more manageable and smoother. “We’re not taking over the design of a project,” he says reassuringly. “We provide a link between design and fabrication. We may be using more sophisticated technology these days, but I still think about those carpenters, and the care and appreciation of skill they brought to work with them every single day.” h GRAY MAGAZINE
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THIS PAGE: An
archer graces one wall of Portland’s new Avid Cider Company taproom, the work of its graphic designer, Jana Rogers, and a nod to the Greek mythology that inspired the firm’s original name (Atlas Cider). OPPOSITE: Brass chairs from Four Hands and a brass sconce from Worley’s Lighting shine against shou sugi ban panels. The tabletop is solid oak with an ebonized finish.
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THE
CHAMPAGNE OF TAPROOMS
In a town dedicated to craft beer, a new cider spot raises the taproom bar with elegant, moody décor and a plethora of custom details.
Written by RACHEL GALLAHER Photographed by HARIS KENJAR
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The dark ambience and tailored work (nearly every element is custom) at Avid’s taproom—created by Guggenheim Architecture + Design Studio—elevate the space. Local artisan Jordan Hufnagel crafted the steel sculptural installation over the horseshoe-shaped concrete bar, a dramatic piece that centers the main cider-sipping spot. The green planted wall in back is by Vakker Design.
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AFTER NEARLY SIX YEARS IN BUSINESS, fledgling
Atlas Cider Company had built a thriving trade and was preparing to open a taproom in the heart of downtown Portland. But when an East Coast brewery with an almost identical name disputed the Oregon company’s moniker, they were forced to choose a new one. That might have been shattering news to many small businesses, but it proved to be a mere pivot point for the Bend, Oregon–based company. Atlas redubbed itself Avid Cider Company and forged ahead with its Portland plans. “At the time, we were designing a space for them in the Pearl District,” recalls Jenny Guggenheim, principal designer and creative director of Guggenheim Architecture + Design Studio. “Avid wanted something completely different from the typical Bend tasting room, which is casual, with a lot of natural wood or roll-up garage doors. For the Portland space, they needed a fresh, sophisticated look with a bit of edge.” Given the directive to create an urban-influenced bar in the new space, housed in the bottom floor of a mixeduse building, and to echo the refined Pearl District vibe, Guggenheim opted for a rich palette of deep green and black, punctuated with brass accents. Working in tandem with BnK Construction, she highlighted Avid’s namesake product by designing and commissioning a custom brass tap tree from artisan Jordan Hufnagel. She gave it pride of place at the center of the large, horseshoe-shaped concrete-and-steel bar, which, as she notes, “creates an inward focus toward the tree as well as a pleasant dynamic between the bartenders and patrons.” Nearly every element of the project is custom, from the bar base and top (manufactured by Coulee Concrete) and the velvet-backed booths to the two stone dome lights, each 5 feet in diameter, that help to delineate the front lounge area, with its cluster of leather sling chairs from Four Hands. Hufnagel worked on steel details throughout the project—the decorative structure over the bar, the retail display, and all the table and barstool bases—and the task proved challenging, says Guggenheim, “because the current political climate and resulting tariffs were creating such a fluctuation in steel prices that they were changing on the daily.” As an homage to traditional taprooms, the walls are clad in wood, but Guggenheim elevated the look with shou sugi ban, a charred finish often used on the exterior of high-design residences. A lush planted wall featuring moss and ferns by Vakker Design adds softness and color and references the local landscape without looking overt or cliché. Much like its central Oregon cidery, Avid is now holding its own in the midst of a beer town—a sophisticated taproom offering both great, sippable cider and hard-hitting design. »
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CLOCKWISE FROM TOP:
The Atlas mural was also painted by Jana Rogers. Booths are upholstered in green velvet, and tables are topped with solid oak given an ebonized finish. A group of leather chairs from Four Hands sits under a custom stone dome light. The crown jewel is the brass tap tree, handcrafted by Jordan Hufnagel and given center stage on the concrete-and-steel bar. h
“The design toes the line between opulent luxury and edgy industrial details, bridging the champagne quality of Avid’s craft cider and its rugged central Oregon roots.” —Jenny Guggenheim, designer
Architecture: Olson Kundig Photo: Michael Burns
2 0 2 9 2 N D AV E . SEAT T L E , WA 9 8 1 2 1 T. 2 0 6 . 4 4 8 . 3 3 0 9 WWW. C AM E R I C H SE AT T L E. C O M 2 1 1 1 1 ST AVE. SE AT T L E, WA 9 8 1 2 1 T. 2 0 6 . 4 4 1 . 2 3 5 0 WWW. AL C H EM Y C O L L EC T I O N S. C O M
no. 44 : luxury
INTERIORS + ARCHITECTURE “Luxury is being able to take advantage of the amazing landscape in which we live. The more we are connected to it and in harmony with it, I think the more we can embrace it and those around us. Architecture that supports those ideas is luxury in itself.” —Jim Graham, architect
HARIS KENJAR
At Deep Dive, the sophisticated new Seattle bar designed by architecture firm Graham Baba, artist and antiques dealer Curtis Steiner filled the shelves (and the rest of the space) with more than 600 curated objects. Read more about Deep Dive on page 78.
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ID EN TIT
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With a partial renovation of his firm’s new Vancouver office space, architect D’Arcy Jones demonstrates the power of restraint and resourcefulness in design. Written by JENNIFER BAUM LAGDAMEO Photographed by SAMA JIM CANZIAN
D’Arcy Jones Architects’ office in downtown Vancouver was influenced by “nerdy color theory ways,” according to the firm’s namesake founder. Black was chosen for the central space. “This is where we meet clients, say hello to a courier, or have a coffee,” he says. “People are more open in darker spaces.” White, on the other hand, is a more introverted color, one conducive to concentration. The entranceway’s original flooring gives the space a multilayered feel. OPPOSITE: The rest of the old wood floors were damaged, so Jones replaced them with cement floor-patching material that was hand-troweled for a textured, rustic look. » THIS PAGE:
“We exposed all the warts that typically aren’t considered charming, except when they exist in contrast to a perfect white shell.” —D’Arcy Jones, architect
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interiors + architecture
IT’S OFTEN SAID THAT THE THIRD TIME’S A CHARM,
an adage well suited to D’Arcy Jones Architects’ new office—the firm’s third space in Vancouver’s historic Lee Building. Named after its original owner, who lived on the top floor and lost the building by gambling, the landmark 1912 structure is located in the Mount Pleasant neighborhood, an imposing, brick-laden reminder of the city’s gritty industrial past. By 2015, after the firm had spent 11 years in the building, the addition of new team members meant a need for
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increased space. When a move was at last in the cards, two years later, a 1,000-square-foot apartment opened up just down the hall. D’Arcy Jones, lead architect and founder of the firm, knew that he wanted to stay in the building, and the newly vacated spot proved to be the ideal solution. Jones, who is known for his modern, inventive design work, approached his company’s new home base determined to get as much function—and light—out of the new space as possible. Originally an office that had been
At first glance, the custom black cabinetry in the office’s sleek modern center space seems to be metal, but a closer look reveals plastic laminate—a “tough and cheap” material, in Jones’s words, that he uses to show clients alternatives to more expensive choices. The central zone also houses a kitchen and a hidden pantry/storage room.
converted into an apartment in the 1980s, the space was a series of small rooms fitted into a larger, rectangular configuration. This meant that the first and biggest task was the removal of all the non-load-bearing interior walls. Once the old apartment had been opened up into a single space, a sculptural white work area with large windows—and a 28-foot-long communal table—was established in the western half of the room. A long, rectangular area in the center of the room became the entrance and common area, while the office’s northeast portion was
split among a conference room, a printer cabinet, and a bathroom. DJA designed the workspace’s artistically angled walls for a practical purpose: to hide all the existing piping. The renovation’s biggest single expense was the insertion of two windows in the north-facing façade of the building. “It is very complicated to cut a hole in brick,” Jones explains. But the new windows are well worth it, as they not only flood the workspace with natural light but also provide beautiful views of the North Shore mountains. » GRAY MAGAZINE
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In the bathroom, DJA first stripped the room and then added small white swimming-pool tiles from Daltile to freshen the space, which also showcases the firm’s own custom-made Corian countertops. The faucet is Aquabrass, through Wolseley Plumbing. OPPOSITE: Work stations at the custom dark-stained glulam desk made by Structurlam, with custom raw steel legs by False Creek Fabrication. Its three beams were sized to fit in the building’s elevator. The lighting is Tolomeo by Artemide, through Inform Interiors. THIS PAGE:
interiors + architecture
In contrast, the center portion of the office is defined by custom-made black cabinetry, and includes some of the space’s original elements. “It’s almost like we did half a reno,” Jones explains. “Instead of spending to update the entire space, we made the white workspace look perfect and then didn’t spend any money on the other spots.” He embraced unexpected “found” details, such as exposed areas of rough popcorn ceilings and “106 years of paint,” all of which DJA left untouched after applying a clear coating to seal the surfaces against dust and prevent odors. “We exposed all the warts that typically aren’t considered charming,” he notes, “except when they exist in contrast to a perfect white shell.” Another project-driving element that DJA didn’t shy away from was a limited budget. “Having a tight budget isn’t
necessarily a negative,” Jones says. “It just means you have to be really creative.” It’s a philosophy that he hopes to impress upon his clients, too. By using the office as a showroom to highlight the beauty of simple materials, it becomes not only a place to draft plans and hold meetings, but also a proof of concept that encourages clients to try materials they might otherwise shy away from. For example, the black plastic laminate used in the office kitchen is a practical and cost-effective choice that embraces the dark kitchen trend. The sleek results definitely prove that materials need not be expensive in order to look good. “It’s great to work in this office,” Jones says, reflecting on the year that he and his team have occupied the space. “It makes us all feel better than our old office did. We spend a lot of time here, so it better have a nice feel.” h GRAY MAGAZINE
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interiors + architecture
beneath the surface
Written by RACHEL GALLAHER Photographed by HARIS KENJAR
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A close-up of an 8-foot-long chandelier, traversing the ceiling of the back room at Deep Dive bar in Seattle, which was a collaboration between collector and artist Curtis Steiner and glass artist John Hogan. Just outside the bathrooms, the counter and sink were made from a slab of Verde Victoria granite from Brazil, backed with wall tile sourced through Ambiente European Tile Design. Hand towels sit snugly in a wooden vessel. OPPOSITE, FROM LEFT: The bar is also formed from Verde Victoria granite. A curved ramp leads guests from the door to the main seating area. THIS PAGE, FROM LEFT:
LOVE IT OR HATE IT, Amazon is now responsible for a lot
of fresh development in Seattle—including the city’s most breathtaking new bar. The aptly named Deep Dive (located beneath the much-talked-about Amazon Spheres) is among the latest additions to James Beard Award–winning chef Renee Erickson’s roster of restaurants, and its moody maximalism pushes the space well beyond the typically restrained aesthetics of PNW eateries. Designed by Graham Baba Architects to fit into a circular footprint (global firm NBBJ designed the Spheres themselves) and decorated by antiques dealer and artist Curtis Steiner, Deep Dive is a descent into detailed hedonism, with custom art, high-end finishes, and more than 600 eclectic objets enlivening every surface. Steiner has filled the walls with assorted oddities and created several art pieces for the space, including cheeky Don Milgate–shot portraits that line the entry ramp. “We thought of this space as the mythical spherekeeper’s office under the stairs,” says Jim Graham, principal
at Graham Baba. “When you descend, you enter into this dark relic that’s tinged with a sense of Victorian magic and mysticism.” Working with Sellen Construction, the design team had to exercise maximum creativity from the start. In addition to the circular shape and a steep elevation change, the ceiling was burdened with lots of heavy, low-hanging ductwork—an eyesore that Graham concealed with overhead sections of hot-rolled steel ribbons, crafted and installed by Canadian fabricator Spearhead (see page 60 for profile). A dark-stained oak ramp guides visitors from the entryway to the heart of the bar, gently unveiling a series of rich visual tableaux. Deep Dive has the cosmopolitan vibe of a New York hot spot, but the level of thought put into each aspect of the bar laces the design with a strong shot of Northwest authenticity. “Each area has its own little narrative,” notes Steiner. “You can walk into this space a hundred times, and I guarantee you’ll see something new each and every time.” » GRAY MAGAZINE
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“When you descend, you enter into this dark relic that’s tinged with a sense of Victorian magic and mysticism.” —Jim Graham, architect
Velvet-upholstered banquettes and matching seating bring color to the space and complement the space’s dark-stained ash wood. Overhead, strips of hot-rolled steel hide ductwork and mechanical systems. The Steiner-sourced cloches on the bar are supported by custom Resolute Lighting bases. Steiner embellished the 19th-century Japanese gold-leafed wood-and-lacquer leaves on the wall with antique French sequins, balanced on pins, so that they quake in the slightest breeze. h
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farmhouse moderne Written by RENSKE WERNER : Photographed by MARTIN TESSLER
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In the kitchen of a renovated West Vancouver farmhouse, designer Juli Hodgson used identical Calacatta marble (sourced through Bordignon Marble & Granite) for the hood fan and main wall to harmonize the two surfaces. The custommade, razor-thin blackened-steel floating shelves above the sink provide storage for dishes in the prep kitchen. The island’s base is grounded by a charcoal-colored Boffi finish, and Lapalma Miunn stools by Karri Monni provide seating for the whole family. The Flexform sofa is designed by Antonio Citterio. »
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interiors + architecture In the kitchen of a renovated West Vancouver farmhouse, designer Juli Hodgson used harmonized slabs of Calacatta marble (sourced through Bordignon Marble & Granite) for the hood fan and main wall to harmonize the two surfaces. The custom-made, razor-thin blackened-steel floating shelves above the sink provide storage for dishes in the prep kitchen. The island’s base is grounded by a charcoal-colored Boffi finish, and Lapalma Miunn stools by Karri Monni provide seating for the resident family. The Flexform sofa is by Antonio Citterio.
“p
romise me you can do something with this!” Designer Juli Hodgson, founder of Hodgson Design Associates, was standing at the edge of a large Vancouver lot when her client turned to her with the plea. They were staring at an outdated 4,000-square-foot farmhouse with ochre-colored stucco, dark brown trim, and an interior full of closed-off nooks and crannies. Intrigued by the home’s French country–inspired architecture, Hodgson was able to look past the drab interior—limited natural light, dated wood paneling, and faded reddish-brown stained oak windows—to the structure’s bright future. “I envisioned the whole interior immediately,” the designer recalls of that day. “It would be a modern farmhouse with white window trim and blond oak floors.” Hodgson chose a style she calls modern luxury, which expresses itself through “the refined details, such as lighting integration, concealed door hinges, and fullheight doors.” She incorporated these design solutions into a minimal material palette to seamlessly merge simplicity with richness.
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This high-quality thread runs throughout the home, which features pieces from the likes of Antonio Citterio, Patricia Urquiola, and B&B Italia, primarily sourced through Inform Interiors. “These luxury details make the design,” Hodgson explains. “Even when you have a great material palette, if the connections between the décor and the materials are clumsy, the design does not appear seamless, and a sense of calm is lost.” The home’s austere materials, a subtle backdrop for other high-end statement pieces such as a Cassina side table and a pair of Walter Knoll lounge chairs, reflect the Northwest desire to avoid ostentatious displays of luxury. Knowing her clients didn’t want an ultramodern interior, Hodgson was nervous about pitching a Glas Italia statement console for the entryway, but serendipitously the family already had their eye on the exact same piece. Other contemporary design decisions, such as the uninterrupted marble wall in the kitchen, make this renovated farmhouse both elegant and warm. “This home didn’t need perfection,” Hodgson says. “It needed to emanate the insulated feeling of a family home, so that’s what we made it.” »
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Floating oak treads and a glass railing allow maximum natural light to flood into the staircase that links the home’s first and second floors. The Pure bench by Riva 1920 is cedar with a vulcano finish and was sourced from Inform Interiors. »
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PROUDLY BUILDING HOMES WITH THE NW’S FINEST ARCHITECTS FOR 24 YEARS.
MODERN HOOD RIVER RESIDENCE ARCHITECT: SCOTT | EDWARDS ARCHITECTURE
interiors + architecture
“Modern luxury sits in the refined details, such as lighting integration, concealed door hinges, and full-height doors.” —Juli Hodgson, designer
Hodgson designed the austere French oak cabinet doors used throughout the upper level’s built-ins. The prep kitchen’s trio of custom blackened-steel shelves showcase the homeowner’s collection of pastel crockery. The same nearly weightless steel is deployed as a desk surface nearby. In the entryway, the juxtaposition of a dramatically scaled Glas Italia mirror and console against the oak floorboards and the original farmhouse window epitomizes Hodgson’s synergistic design approach. h CLOCKWISE FROM TOP LEFT:
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Located in Two Union Square, Cortina is at the base of one of Seattle’s most prominent commercial towers in downtown. Join us for Italian fare and craft cocktails every day of the week either from the large bar area, cozy dining room, or for a special gathering in our private event space. @cortinaseattle | 206.736.7888 | Two Union Square 621 Union St Seattle, WA 98101
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interiors + architecture
Top 20
KITCHENS + BATHS From ombré rose gold faucets and porcelain countertops to grand marble showers and the tiniest of Lacanche Cormatin ranges, here is GRAY’s round-up of the most luxurious fixtures, finishes, projects, and products that prove these workspaces are anything but common areas. Written by GRAY STAFF with additional reporting by CLAIRE BUTWINICK & TAMAR LEVESON
1.
Created by Italian design duo Meneghello Paolelli Associati for Victoria + Albert, the Metallo 61 Quartz washstand merges traditional bathroom pipework, such as right-angle tee-joint brass legs, with modern polished chrome finishes and a durable quartz surface. Available at Ferguson, multiple locations, vandabaths.com. »
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DESIGN / BUILD REMODELING HOME IMPROVEMENT CUSTOM HOMES
The view from the kitchen? Gorgeous inside, and out. Is it possible to make a somewhat dark and dated kitchen as spectacular as a lakefront view? Absolutely. A little Neil Kelly creativity, and a lot of well-chosen surfaces, colors and finishes resulted in contemporary work stations for cleaning, prep and cooking. And the homeowners can drink in the views of the lake while pouring a beverage in their bright, cheerful kitchen. Discover what a Neil Kelly design/build remodel team can do for your home. We’re only a call away.
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interiors + architecture
KITCHENS 2.
3.
4. 5. 7. 6. Top Chef Fisher & Paykel Classic duel fuel range, available at Albert Lee, Seattle, fisherpaykel.com. 3. TRUE 30” Refrigerator Column in matte black, available at Albert Lee, Seattle, true-residential.com. 4. Sun Valley Bronze Pulley light, originally designed and engineered in collaboration with Olson Kundig Architects, Seattle, available at Chown Hardware, Portland and Bellevue, WA, sunvalleybronze.com. 5. Dekton Stonika architectural surface collection, available at Cosentino, Seattle, Portland, and Vancouver, cosentino.com. 6. Color Box Bar, Henrybuilt, Seattle, henrybuilt.com. 7. TEAM 7 k7 kitchen island, available from German Kitchen Center, Seattle, germankitchencenter.com. 8. Poliform, the brand’s first complete luxury lifestyle furniture flagship in Vancouver, is set to open in spring 2019. Poliform by the Aeon Group, Vancouver, poliform.it. 2.
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9.
Ombré Vibrant Titanium to Vibrant Rose Gold finish faucet, from the Components Collection by Kohler, available at Keller Supply, multiple locations, kohler.com. »
“I define luxury as a combination of beauty, quality, and comfort wrapped in a touch of opulence.” —Allison Scheff, designer
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KITCHENS
10. Designer Allison Scheff, founder of Seattle-based Distinctive Kitchens, demonstrates that great things come in small packages in this Admiral District kitchen she created for a Seattle client. “She wanted a marble sink, and she wanted color!” says Scheff. “The miracle was fitting such beautiful and appropriately sized appliances into such a small footprint, while still making the kitchen feel airy and bright—and larger than it is.”
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The approximately 175-square-foot space boasts all the luxury elements of a true chef’s kitchen, including a 24-inch cabinet-depth Liebherr fridge, a tiny Lacanche Cormatin oven and stovetop, a custom wine rack, and stunning Statuario marble slabs. A cozy dining nook, complete with a custom hunter-green banquette built by Plumb Level Square and covered in House of Hackney London Rose wallpaper, creates an intimate eat-in space with outsized impact. »
WYNNE H. EARLE
A Little Luxury
Strategically sized appliances, custom-built pieces, and carefully heightened archways make this 175-square-foot Seattle kitchen, designed by Allison Scheff, feel more spacious.
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Milgard Ultra™ Series: A Fiberglass Frame Designed for Complete Peace of Mind. Beautiful to look at and low maintenance, Ultra™ Series fiberglass windows and doors are built to last. Through a careful design process, Milgard introduces a window more resistant to heat, insects and water damage to help withstand the harsher sides of Mother Nature. Available in 7 tough, durable exterior finishes, Milgard Ultra features a Full Lifetime Warranty with glass breakage coverage for complete peace of mind.
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11. KITCHENS interiors + architecture
A Bellevue kitchen renovation by Lisa Staton Interior Design infused the space with a casual luxury. The center island is sourced from International Kitchens, painted in Benjamin Moore Black, and is flanked by West Elm stools.
HARIS KENJAR
Semiformal
A revitalized family kitchen was the heart of a top-tobottom home renovation for the Bellevue, Washington, clients of Seattle-based designer Lisa Staton. Once dark, cramped, and laid out at an angle, the space now has a warm and workable concept that channels a European sensibility: open shelves, a working pantry, and limited upper cabinetry to increase the room’s sense of scale and ease interaction within the space. “In a European approach, everyone is rolling up their sleeves to help with cooking, opening bottles of wine—and that lifestyle is very much a part of this family,” Staton says. The casual ambience is upscaled with luxe design elements, including a vintage runner and a generously scaled Lacanche cooking range with black Shaker-style cabinets from International Kitchens. Wide-plank oak flooring links the kitchen, dining, and family rooms, while floor-to-ceiling windows open the interiors to the Eastside home’s wooded surroundings. “It’s an incredibly soothing space,” Staton says. “There’s an easy elegance when the spatial planning and architecture are correct in an environment. They create an emotional feeling of being settled, in balance.” »
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Designed to be Designed. Choose the spout, handles and finish from this curated collection to create your signature look. The Components bathroom faucet and accessory collection. Created by Kohler. Designed by you. ™
our showroom.
Auburn WA • Beaverton OR • Bellingham WA • Bend OR Bremerton WA • Burlington WA • Clackamas OR • Eugene OR Everett WA • Kennewick WA • Lacey WA • Lynnwood WA Redmond WA • Seattle WA • Spokane WA Tacoma WA • Vancouver WA also visit KOHLER Signature Store by Keller Supply in Bellevue WA & Portland OR www.kellershowrooms.com
interiors + architecture
BATHS
14. 13.
12.
16.
15.
17. Master Bath XTONE Lush white porcelain countertop, Porcelanosa, Seattle, porcelanosa-usa.com. 13. Origo Club gender-neutral and accessible bathroom sign, John Henshaw Architect, Vancouver, johnhenshawarchitect.com. 14. Pacific Northwest Ballet Francia Russell Center ballerina bathroom signs, Mithun, Seattle, mithun.com. 15. A dramatic aluminum composite panel featuring an agate-inspired digital print, created by designer Alex Turco and complemented by a Vola faucet, tap, and showerhead by Arne Jacobsen, makes for a chic vignette in a bathroom designed by Vancouverbased Hodgson Design Associates. 12.
18. 19.
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20.
“People hear the word ‘black’ and think ‘dark.’ But using black can actually add clarity and definition to a space.” —Lisa Staton, designer
Nendo LampShower, available at Keller Supply for AXOR, Seattle and Portland, axor-design.com. 17. Pierre Belanger C2 vanity for WETSTYLE Design Lab, WETSTYLE, Montreal, wetstyle.ca. 18. Charcoal waffle bath towels, Parachute, Portland, parachutehome.com. 19. Port Laurent color-based porcelain, from the Marmorea series from Olympia Tile + Stone, available at Thompson Tile & Stone, Seattle and Portland, thompsontileandstone.com. 16.
Tao Nero Portoro sink by Marco Piva for Kreoo Design, available from the Davani Group, Seattle, thedavanigroup.com. h
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Central to the kitchen in this Mercer Island spec house is a Carrara marble–topped custom island. RIGHT: The entryway features a rug from Brian Paquette at Home; the Lawson-Fenning stools are upholstered in fabric from Glant Textiles; the mirror is Ben and Aja Blanc. OPPOSITE: The living room rug is a sisal piece from Stark Carpet. The sofa is Lawson-Fenning. THIS PAGE, LEFT:
SPEC-TACULAR Written by RACHEL GALLAHER : Photographed by HARIS KENJAR ONE MORNING IN EARLY 2018, Seattle interior designer
Brian Paquette received an urgent text from a former client. She and her fiancé (with four children between them) had recently bought a spec house on Lake Washington’s Mercer Island, and the builder, Millad Development, would allow them to swap out and customize all the tile, flooring, hardware, paint, decorative lighting, and plumbing. The catch? It all had to be done in just two weeks. “We didn’t waste a second,” Paquette recalls. “That afternoon we were at the stone yard picking out slabs, and for the next two weeks we were texting, calling, and sharing
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pictures.” The spoils of that first shopping trip—six slabs of Carrara marble from Meta Marble & Granite—would become the primary material used in the kitchen (counters, island top, backsplashes), and its soft gray and white veining would become the gentle driver of the hues selected for the home’s other rooms. Paquette received the client’s carte blanche for the interiors, with the stipulation that the colors had to remain neutral. He drew upon the understated luxury of Mexico’s Sanara Tulum resort as inspiration. “The palette was derived from images of sun-drenched rooms,” he says. »
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CLOCKWISE FROM ABOVE:
Paquette generally eschewed pattern throughout the house, making the L’Aviva wallpaper in the powder room a bold choice. The faucet is from Chown Hardware. The office is swathed in Inchyra paint from Farrow & Ball. In the master bedroom, the wall behind the Lawson-Fenning four-poster is covered with Thibaut grasscloth.
“Of course, we couldn’t just copy that here in the Northwest; it wouldn’t make sense. So we interpreted the colors and textures. There aren’t recycled straw mats on the ground or thick walls of plaster, but the sofa in the living room is a soft putty color, and the wall in the master is covered in grasscloth.” This isn’t the first spec home Paquette has elevated via swapped-out finishes and high-end additions, but the design skews more traditional than much of his work, in
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this case to align with the architectural style of Millad Development. “It’s a level of accessible luxury that doesn’t require a new build,” Paquette notes of the customization. Embracing classic silhouettes, keeping color and pattern to a minimum, and amping up textural layers created a cozy home base for the client’s family of six, who love to gather in the kitchen to cook and eat together in a space that was tweaked, hammered, honed, and finished especially for them. h
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interiors + architecture
best in snow
Anchored by simple architectural forms and a regional palette, a starkly modern Hood River house redefines the typical Northwest ski cabin without losing its sense of place.
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Written by BRIAN LIBBY Photographed by PETER ECKERT
A single roof joins the two glass-walled pavilions of this Hood River residence—designed by Scott | Edwards Architecture and built by Hammer & Hand—and a covered outdoor hearth nestles between them. OPPOSITE: Spanning the back of the house, a row of clerestory windows invites in natural light and makes the roof seem to float above the grounded frame. » THIS PAGE:
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T
raveling the scenic 100-mile route east from Portland to Mt. Hood, skiers are treated to majestic vistas ranging from the sweeping Columbia Gorge and a host of craggy Cascade peaks to the orchard-dotted Hood River Valley. Several years ago, the picturesque drive led one client of Scott | Edwards Architecture, a longtime Portlander who made the trek regularly after he fell in love with skiing, to the site that eventually would hold his second home. Taking back roads to the mountain, eyes peeled for potential properties, he discovered a small clearing at the edge of a tree-covered hillside with expansive views of snow-capped Mt. Adams. Staked near the road: a rare for-sale sign.
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Glass walls from Dynamic Architectural Windows & Doors showcase views to the north. The leather sofas are from Design Within Reach, and the chairs are Room & Board. A Rais fireplace provides extra heat in the winter, and the Kush rug adds color and pattern.
After purchasing the property in 2015, the client hired Scott | Edwards to create a winter getaway. Rick Berry, principal at Scott | Edwards, remembers his first visit to the site and how wowed he was by its panoramic views. “It just made sense that every room needed a view,” he recalls. “We didn’t want the house be overly ostentatious but instead to really become part of that landscape.” The resulting 3,500-square-foot, three-bedroom home, completed in 2017, is a cedar-clad, shoebox-shaped structure nestled into the hill and oriented toward the north to take advantage of both distant mountain views and the sight of the landscape descending into the valley below. The house comprises two glass-enclosed spaces—the main living area and a guest cottage—with »
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interiors + architecture
CLOCKWISE FROM ABOVE:
A Modo chandelier from Roll & Hill is suspended over the dining table, its curves a successful contrast to the linear architecture. A board-formed concrete wall anchors the back of the house, lending privacy to peripheral indoor spaces as well as a sculptural quality to the overall design.
an open-air outdoor fireplace hearth situated between them. Clocking in at 150 feet long, a textural board-formed concrete wall anchors the back of the house, with secondary spaces such as the bathroom and utility room tucked out of sight. The living room is walled with sliding glass doors that can be opened to make the outdoor hearth an extension of the space. “The ecosystem in Hood River brings a lot of wind off the Columbia, and a lot of harsh, hot sunlight in the summertime,” Berry says. “We wanted to create an outdoor space that shields you, a space that’s not just a patio but something that’s integral to the house.” The project’s minimal material palette—consisting mostly of wood, concrete, and glass—strongly informed interior choices, including furnishings and finishes. The cedar used on the exterior walls extends into the interior and complements the walnut cabinetry in the kitchen,
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where quartzite stone from Caesarstone was used for both the countertops and backsplash, crisp pops of white that maintain aesthetic simplicity. To finish the interiors, Scott | Edwards interior designer Kate Dougherty anchored each seating area in the public spaces with a colorful, geometrically patterned Kush rug. “Since much of the rest of the architecture is almost monochromatic, we chose bolder patterns and colors for the rugs,” she says. Sofas and chairs with leather upholstery add softness, and bold lighting further defines each gathering space. While designer lights, luxury rugs, and contemporary architecture might buck the close-quartered A-frame ski cabin aesthetic, all one has to do is glance out the home’s windows to be reminded that—like many things in the Northwest—it all comes back to the views. h
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last look
BAR CONCEPT As told to JENNIFER MCCULLUM Photographed by GEORGE BARBERIS
“I describe the essence of what we do as ‘punk luxe.’
Glassblowing is not an inexpensive art form, so in that sense our work is always luxurious, but we give it our own spin: a little subversive, kind of playful. We want to take this craft and material that are so historically based, with so much tradition, and make them feel current. “The Alchemist decanter set is not just a centerpiece you might have on your bar. Each part has an individual function but still exists within the other. The ice bowl grounds the piece, so, while it’s tall, it doesn’t feel like it will tip. The stopper is actually its own, smaller decanter. It doesn’t have a flat bottom, so it’s dependent on the larger decanter for stability. “Each piece honors each aspect of the design, almost like a Japanese tea ceremony. There’s a meditative approach, a presentation, and a process to how you prepare the liquor. It’s all really thoughtful, slow, and time-based—which is the ultimate luxury.” h —Andi Kovel Artist and designer Esque Studio
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Each piece of the Alchemist decanter set from Portland’s Esque Studio nests together, creating an all-inclusive showpiece.
“We’re a very tight-knit group with the same goal: to hand over a product that our clients love.” Kara Macias Project Manager WITH ROBERTS GROUP FOR four YEARS
Founded, designed and built in Seattle. henrybuilt.com
