Interior Design Spring Homes 2021 by Interior Design Magazine

MARCH 21, 2021

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CONTENTS SPRING 2021

VOLUME 92 NUMBER 4

ON THE COVER A Moscow apartment by architect Maxim Kashin is distinguished by an oxidized steel island that doubles as a dining table, and its sculptural counterpart overhead. See page 33 for more. Photography: Dmitry Chebanenko.

FEATURES 100 BRIDLE SUITE by Kristina Raderschad

Architect Andreas Bründler transforms a 19th-century former carriage house into a home for his own family in Basel, Switzerland. 108 ABOVE IT ALL by Stephen Treffinger

Aidlen Darling Design carves out a soaring yet grounded home on a dramatic Bay Area precipice. 116 PAST LIVES by Joseph Giovannini

The rich history of a centuryold villa in Munich informs but doesn’t overwhelm its renovation by Arnold/ Werner Architekten.

124 SCULPT IT by Georgina McWhirter

Whether mathematically geometric or organically shaped—or both—these houses are in tip-top form. 134 TIME REGAINED by Ian Phillips

A classic Haussmannian apartment in Paris gets a sympathetic modern update from Le Berre Vevaud. 142 STEP INTO PARADISE by Rebecca Dalzell

Stera Architectures crafts a jaw-dropping seaside villa in Sardinia, Italy.

142

MATTHIEU SALVAING

spring.21

CONTENTS SPRING 2021

VOLUME 92 NUMBER 4

spring.21 open house 33 THE RIGHT ANGLES by Edie Cohen 39 STANDING TALL by Nicholas Tamarin

departments 19 HEADLINERS 23 HAPPENINGS edited by Annie Block 28 TRENDING edited by Rebecca Thienes 47 AT HOME by Tami Christiansen Henry Timi Finds Depth in Simplicity 51

MARKETPLACE edited by Rebecca Thienes text by Georgina McWhirter, Rebecca Thienes, and Colleen Curry

150 BOOKS edited by Stanley Abercrombie

155 INTERVENTION by Carlene Olsen

ALDO LANZI

152 CONTACTS

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e d i t o r ’ s welcome

a global view Hello design friends and fans! This letter is for you, pros, because I first want to talk shop! I feel the need to start in a manner that’s completely uncharacteristic for me, yet acutely necessary—and with a warning: Do not, under any circumstances, narrow your views right now! End of. And here’s the explanation of my unusually positivity-skimpy prose. Over a year into this cataclysmic event, the newly acquired importance of our homes—not only as shelters, but also as essential productivity hubs—has been unimpeachably established. Yes, it’s a bankable bit of the obvious for any design firm planning their near future, I’ll give you that. I would even stretch it and commend our entire industry for adapting so dizzyingly fast and shifting into high gear on all things residential (kudos and pats all around!). However, do not be lulled into thinking the reality you study from those observation decks in Bridgehampton, Marin County, and so forth is by any means an accurate portrait of the future. There are some dreadfully grim stories in the mass media right now that read like sounding the death knell for our cities. Aside from the self-evident flaws of producing remotely, the suburban domestic lifestyle is wildly different from pretty much the rest of the world. Just think: manufacturing, distribution, and regional markets; ponder on politics, cultures, or even geographies. Treat yourselves and picture Mexico City or Milan, Tokyo or Shanghai, Mumbai or London. Savvy, mates? Beloved cities are absolutely not going anywhere…and, BTW, the burbs would end up in a world of hurt competing with the urban model! Enough words to the wise, and finis rant. While I leave you working on that, with hopefully a global understanding and good wits as guardian angels of your future professional decisions, please allow me to offer our own world view, in permanent ink and paper: the Spring 2021 Homes issue. We honor the past with not one, but two restored homes. In Switzerland a 19th-century former carriage house gets a decidedly modern update by, and for, architect Andrea Bründler and his family—complete with gymnastic rings to stay fit! The other is a sensitive reno in a landmarked Munich villa by Arnold/ Werner Architekten...psst, but check out the very chic, coral-color parlor. We jet-set to the seaside to an unforgettable, shapely Sardinian villa growing out of nature’s rocky site thanks to Stera Architectures. And speaking of shapes, we even rounded up a group of striking homes, some with hard angles, others curvy, but all super inspiring! Enjoy the following pages from the comfort of your own home, but hope to see you all, out and about, very soon!

xoxo

Follow me on Instagram thecindygram SPRING.21

INTERIORDESIGN HOMES

“Our work reveals simplicity mixed with risks, surprises, and the unexpected”

Le Berre Vevaud “Time Regained,” page 134

h e adl i n e rs

interior design director: Raphaël Le Berre. interior design director: Thomas Vevaud. firm site: Paris. firm size: 10. current projects: A villa in Antiparos, Greece; a penthouse in Paris and a family apartment in Neuilly-sur-Seine, France. honors: Jury’s Prize, Révélations, Grand Palais, Paris. role model: The great Mexican architect Luis Barragán, for his modern perspectives and infinite colors. in class: Le Berre and Vevaud met in 1996 when they were design students at the École Camondo in Paris. school’s out: Both love taking motorcycle road trips to explore wideopen spaces and experience the feeling of freedom they generate. leberrevevaud.com

STEPHAN JULLIARD

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h e a d l i n e rs

“Bridle Suite,” page 100 principal, design director, and partner in charge: Andreas

Bründler. firm site: Basel, Switzerland. firm size: 35. current projects: Crossmedia

Center WDR, Cologne, and Guesthouse University Hamburg, both in Germany; Habitat International Coalition building at Swiss Federal Institute of Technology Zürich. honors: AIT-Award; Swiss Architectural Award; ARC Award. role model: Bründler admires the Japanese architect Kazuo Shinohara for his subtle understanding of human nature. past: Bründler met his firm copartner Daniel Buchner when they were students at the University of Applied Sciences and Arts Northwestern in Basel. present: An art lover from childhood, Bründler is on the board of the Basler Kunstverein, which runs Kunsthalle Basel, well known for its innovative exhibitions of emerging artists. bbarc.ch/en

Arnold/Werner Architekten “Past Lives,” page 116 interior architect: Ulrike Buhl. interior architect: Tim Honkomp. firm site: Munich. firm size: 20. current projects: Renovation of Bergson Kunstkraftwerk München, a cultural and events venue; and Frau im Mond bar and restaurant at the Deutsches Museum, both in Munich. honors: Interior Design Best of Year Award; German Design Award; Best of Interior Award by Callwey. role model: The late German graphic designer and typographer Otto “Otl” Aicher, who helped devise the use of stick figures for universal public signage. lesson time: Buhl and Honkomp were both students at the Akademie der Bildenden Künste München, when they met their current boss, Sascha Arnold, who is a guest lecturer there from time to time. on the move: In her free time Buhl is an enthusiastic student of jazz dancing, while Honkomp is a passionate soccer player. arnoldwerner.com

Stera Architectures “Portal to the Past,” page 142 founder: Stefania Stera. firm site: Paris firm size: 10. current project: Intergenerational housing in a 17th-century converted mansion in Lille, France. role model: Postwar Japanese architect Kazuo Shinohara. solid foundation: Stera’s family operated the Cava Francese quarry in Sardinia, now a UNESCO site. on the rise: As a child, she visited the construction sites of the island’s famed Hotel Romazzino and Hotel Cala di Volpe. steraarchitectures.com

Aidlin Darling Design “Above It All,” page 108 principal and cofounder: Joshua Aidlin, FAIA. senior associate: Adam Rouse. firm site: San Francisco. firm size: 21. current projects: Contemplative Sciences Center at the University of Virginia, Charlottesville; residence in Shek O, Hong Kong; The Island Club at Yerba Buena Island, San Francisco. honors: Cooper Hewitt, Smithsonian Design Museum’s National Design Award. buckeye buddies: Aidlin and Rouse were both raised in Ohio. artsy dna: Aidlin’s mother was a painter and printmaker, his father a sculptor. lensman: Rouse has a parallel career as an architectural photographer. aidlindarlingdesign.com 20

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CENTER, FROM LEFT: CHRISTIAN SCHAULIN; MATTHIEU SALVAING

Buchner Bründler Architekten

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INTRODUCING: THE LIBRA COLLECTION

happen ings

edited by Annie Block

spring in your step Hope, renewal, and birdsong aren’t the only signs of winter’s end. There’s also the launch of ZigZagZurich’s first ever Artist Carpet Collection. The new line is the result of customer demand after the success of the sustainability-focused textile company’s Artist Blanket Collection, introduced in 2016 and into its 10th series, with wool and cotton patterns by Canadian illustrator Catherine Lavoie, South Korean interior designer Yanyi Ha, and others. For the three rug designs—Bengali, Field, and Gunta—ZigZag mined the creativity of British painter Jo Hummel, German textile designer Sophie Probst, and Swiss architect Michele Rondelli, who is also the brand’s creative director, and developed a new production technique that combines natural, unbleached sheep’s wool with bamboo silk, for a lustrous texture that’s hardwearing. The rugs are made in small production runs in Europe, Oeko-Tex certified, and 5¼ by 7½ feet, with custom sizes available.

REGULA ROOST/COURTESY OF ZIGZAGZURICH

Bengali, in the Nepal Blue Day colorway, by Michele Rondelli and Sophie Probst, is one of three wool and bamboo silk patterns in the new Artist Carpet Collection by ZigZagZurich.

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h a ppe n ings trend

best foot forward Interior design is the soul of this season’s shoes

Cougar x Jill Malek She’s best known for wall coverings inspired by the fluid forms of nature. But Jill Malek also has several product collabs under her belt: eco-friendly blankets for in2green, rugs for Starwood Hotels, and packaging for M. Boutique, among others. Now she can add waterproof footwear to that list with Cougar Shoes Rainshine, which features her metallic pattern printed on the Kensington Chelsea boot in Night, Tea, Mica, and Lake (shown) colorways. Next up for Malek is a healthcare-focused TPO wallcovering and privacy-curtain collection with Carnegie Fabrics.

Margaux x Schumacher

Birkenstock x Faye Toogood With a shared commitment to craftsmanship and organic forms, Birkenstock CEO Oliver Reichert tapped multidisciplinary designer Faye Toogood to re-sculpt the brand’s iconic Arizona sandal, resulting in the nappa leather Beachcomber (in Chalk or Flint), the leather Forager (in Pollen), and Mudlark (not shown). A complimentary line of clothing and bags is launching at t-o-o-g-o-o-d.com and matchesfashion.com. Addressing all aspects of daily life—walking, wearing, living, sleeping—the collection also features a bed: Puffy layers of canvas and leather upholstery wrap a cork base topped with Birkenstock’s natural mattress.

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CLOCKWISE FROM TOP: ANDREW WERNER; COURTESY OF BIRKENSTOCK; COURTESY OF MARGAUX; COURTESY OF COUGAR SHOES

Vera Neumann and Elsa Schiaparelli were previous female fashion collaborators. But that was so 20th century. Today, heritage textile brand Schumacher has teamed up with Margaux, a fledgling made-to-measure ballet-flat company founded six years ago by Alexa Buckley and Sarah Pierson. The project came about when they connected with Schumacher creative director Dara Caponigro on their recent IGTV series profiling inspiring women. Among the six styles is the Demi Cabanon Stripe, a 2015 floral pattern, chosen for its elegance and optimism, that’s been printed on Italian nappa leather. The collection launches May 11.

encore, madame

h a ppe n ings Clockwise from top left: From June 19 to September 5, the Design Museum, London, is hosting a comprehensive Charlotte Perriand exhibition, which includes her 1928 color studies of the Fauteuil Grand Confort seating. A 1929 photograph of Perriand with her friend, architect Alfred Roth, in her Paris apartment. The designer on her Chaise Longue Basculante B306, also from 1929. La Cascade, part of the Arc 1600 village at Les Arcs ski resort in Bourg-SaintMaurice, France, that was designed by Perriand and Gaston Regairaz in 1968 to cantilever into the hillside so that each unit gets the same amount of sunshine. Her pine, mahogany, and enameled steel and aluminum bookcase from 1952.

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CLOCKWISE FROM TOP LEFT: ACHP (2); ADAGP, PARIS AND DACS, LONDON 2020; ACHP; ADAGP, PARIS AND DACS, LONDON 2020

Last fall, Architecture & Design Film Festival attendees had the opportunity to explore the life of one the 20th century’s most influential designers, albeit virtually, in Stéphane Ghez’s documentary, Charlotte Perriand, Pioneer in the Art of Living. If all goes accord ing to plan with COVID-19 vaccinations this summer, the Design Museum will open to visitors, who can experience the French architect’s work firsthand in “Charlotte Perriand: The Modern Life.” Marking a quarter century since the last significant presentation in London, the exhibi tion encompasses some 270 items, from her sketches and scrapbooks to her furniture and recreations of her interiors, divided into three sections, Machine Age, Nature and the Synthesis of the Arts, and Modular Design for Modular living. The latter delves into Perriand’s focus on the affordable, functional, and democratic. “Dwellings,” she once said, “should create conditions that foster harmonious balance and spiritual freedom in people’s lives.”

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a warmer touch Cork’s stock is on the rise as a flexible material for all manner of furnishings edited by Rebecca Thienes text by Georgina McWhirter For her satisfyingly squishy Jiggle Box stool, Jesslyn Sutisna experimented with linear cuts to a cork cube, which cause the surface to react to weight and touch. The material—the renewable bark of cork oak trees—is most often associated with wine bottle stoppers, but its innate characteristics make it ripe for furnishings, too. “Cork has a lot of potential,” the Jakarta, Indonesia– based industrial designer explains. “It’s naturally insulating, elastic, and durable.” It’s also tactile, sound absorbent, fireproof, water-resistant, and lighter than water, notes Tom Dixon, who charred the substance to create a sculptural table. “In terms of a dream material, you couldn’t get a lot better.” Cork is also central to Enrico Rapella’s heat-storing bench, whose removable ceramic top can be warmed over a radiator before being placed on the cork bench base, which acts as an insulator: airfilled cells effectively block heat transfer. See also cork leather, a textile alternative to animal hide, which wraps Rodrigo Vairinhos’s metal-studded rockchic pendants. Turn the page for these and more absolute corkers. jesslynsutisna.com

JIGGLE BOX

tre nd ing 28

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CONTRAST is THE ROOT of INTRIGUE . The Invari™ Bath Collection Explore the full collection at brizo.com

t r e n d ing

“Cork has insulating properties. Placed below my ceramic bench top, the two materials tell a story” —Enrico Rapella

1. Design Studio Niruk’s Balanço cork

swing with recycled PET rope by Cork Units. corkunits.com 2. Harvesting Heat cork bench with ceramic top by Enrico Rapella. enricorapella.com 3. Together and Apart interlocking

flexible-use cork furniture modules by Bjarke Ballisager. bjarkeballisager.com 4. Nate McCracken and Damein Williams’s Booklift book stand in agglomerated cork by Revision. byrevision.com 5. Cork round table in charred cork by Tom Dixon. tomdixon.net 6. Rodrigo Vairinhos’s Corkstar

pendant fixtures wrapped in cork leather with black- or gold-finished metal studs by Neo Design Studios.

neo-studios.de 6

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2: MOONSEOP SEO/ENRICO RAPELLA

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ope n house the right angles firm: maxim kashin architects site: moscow

DMITRY CHEBANENKO

A trio of sculptural steel elements distinguishes the Moscow apartment. SPRING.21

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He planned this super-white, 753square-foot apartment as three builtfrom-scratch rooms, channeling Suprematism’s basic constructs of geometry and color. The multifunctional main space encompasses lounge and dining areas plus the kitchen. The separate bedroom has a sleeping zone that can be further enclosed via sliding, stacking panels. Completing the configuration are an office and a bathroom. When designing the floor plan, Kashin took special care to orient the walls toward windows so natural light could show the way from entry to living area. But his main coup is the installation of sculptural steel pieces anchored to the floor and hovering overhead. The treelike object opposite the entry is a clothing rack. Nearby, the central feature serves as both an island and a dining table dividing kitchen and eating areas. Above it, the third piece hangs from exposed concrete, an impressive feat

DMITRY CHEBANENKO

This 16th-floor flat, located in a new residential building on Moscow’s Golden Mile, makes a gallerylike first impression. “A white 3-D canvas with metallic installations in it,” is how architect Maxim Kashin describes the dwelling, designed in homage to Russian Suprematism— specifically the art movement’s founder, Kazimir Malevich. Kashin, a native Muscovite who founded his seven-person studio in 2013 following a master’s degree from the Moscow Architectural Institute, was drawn to and became steeped in the subject matter during his studies. “I started researching the history of the movement and got interested in the connection between architecture and the fine arts,” he explains. “I was eager to understand the Suprematist way of getting from the flat surface to volume and to architecture, and to find new means to make that transition.” The easiest way, he determined, was to use the interior itself as medium.

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Clockwise from left: The main space combining living, dining, and kitchen zones is articulated by an island-table and its sculptural counterpart overhead. Folded and overlapping planes of oxidized steel compose the two large pieces, while the treelike clothes rack is high-carbon steel. Faux suede cushions rest on the custom built-in banquette’s MDF base. Kitchen cabinetry is of varnished MDF boards.

DMITRY CHEBANENKO

ope n house SPRING.21

INTERIORDESIGN HOMES

since it weighs more than 550 pounds. With no integral lighting, it is strictly aesthetic. Kashin used 3-D modeling to determine dimensions and shapes of the metal planes, which he cut from sheets and then welded together in situ. Left unfinished, the steel has oxidized to a velvety rust. Sparse furnishings allow the space to speak, well, volumes. Kashin designed the lounge’s built-in banquette, covered with creamy faux suede, to rest on a split-level podium of MDF panels. Varnished boards of the same material form custom kitchen cabinetry. Semitransparent matting curtains the windows, which face the building’s courtyard and the Moskva River. Marble paves the kitchen, while polyurethane-coated foam rubber cushions the living room (it’s comfy not cold, according to Kashin). The exception to the overall scheme is the bathroom, a riot of deep blue, violet, and fuchsia achieved with a single paint color that changes according to light temperature. The vibrant hues express a Russian Suprematist idea that color has superiority over shape. Lucky was Kashin to have had a client granting him literal and figurative carte blanche. Ergo the freedom to create the minimalist white interiors he favors. —Edie Cohen

PROJECT SOURCES H&M HOME: TABLE (LIVING AREA). CENTRSVET: LIGHTING. COSMORELAX: STOOL (BEDROOM). LAUFEN: TOILET (BATHROOM). GROHE: SHOWER FITTINGS.

Clockwise from left: The bathroom’s vibrant coloration draws from Russian Suprematist concepts. Translucent matting curtains the windows, while the pouf can be easily transported from bedroom to living area as needed. The bedroom sleeping nook becomes cocoonlike when enclosed by sliding panels. The bathroom’s volumetric vanity and tub are made of Calacatta marble. 36

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DMITRY CHEBANENKO

ope n house

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ope n house

standing tall A trio of idyllic retreats raises the bar on rural modernism

GEMMA AND ANDREW INGALLS

See page 42 for a mountainside guesthouse by Summerour Architects in Walland, Tennessee.

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PETER AARON

ope n house

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alexander gorlin architects and butter and eggs site Tuxedo Park, New York recap A driveway that winds through groves of mature trees leads to a house clad in local granite and mahogany, which is designed to dissolve into its site overlooking a mountain lake in the Hudson River valley. The landscape of boulders and rock outcroppings in turn inspired the serene master bathroom of polished royal blue sodalite from Mozambique.

PETER AARON

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summerour architects site Walland, Tennessee recap Perched surreptitiously on the slopes of the Great Smoky Mountains, a two-level guesthouse sheathed in cypress touches the earth lightly via poured-in-place concrete stilts. The yachtlike interior—a composition of white oak, raw steel, marble slabs, and brass accents—is meticulously fitted to keep the emphasis on the jaw-dropping views.

GEMMA AND ANDREW INGALLS

ope n house

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mapa site Garzón, Uruguay recap The architects transformed an existing woodand-stone ranch in a remote Uruguayan prairie into a glammed-up, off-the-grid vacation destination by adding a black corrugated-metal exterior as well as autonomous water, energy, heating, and sanitation systems—not to mention statement pieces by Jean Prouvé and Hans Wegner. —Nicholas Tamarin

ALDO LANZI

ope n house

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at home

henry timi finds depth in simplicity

PHOTOGRAPHY BY NATHALIE KRAG/LIVING INSIDE; PRODUCED AND STYLED BY TAMI CHRISTIANSEN

The Milan loft of artist/designer Henry Timi exhibits an almost monastic purity. All surfaces—walls, ceilings, rough stone floors—are brushed with a layer of clay, forming a chalky backdrop to a curated selection of minimalist furnishings from the designer’s HenryTimi brand. Even the monolithic chiseled-stone kitchen and the bathroom vanity, more site-specific sculptures than fixtures, align with his resolute vision: simple, restrained, refined, luxurious. Exuding a reserved elegance and honesty, his geometrically reductive creations, whether a pewter vase or a planar oak chair, celebrate their raw materiality—a unique bond with their organic origins. “My designs revert to the pristine state of things: monochromatic elements and singular natural materials,” Timi says. In addition to being a showcase of Timi’s rigorous ideology, the 1,290-square-foot loft is a place of quiet and hidden functions. Bookshelves are disguised behind door panels, and kitchen cabinets and bathroom elements are elegantly integrated into the architecture. “My home is an example of research and experimentation, an artifact of my essence,” the designer says. That Timi treats his dwelling as a sort of R&D facility is only appropriate since the apartment, in the city’s Brera neighborhood, is located in an early-20th-century former laboratory building. “It was the space itself that informed the project,” Timi notes, describing how his renovation uncovered tall archways— poetic references to ancient Roman architecture—that, in lieu of walls, demarcate transitions between rooms. The HenryTimi brand ethos is one of “refusal of the unnecessary,” the designer explains. “What influences my work is the search for aesthetic perfection, for absolute quality, for the essence in absence, for the symbolic and for the eternal,” he continues. “I have always been fascinated by primordial forms and rejected décor and opulence.” He certainly walks the talk. —Tami Christiansen The HenryTimi founder at his Milan loft, in the city’s Brera neighborhood.

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“I wanted my home to emphasize how Mother Nature has granted us the luxury of being able to utilize her raw materials and transform them with our hands”

at home 1. Presiding over the bathroom, Timi’s HTGR702 Biancocanale stone vanity/basin—a design collaboration with Giorgio Rava—has the suggestion of a half-carved work in progress. 2. A handcrafted HT112 Cerchia armchair by the designer. 3. Bookshelves in the living/dining zone—furnished with a table and HT112 armchairs in whitened oak— are hidden behind clay-painted floor-to-ceiling doors; the shape of the built-in custom sofa mirrors the bend of the bookshelf wall. 4. Like all of Timi’s creations, the monolithic marble HTGR604 kitchen, a 2014 collaboration with Rava, was handcrafted in the designer’s factory. 5. Tall arches—a vestige of the original space, a former laboratory—frame the hallwaylike kitchen.

5 6. Another sink basin, HTGR702 Corpo, also by Timi and Rava, in carved marble. 7. HT913 Cinquatacinque pitchers in pewter. 8. In one of two identical bedrooms, a custom HT803 bed in whitened oak with HTLT901 vases, a 2014 collaboration with Leonardo Talarico.

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1, 4, 5, 8: PHOTOGRAPHY BY NATHALIE KRAG/LIVING INSIDE; PRODUCED AND STYLED BY TAMI CHRISTIANSEN; 2, 7: COURTESY OF HENRYTIMI

PHOTOGRAPHY BY NATHALIE KRAG/LIVING INSIDE; PRODUCED AND STYLED BY TAMI CHRISTIANSEN

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K E M I Z O

C O L L E C T I O N

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C E L E B R AT I N G 3 8 Y E A R S O F C O N T E M P O R A R Y F U R N I T U R E D E S I G N A N D FA B R I C AT I O N - S I N C E 1 9 8 3

Rameau Pendant courtesy of Jonathan Browning Studios

best face forward Although at this point we may be hard-pressed to recall what an unmasked face looks like, New York–based Brit Anna Karlin offers a reminder with Face Light. The floor-to-ceiling light sculpture traces a noble profile in bronze-finish tubular steel—a look reminiscent of artist Oskar Schlemmer’s exquisite metal relief silhouettes adorning the walls of Adolf Rading’s 1930s Rabe House. Shown in the standard 110-inch height (86 is the minimum), the fixture is available hardwired or as a plug-in (from top or bottom) model. A dimmable 4.5-watt LED bulb cleverly becomes the focal point, the eye, emanating a soft glow that gives the piece life. annakarlin.com

edited by Rebecca Thienes text by Georgina McWhirter, Rebecca Thienes, and Colleen Curry

FACE LIGHT

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CORONATION CRAZE

PARSONAGE BLOOM

FLOWER POWER

BOHEMIAN DREAM

market p l a c e CORONATION CRAZE

memory lane It’s the 75th anniversary of English wallpaper company Graham & Brown, and its everything-old-is-new-again collection Through the Decades revisits trends from the years since the company’s founding in 1946. The dainty florals of the ’40s make an appearance in Parsonage Bloom, the bolder blossoms of the Swinging Sixties in Flower Power. The ’50s, in turn, are represented by teardrop and orb motifs in Coronation Craze, and the ’70s by retro geometries in the era’s quintessential orange-and-tan color palette, in Bohemian Dream. Each design is produced in a limited run of 150 rolls, with all profits going to charity. And in May, the brand releases a design for each decade from the 1980s to the present day. Nostalgia never looked so good. grahambrown.com

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“Calling on our archives, we re-imagined nostalgic wallpaper designs”

years

BOHEMIAN DREAM

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“From the natural woods to the olive green color,the palette was incredibly important: I wanted these pieces to feel timeless”

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match point We know her as a tennis champion, but did you know Maria Sharapova

also has a keen eye for design? Riffing on her own effortless, Japaneseinspired home by the beach, the star athlete teamed up with Rove Concepts to produce her inaugural furniture collection, Maria, an organicmodern assemblage of nubby natural fabrics and rounded shapes. There are six living room pieces, including a sofa and bench with walnut-veneer frames upholstered in an exclusive velvety fabric, a jute rug, a coffee table and side table in glass-reinforced concrete, and a sculptural walnut floor lamp with a dome-shape linen shade. “I would describe this collection as comfortable and minimal with beautiful textures,” Sharapova says. “I wanted the pieces to feel timeless so that if you already have a home that’s been furnished, they fit in without having to build an entirely new design plan.” roveconcepts.com

MARIA COLLECTION

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Showrooms

London

Par is

Culemborg

arte-international.com

Los Angeles

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KASIMIR ALEXANDER CHARLOTTE DOTS

future bright Finally, some good news. With its buoyant color palettes, natural fibers, and dynamic graphics, Pierre Frey’s new fabric and rug series—Vibrations and Rhythms, respectively—scream “optimism.” Taking inspiration from the Bauhaus and kinetic art movements, the sister collections comprise 16 patterns (eight apiece), each in a handful of colorways. To name just a few: the Nikita rug in cut-pile wool; Dots, a cotton fabric; the jacquard-woven Kasimir, also cotton; Charlotte, an embroidered acrylic-cotton fabric; and Alexander, a linen-acrylic embroidery. To style the photo shoot, the textile brand called in product designer Constance Guisset, who took a narrative approach. “I tried to imagine a character who would live in this apartment,” she says. “Our host would be a curious person, open to the outside world and to dreams, eager for real or imaginary travels.” That’s the spirit. pierrefrey.com

“The relationship between full and empty, lines and colors, creates an evocative graphic field”

COURTESY OF PIERRE FREY

NIKITA

ALEXANDER

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Fabien Cappello for Hem

Mathias Steen Rasmussen for Gubi

Victoria Yakusha of Faina

Alain Gilles for Faïencerie de Charolles and Fermob

product Offcut standout The Mexico-based French

product MR01 Initial standout A woven-rope chair orig-

product Soniah standout A series of floor lamps

product Fat & Slim standout The Belgian creator pro-

designer reimagines colored sheetglass offcuts from his workshop as artful patterns on a collection of 15 one-of-a-kind plates. hem.com

inally conceived for the Dane’s own home is now his first production piece, with an oak or walnut frame constructed sans screws. gubi.com

from the Ukrainian designer derive their forms from sunflowers and are handcrafted from ztista, a blend including clay, paper, wood chips, and straw.

duces a side table duo sporting chubby ceramic bases topped by ultra-thin steel discs, thus showcasing the expertise of both French design houses. fdcfrance.com, fermob.com

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PORTRAIT 1: ADAM WISEMAN; PRODUCT 3: VOVA KLEVER

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PORTRAIT 7: GEDIYON KIFLE; PORTRAIT 8: MATTHEW DONALDSON

Fiona Barratt Campbell of FBC London

Lucy Penfield of Lucy Penfield Collection

Jomo Tariku of Jomo Furniture

Faye Toogood of Toogood

product London standout The interior and product

products Playtime, Onward, and Celestial Mod standout The Minneapolis-based interior designer translates her own collaged and painted art into graphic textiles then sewn into pillows in Los Angeles. Through Missio Home. missiohome.com

product Borattii standout The Ethiopian-American

product Dough standout The British design doyenne

artist and industrial designer’s Baltic birch plywood stool/end table takes inspiration from sleep headrests in Ethiopia’s Oromia region and offers height adjustment via a clever dowel. jomofurniture.com

debuts her first tabletop collection comprised of a pudgy (think rising dough) earthenware mug, vase, bowl, centerpiece, and platter in charcoal or cream. t-o-o-g-o-o-d.com

designer’s handmade-to-order sofa with chocolate-brown oak base comes with a generously deep seat and curved back. fbc-london.com

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FRAGMENT

peek-a-boo It was designer Luca Nichetto who introduced celebrated product designer Todd Bracher, known for his refined, clean-lined pieces, to Fogia . The Scandi maker and the American designer hit it off, and thus began a cross-continent collaboration on Fragment: wide and deep modular seating for any milieu (especially apt since work and home are all ablur nowadays). Open-plan architecture, whether in the home or office, has brought with it the need for micro-architecture that provides privacy. But we also “need a connection to the environment and the people who use it,” explains Bracher, “so we gave the modules ‘glimpse gaps’ between the backrests.” The 36-inch-deep armchairs, loveseats, and sofas with comfy cushions perch atop powder-coated metal legs; armrest and back height, overall width, and textiles are customizable. “For some reason designers tend to fetishize design but not comfort,” Bracher notes. “I can’t help but wonder why comfort is not considered a driving design attribute.”

TODD BRACHER

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“’Glimpse gaps’ between the backrests provide connection to the environment”

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sugar rush Sweet dreams are made of these. Five years ago, after an illustri-

ous career in fashion at major labels such as Saint Laurent and Acne Studios, Bengt Thornefors teamed up with florist and graphic designer Nina Norgren on a Swedish company devoted to mixing, matching, and layering one’s bed, just as one might dress oneself. The pillowcases and duvet covers

“The variation of colors simply makes you happy”

of Magniberg—which last year joined the Kvadrat family—include Candy Shop, a 16-color collection of sartorial sateens, poplins, and linens inspired by Play-Doh and jelly beans. Have a sweet tooth? The pastels of Blossom Pink, Baby Blue, and Lemonade are sure to hit the spot. Or try deeper Italian Blue or Coral Pink for added saturation. To celebrate the launch, Thornefors and Norgren called on fashion photographer Hedvig Jenning to capture the range with models, in an homage to the magazine editorials the duo grew up admiring. magniberg.com

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HEDVIG JENNING, STYLED BY MARTINA ALMQUIST

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open house Upper East Siders have a new neighbor: Radnor, the furniture gallery and workshop founded by designer Susan Clark in 2016. Its new showroom, which opened in March, occupies a full-floor condominium on 88th Street and was co-curated by Clark and architect Elizabeth Roberts. Throughout, some 70 furnishings and

PILLAR, ARV

“The entire showroom serves as a holistic, integrated installation of fine art and design”

market p l a c e objects form thoughtful vignettes, from a dignified dining room to a snug breakfast nook. In the former, Egg Collective’s walnut and blackened-brass Kenny dining table anchors eight Bunn Studio– designed Pillar chairs in walnut and leather, while brass Almendres candleholders and bronze Surface sconces, both by Studio Henry Wilson, look on. In the breakfast nook, a Bunn Studio Pillar table in bleached maple and Rojo Alicante marble mingles with ARV beech chairs by BRDR Krüger and silk-linen wall art by Oyyo. There are plenty of Radnor Made pieces on view, including Philippa, a shaggy 5-foot-wide pendant in natural warp and horsehair by Clark and textile artist Alexandra Kohl. See also Clark’s Core tables in Breccia Stazzema marble; Parallax, a Karl Zahn bronze coffee table; and Triad, a desk forming part of a furniture collection Roberts designed on the occasion of the showroom’s opening. radnor.co

PHILIPPA

TRIAD

PARALLAX

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CORE

CLOCKWISE FROM TOP RIGHT: MATTHEW WILLIAMS (2); COURTESY OF RADNOR (4)

KENNY, PILLAR, ALMENDRES

wood if we could Timber, in a new light

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3: FRANÇOIS COQUEREL

1. Small Jar Blocks, for storing jars of cannabis, in walnut, ash, or linoleum-top Baltic birch with replaceable scent-neutralizing carbon filters by Forti Goods. fortigoods.com 2. A Conversation Piece upholstered oak chair, delivered flat-packed, by Eleish Van Breems Home. evbantiques.com 3. Armchair in oak with linen sling and Japanese sconce in oak, nickel-plated aluminum, and woven paper by Haos. studiohaos.com 4. Arrow and Frank table lamps with travertine bases by Veermakers. veermakers.com 5. Highland desk (with drawer for largeformat draft paper) and brass-detail chair, both in oak, by Kalon. kalonstudios.com 6. Rena Dumas by RDAI Aria console in satin-varnish brushed oak by The Invisible Collection. theinvisiblecollection.com

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hen people can’t or choose not to go on vacations, their exterior spaces take on added significance. Outdoor living is the answer when clients are itching to get

out and get back to nature, according to the National Kitchen & Bath Association’s exclusive 2021 Design Trends research. THE ART OF THE STAYCATION: With people spending more time at home — a trend that’s expected to continue even after the pandemic has abated — 65% of pros say they’ve experienced an increase in backyard projects compared to pre-COVID times. And 76% say outdoor kitchens are the dominant project requested. 60% say they’re converting or upgrading existing outdoor areas, and 40% are creating new exterior living space where none existed.

HAVE A SEAT: Among respondents, 60% say the focus is in three areas: enhanced seating, outdoor kitchens, fireplace/ fire pits. 55% say weather protection is critical as well. GARDEN TECH: 48% say integrated entertainment is an increasingly popular outdoor perk — which rises to 63% when designing for Millennials. Integrated lighting and cooling is cited by 39% of pros.

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Above: Reisa Pollard // Photo by Amanda Oster & Stephen Li

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Comfort & Clicks in the Bath

Hello hip, good-bye Granny. Traditional styling has plummeted to 10th most-popular, with contemporary, transitional and organic/natural design occupying the top three spots. Sleek materials make it easier to clean and hidden storage keeps counters clear and clutter concealed.

It’s all about spa-like serenity in the primary bathroom, but with a modern twist. Changing and expanding layouts, and connecting to laundry, dressing or closet areas are key upgrades to the primary bath, and tech includes heated f loors, remote water temperature controls, smart lighting and sound/video integration.

OPEN-MINDED: Open layouts with large islands and conversation areas will be popular with more minimalist design and touches of organic or natural materials. 64% are taking down walls to open the kitchen to other spaces — and this figure rises to 71% in designs for baby boomers. ISLAND LIVING: Islands are taking a larger role — and footprint — in the kitchen, with 60% of them between 24 and 35 square feet; 10% are over 35 square feet, and 28% are between 12 and 23 square feet. 58% of islands function as dining tables, and 55% also accommodate work-fromhome and virtual schooling. ‘L’ IS FOR ‘LOVE THAT LAYOUT’: 51% of kitchens are L-shaped to maximize workspace and efficiency while still maintaining connection to other parts of the living space. HOOK ME UP: Technology plays a central role in the kitchen as consumers do more online work and school in the space; embrace Wi-Fi-connected appliances, and opt for touchless faucets. Top needs include dedicated device charging/viewing, cited by 63%, seamless video communication and emergency power for the refrigerator (49% each).

Left Page: Madeleine Sloback // Photo by Ema Peter Right Page: Blue Arnold, CMKBD // Photo by Alan Gilbert

SIZE MATTERS: 67% are increasing the size of the primary bathroom when possible. Of those, 60% remove the tub to increase shower space, and 40% take down walls to increase the footprint. Connecting to closet/dressing areas (40%) also expands the en suite bathroom. SLEEK AND NATURAL: Contemporary (cited by 57%), transitional (53%) and organic/natural design. (47%) are also the top three styles in the bath, with traditional and craftsman at 16% each in second-to-last place, only ahead of Mediterranean/Old World at 6%. KEEP IT FLOWING: 50% of pros say technology solutions for faucets lead innovations in this category, followed by new styles, colors and designs at 41%, including larger faucets with sprayers to clean the sink will be popular as well. TECH TALK: 52% say smart temperature for f loor and shower will be most popular in the next three years; 45% choose water conservation technology; 42% cite motion-sensoractivated lighting, and 40% pick leak detector-embedded sensors with mobile alerts.

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INTERIORDESIGN HOMES

bridle suite Architect Andreas Bründler transforms a 19th-century former carriage house into a home for his own family in Basel, Switzerland text and production: kristina raderschad photography: christian schaulin

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Not far from the 14th-century Spalentor Gate, an impeccably preserved part of the wall that once surrounded the Swiss city of Basel, a path leads to a parklike inner courtyard dotted with trees. This quiet oasis, removed from the town’s bustle and noise, is the site of a striking 19th-century building, the carriage house of a villa that formerly occupied the property, which architect Andreas Bründler and his fashion-designer wife, Sandra, have transformed into their family home. A massive, quarry-stone wall divided the interior into a utility area with stables, coach room, and hayloft and a rudimentary living area for servants. But it was the historical brick facade, with its distinctive cornerstones and friezes made of Bernese sandstone, that caught the couple’s eye when they first saw the place in 2018. One exterior feature they admired in particular— a gable decorated with a timber barge board in the form of an elaborate trefoil arch—would inspire the extensive use of curved and circular design elements in the new 3,300-square-foot, fourlevel residential interior, including an attic and basement.

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The interiors of most projects by Buchner Bründler Architekten—the firm Bründler co-founded with Daniel Buchner in 1997—are characterized by simple, sensuous forms executed in a limited materials palette, resulting in clean, modern spaces with a slightly archaic quality. Bründler held to that signature aesthetic in designing his own home, which faced a special challenge: “Firewalls cut off the daylight completely from two adjacent sides of the building,” the architect reports. His response was first to cut an enormous double-height circular opening in the dividing wall, creating a single interior volume. He then inserted an almost independent, three-story concrete structure into the existing brick shell, where it sits like a house within a house. Detached from the rear walls, this cast-in-situ module

forms triangular corner atriums that allow sunshine to pour down into what would otherwise be dark and airless spaces. “We wanted the entire volume to be filled with light,” Bründler explains. “Our goal was also to give the house a stronger, more complex spatiality.” The concrete structure’s walls are perforated with large cutouts—some rectangular, but many circular or arched to echo the curves of the original gable—that let light and views into its tower of rooms. These comprise the children’s bedrooms and a study/guest room on the second floor, and the parents’ suite on the atticlike top level. Supported on hefty concrete beams and columns, the structure appears to float like a giant table above the ground floor’s open-plan living, dining, kitchen, and library

Previous spread: An Umberto Asnago leather-upholstered sofa faces a vintage Lella and Massimo Vignelli coffee table and a Sergio Rodrigues armchair in the living-dining area, which has a terrazzo floor. Opposite top: Gymnastic rings hang from a beam in the children’s play area on the second floor. Opposite bottom, from left: Like all of the house’s new concrete work, the stairs were cast in situ. The trefoil-arch barge board decorating the former carriage house’s gable was the inspiration for the circular motif found throughout the redesigned interior. Above: A curved buttress—part of the quarry-stone wall that formerly divided the building—frames the living-dining area’s freestanding fireplace and sliding glass wall beyond; Thomas Wüthrich and Yves Raschle’s teak side chairs flank the custom chestnut table. SPRING.21

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Opposite top: Behind the cast-concrete kitchen island, oak paneling clads a pod that houses appliances, storage, and a powder room while screening the corner library with its colorful bookshelves from the main entry on the left. Opposite bottom: Circular, arched, and rectangular openings in the concrete walls of the guest suite and main bathroom overlook the triangular atrium above the library. Below left: Two feeding troughs from the former stables serve as washbasins on the bridge connecting the main bathroom and bedroom. Below right: Crossing under the far end of the play-area skylight, the bridge looks like one more large beam.

areas, its edges softly illuminated by the skylights high above. A number of stratagems, including the use of slightly different colors of concrete (gray for columns, walls, and beams; white for floors, stairs, and furniture); the juxtaposition of smoothly plastered surfaces next to rough quarry-stone elements; and the lavish application of oak and fir in the form of beams, planks, and paneling (some of the wood original), enliven the haptics and materiality of the interior spaces throughout. The historic brick exterior remains unchanged; only the retiled slate roof and new solid-oak window frames give a hint of the transformation inside. In fact, the front facades of the building are generously fenestrated, the living area boasting not only a row of arched French doors but also a glass end-wall that slides completely out of the way thanks to a guide rail on a concrete beam extending well into the garden. At the other end of the living-dining area, the circular hole cut in the original dividing wall is like an enormous moon gate framing the kitchen and library areas beyond. At the center of this aperture, a large castconcrete plinth acts as a freestanding fireplace, its chimney a monumental column of concrete that descends from the ceiling to stop a few feet above the hearth. Furnishings, as with the rest of the house, are a mixture of custom, contemporary, and vintage modern pieces by the likes of Sergio Rodrigues, Charles and Ray Eames, and Lella and Massimo Vignelli.

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The kitchen comprises a concrete island with sink and cooktop sitting in front of a curved wall of oiled solid-oak panels, behind which are concealed major appliances and ample storage. This wall unit is actually one side of a teardrop-shape pod that, along with enclosing a powder room and a large walk-in closet, helps screen the library—a cozy corner area that sits directly under one of the atriums—from the front door on one side and the stairs on the other. The expansive second-floor stair hall, a skylit double-height space, serves as a play area for the two children. On either side of it, their bedrooms overlook the garden; at the rear, a study/ guest room and a bathroom each has a large circular window opening directly onto an atrium, affording views up to the sky and down to either the living area or the library below. Sharing the same library view, the parents’ bathroom on the floor above is connected to their bedroom by a bridge that runs directly under the play-area skylight. Repurposed as washbasins, two horse feeding troughs from the former stables turn this aerial corridor into the perfect spot for morning ablutions. The bedroom itself sits under the gable that first caught the couple’s attention. Outfitted with a vast triangular skylight, the space is open to the heavens yet as snug and warm as a stable.

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Opposite top: The cast-concrete tub in the parents’ bathroom is custom, while the wall and ceiling paneling is fir. Opposite bottom left: A corner of one child’s room overlooks an atrium; the low door leads to the bathroom, which has a circular window opening onto the same light well. Opposite bottom right: On the other side of the play area, the study/guest room has a desk built into a circular opening with views of the garden. Above: Tucked under a large skylight in the gable, the main bedroom features a Christian Tanner bed and a vintage Arne Hovmand-Olsen teakand-wicker chair sitting on a low platform. PROJECT TEAM DANIEL BUCHNER, JON GARBIZU ETXAIDE, NINA KLEBER, SHARIF HASRAT: BUCHNER BRÜNDLER ARCHITEKTEN. SCHNETZER PUSKAS INGENIEURE: STRUCTURAL ENGINEER. HÜRZELER HOLZBAU: WOODWORK. PRODUCT SOURCES ARFLEX: SOFA (LIVING-DINING AREA]. CLASSICON: ARMCHAIR. INCH FURNITURE: SIDE CHAIRS. FLOS: FLOOR LAMPS. LINCK CERAMICS: WHITE VASE. FRITZ HANSEN: LOUNGE CHAIRS [KITCHEN]. FANTINI RUBINETTI: SINK AND TUB FITTINGS [BRIDGE, BATHROOM]. MOBILIARWERKSTATT: BED [MAIN BEDROOM].

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above it all

Aidlen Darling Design carves out a soaring yet grounded home on a dramatic Bay Area precipice

text: stephen treffinger photography: joe fletcher

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Tucked into a wild, rugged setting—a steep hill on windswept Belvedere Island near San Francisco—this house by Aidlin Darlin Design is at once resolutely modern and yet looks as if it’s always been there, with crisp stone walls and deep timber overhangs that seem rooted in the earth. “The structure feels very permanent,” principal and cofounder Joshua Aidlin affirms. Building such a house on such a site takes more than a little ingenuity, and the firm, having completed other projects on the island, was familiar with the rigors of the task—the primary challenge being to design something grounded that would offer shelter from the harsh elements. “There’s sun and glare, and the winds that come off the bay are intense,” Aidlin reports. The client, Todd Chaffee, a venture capitalist and philanthropist who’s built five previous homes and loved the process, was deeply involved in all aspects of the design and execution. His vision was for it to be modern but not cold or high tech, to utilize organic materials, and to abet indoor/outdoor family living; he lives with his wife, Kat, and their three children. “I wanted lots of exterior living spaces and a central courtyard off the kitchen and dining room that was protected from the wind,” Chaffee explains. Given the relatively high density of homes on the island, carving out privacy was also key. “The goal was to create something that felt like an oasis in nature,” Aidlin Darling senior associate Adam Rouse recalls. The formal language of the C-shape house, which enfolds a courtyard, takes cues from the vertiginous terrain. Walls are mostly mortar-set stone or boardformed concrete, the latter tinted to give it a warmer rammed-earth tone and then sandblasted for a softer, less industrial look. “The heavy, monolithic quality of the walls anchors the house to the precipitous drop of the hillside, so you feel nested into the site as you descend through it,” Rouse says.

Previous spread: A carefully preserved oak tree shades the swimming pool, surrounded by low-water shrubs and a coleonema. Opposite top: A precast-concrete hearth anchors the living room, where low-profile furnishings—including a Charles and Ray Eames lounge and Christian Liaigre coffee table—allow views to take center stage. Opposite bottom: Seating by John Hutton populates the main bedroom’s ipe balcony, enclosed by a Western red cedar brise-soleil and bronze railings. Top: A cedar-clad “bridge” that floats above the courtyard connects the two wings of the house. Bottom: A custom oak table and bespoke pendants furnish the kitchen, with stained walnut cabinets and St. Dore limestone countertops.

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Top: The courtyard walls are board-formed tinted concrete, while absolute black granite surrounds the pond. Bottom: Lounge chairs by Ty Best preside over one end of the living room; the ceiling is Western red cedar in a resawn finish. Opposite: An ebonized white-oak screen encloses the staircase; flooring throughout is hand-hewn reclaimed oak.

Extensive greenery conceived by Blasen Landscape Architecture further grounds the house in its context and helps stabilize the hillside. The copious plantings break up the heavier linear aspects of the architecture, adding a fluid and rhythmic element to the steadiness of stone and concrete. “Conceptually, the garden emphasizes green forms, texture, and drought tolerance; it’s not about lots of flowers,” firm founding principal Eric Blasen says. “The client wanted privacy, so the strategy was to add lot of planting such that people couldn’t see in.” A great deal of care was taken to preserve the abundance of live oaks and Monterrey pines that blanket the half-acre site, and to insert new species, such as the courtyard’s olive trees, which came in by crane. The architects dubbed the project Lattice House, referring in part to the long brise-soleil along the water-facing west side, which provides protection from the sometimes oppressive sunshine. Crafted of Western red cedar, the element continues inside to form the ceilings. Outside, the rough-sawn timber is finished with a semitransparent stain; inside, it’s left unpolished and unsealed to absorb rather than reflect the intense light. The house’s nickname also references window slatting and interior screens that divide space and filter light, inviting a play of verticals and horizontals. “We used them very strategically to edit transition points throughout, giving a sense of pause,” Rouse says. The six-bedroom property is, in some ways, a home with no egos. The 7,170-square-foot interior encompasses a series of linked rooms with equal stature, each element deferring to and segueing into the others. It’s characterized by a layering of subtle texture, the inviting warmth of the materials, and meticulous attention to detail. “Josh is a master of quietly revealing the beauty of a home room by room rather than having some huge, grand entrance that speaks loudly before someone even gets to the front door,” Chaffee notes. For the decor, overseen by Shelley & Company Interior Design, “the driving aesthetic was for the home to feel luxe but also approachable and warm, like the clients,” principal Shelley Cahan says. To accomplish that, Cahan and her team curated timeless, modern furnishings in a natural palette that honored the architectural details, surrounding landscape, and sweeping views of Richardson Bay, the Golden Gate Bridge, Mount Tamalpais, and Sausalito. 112

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“The finishes and materials were carefully chosen to echo the sleek and exacting architecture,” Cahan continues. Top-flight pieces from Christian Liaigre, Holly Hunt, Alison Berger, and Berman Rosetti were selected for their perfect sense of scale, expert craftsmanship, and sumptuous fabrics and leathers. As such, the furniture, like the other elements, is holistic, blending in rather than begging for attention. “Todd didn’t want a lot of fine art distracting from the view; he wanted the design to be more ambient, serene,” she says. “So the decor is fairly sparse. Not a lot of tabletop or floor lamps, for instance.” Some of this the client no doubt absorbed from working collaboratively with his architects. Says Chaffee, “I learned quite a bit from Josh and Adam in the process—most importantly, how they keep key design elements quiet and elegant.” This masterpiece is a case in point.

PROJECT TEAM LEONARD NG, MICHAEL PIERRY, CHERIE LAU, RAISSA VIEIRA: AIDLIN DARLING DESIGN. BLASEN LANDSCAPE ARCHITECTURE: LANDSCAPE CONSULTANT. SHELLEY & COMPANY INTERIOR DESIGN: INTERIOR DESIGN. MATAROZZI PELSINGER BUILDERS: GENERAL CONTRACTOR. BERKELEY STRUCTURAL DESIGN: STRUCTURAL ENGINEER. AXIOM ENGINEERS: MEP. BOXCABCO: WOODWORK, CABINETRY, STAIRS. REVOLVER DESIGN: LIGHTING CONSULTANT. ILS ASSOCIATES INC.: CIVIL ENGINEER. ORION CONSTRUCTION MANAGERS: CONSTRUCTION MANAGEMENT. FERRARI MOE: WATERPROOFING. PRODUCT SOURCES FROM FRONT HOLLY HUNT: SOFA (LIVING ROOM). LIAIGRE: COFFEE TABLE. THROUGH DESIGN WITHIN REACH: LOUNGE CHAIR, OTTOMAN. CASTE: LOUNGE CHAIRS. JOSEPH JEUP THROUGH DE SOUSA HUGHES: CONSOLE. SUTHERLAND: SEATING, TABLES (BALCONY, COURTYARD). SUN VALLEY BRONZE: CABINET PULLS (KITCHEN). FRANKE: SINK. DORNBRACHT: SINK FITTINGS. VIKING: MICROWAVE. FOX MARBLE & GRANITE: COUNTERTOPS (KITCHEN), CUSTOM VANITY (BATHROOM). SOUND VISION: CUSTOM ACOUSTIC WALL PANELS (MEDIA ROOM). SONY THROUGH SOUND VISION: TV. THROUGH DESIGN WITHIN REACH: CHAIR (BEDROOM). MTI: TUB (BATHROOM). HAUSMANN NATURAL STONE: SHOWER TILE. ROHL: HANDRAILS. WATERWORKS: SHOWERHEAD, TUB FITTINGS. THE URBAN ELECTRIC CO.: CUSTOM PENDANT. CUSTOM GLASSWORKS: CUSTOM MIRROR, SHOWER DOOR. THROUGHOUT DURATHERM: CUSTOM WINDOWS. ARC WOOD + TIMBERS: RECLAIMED TIMBER. BENJAMIN MOORE & CO.: PAINT, STAIN. WHEELER ZAMARONI: STONE VENEER, POND TILE. AURUBIS BUFFALO: COPPER CLADDING. PARTNERS CONTRACTING: CUSTOM CONCRETE FLATWORK. FLYING TURTLE CAST CONCRETE: CUSTOM HEARTHS. WEST EDGE METALS: CUSTOM RAILINGS. DASAL ARCHITECTURAL LIGHTING: CEILING LIGHTS.

Top: From the street level approach to the house, one can see clear through to Richardson Bay. Bottom: The media room is a favorite family hangout space, with custom carpeting and stained-walnut cabinets. Opposite top: The Fredrik A. Kayser Model 711 chair in the main bedroom is a perfect spot from which to enjoy panoramic views. Opposite bottom: Lychee-finish Jerusalem limestone clads the main bath, with mahogany shutters and a custom pendant in solid bronze with oil-rubbed finish.

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past lives The rich history of a century-old villa in Munich informs but doesn’t overwhelm its renovation by Arnold/Werner Architekten text: joseph giovannini photography: boo yeah

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Every century-old house has a past, but the landmarked 1929 Villa Bogenhausen in Munich has layers of history—personal, architectural, social—all of which factored into the recent makeover of its interiors by Arnold/Werner Architekten. Designed by prominent local architect Robert Seitz in a simplified château style transitioning into Modernism, the 16,000-square-foot, four-level residence was confiscated from its Jewish owners in 1933 and only restituted to the family after World War II. In the early 1950s, however, they sold the stately house for use as a foreign consulate. By the time the villa’s current occupants—a family of five—acquired the property recently, it was in need of major work. The building’s original architectural elements, from its bones to its finishes, were worn but intact. The kitchen was water damaged and outdated. The floor plan was mostly unaltered, with grand public spaces on a ceremonial ground floor, including an impressive entrance gallery and a living room, dining room, and smoking parlor that form a handsome enfilade opening onto a wide terrace. The oak parquet and marble floors were finely crafted but showing serious signs of age, as were the paneling and moldings. The house’s signature feature, a spiral marble staircase—lightened by a delicate wrought-iron railing of winding tendrils—was in particular need of TLC. The owner engaged two firms—Hilmer Sattler Architekten and Schindhelm Architekten—to restore and stabilize the building’s shell and systems and to earn permits from the city’s preservation agency. Arnold/Werner was brought on board to tackle the interior that,

Previous spread: The richly pigmented custom paint on the ceiling, walls, and molding, and Britt Moran and Emiliano Salci’s glossy lacquered-metal console table turn the smoking parlor into a warm and inviting haven. Top: A built-in banquette enlivens a skylit hallway on the children’s floor, which was formerly undeveloped attic space. Center: It is reached by a new extension to the original spiral staircase. Bottom: Contemporary furniture in the living room includes Thierry Lemaire’s massive sofa and armchairs, a pair of Yabu Pushelberg club chairs, and Pietro Russo bookshelves. Opposite: A custom ceiling fixture floats above the dining room’s Gio Ponti table and vintage Augusto Savini chairs.

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depending on the specific space involved, required restoration, remodeling, expansion, or precision acupuncture in the form of new builtins, contemporary fixtures, and fresh colors. The Arnold/Werner team, led by interior architects Ulrike Buhl and Tim Honkomp, proceeded as if they had two clients—the family and the house itself—both of whom they “interviewed” in depth. Done in collaboration with the two other firms, the interrogation of the villa comprised painstaking study and documentation of the building so that any interventions would understand, respect, and renew its historic fabric. Interviewing the family, including the children, involved a series of formal and informal meetings aimed at ensuring that the recast interior fit exactly their expectations and living patterns. The family conversations established that the house needed to operate equally well at an intimate scale, with before-school breakfasts in a homey kitchen, for example, and at a larger social scale, since the parents regularly hold receptions for up to 50 people. While the family wanted the more public, less casual areas to be “welcoming,” Honkomp reports, they asked that the private quarters on the upper floors be “more relaxed—and calm.” On the ground level, the checkerboard marble floor in the entrance gallery and the herringbone oak parquet in the three large rooms were restored, and their walls painted distinctive custom hues: palegray and white for the gallery and living room; salmon pink for the doors, window frames, and dado paneling in the dining room; and watermelon red for the walls and ceiling in the smoking parlor. “We needed colors that would read at night in candlelight and dim illumination,” Honkomp notes. The designers used custom light fixtures throughout, including striking chandeliers composed of overlapping brass rings in the gallery and living room. “We wanted what we added to be contemporary,” Buhl says. Furniture selections were made by another firm, Robert Stephan Interiors, which mixed midcentury Italian pieces like the dining room’s sleek Gio Ponti table from 1959 surrounded by Augusto Savini curved-back chairs from 1960s with more recent designs such as Britt Moran and Emiliano Salci’s glossy lacquered-metal console table in the smoking parlor. Contemporary items include the living room’s massive sofa and armchairs by Thierry Lemaire, which flank a pair of compact club chairs by Yabu Pushelberg.

“It speaks to the rich ambiguity of the original architecture that this serene but sumptuous Turkish bath looks and feels part of the villa’s essence” This page: Brass accents in the form of door frames and faucets bring a soft glow to the monochromatic hammam in the basement. Opposite, from top: Spotlighting adds a note of drama to the circular shower room. The custom massage table is constructed from solid blocks of Carrara marble, the same material that clads the walls. SPRING.21

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The original kitchen, though Modernist in its time—designed in what Honkomp describes as “Mallet-Stevens style”—was conceived for a large staff, so it had to be gutted and reconfigured, much to the distress of the team. “We nearly cried,” Honkomp admits. The remade facility includes an adjacent mudroom for transitioning after sports; a large granite-top island incorporating an informal dining counter where parents can help kids with homework; and, tucked behind an end wall of dark oak slats that also conceals the refrigerator and other appliances, a professional galley kitchen where a chef prepares most meals. Working surfaces and undercounter cabinets are stainless steel, while the walls are paneled in oiled white oak, “to warm the room for a cozier feeling,” Buhl says. On the second floor, the original layout for the main suite and two guest bedrooms was retained. The large bathrooms were simply updated with sleek modern fixtures set on custom marble counters, each ensemble an abstract composition. An elegant extension to the spiral stairs gives access to the previously undeveloped attic space, which now houses the children’s bedrooms, a couple of which boast mezzanine sleeping lofts. The basement also underwent a major transformation, including the creation of an authentic hammam—an expansive sequence of cool, warm, and hot rooms, all of them clad in Carrara marble and furnished with custom tubs, basins, and massage tables carved from the same material. It speaks to the rich architectural ambiguity established by the original house—and to the aesthetic judgement of the current design team—that this serene but sumptuous Turkish bath looks and feels part of the villa’s DNA. 122

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Clockwise, from top: In the husband’s bathroom, Patricia Urquiola’s subtle geometricpattern tiles background a custom mirror above Konstantin Grcic’s crisp rectangular sink. While most of the kitchen’s walls are clad in oiled white-oak paneling, smoked-oak slats at one end of the long room conceal appliances, a professional chef’s galley, and a mudroom. Brass-frame mirrors, floating marble counters, and deep-pigment wall paint— all custom—create an abstract composition in the wife’s bathroom. A built-in wall of wardrobes and a custom marble-top chest of drawers outfit the wife’s dressing room off the main bedroom, which is furnished with a Gio Ponti armchair. PROJECT TEAM SASCHA ARNOLD, STEFFEN WERNER, FLEUR KAMENISCH: ARNOLD/WERNER ARCHITEKTEN. HILMER SATTLER ARCHITEKTEN, SCHINDHELM ARCHITEKTEN: ARCHITECTS OF RECORD. ROBERT STEPHAN INTERIORS: FURNITURE CONSULTANT. PSLAB: LIGHTING CONSULTANT. NORBERT WANGEN: KITCHEN CONSULTANT. STEININGER STEINMETZ: STONEWORK. PRALLER & WERNER: WOODWORK. PRODUCT SOURCES FROM FRONT DIMOREMILANO: CONSOLE TABLE (SMOKING PARLOR); ATELIER ARETI: SCONCES (STAIRCASE, HALLWAY). UPHOLSTERY FABRIC: KVADRAT (HALLWAY). THIERRY LEMAIRE: SOFA, ARMCHAIRS (LIVING ROOM). MAN OF PARTS: CLUB CHAIRS. PIETRO RUSSO: BOOKSHELVES. MOLTENI&C: TABLE (DINING ROOM). HÄSTENS: BED (BEDROOM). ANTONIO LUPI DESIGN: BASIN (WIFE’S BATHROOM). LAUFEN: BASIN (HUSBAND’S BATHROOM). MUTINA: WALL TILE (BOTH BATHROOMS). THROUGHOUT PSLAB: CEILING FIXTURES. VOLA DENMARK: FAUCETS. TOPSTYLE FLOORING: OAK HERRINGBONE. KT.COLOR: PAINT.

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sculpt it

Whether mathematically geometric or organically shaped—or both—these houses are in tip-top form text: Georgina McWhirter

See more of Standard Architecture’s Los Angeles residence overleaf.

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“The gabled volumes open onto an infinity pool that gives the feeling of being suspended in the sky, high above the city”

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standard architecture site Los Angeles recap Inspired by American vernacular architecture, such as barns, and Louis Kahn’s tripartite Kimbell Art Museum, a trio of identical pitched structures troweled in stucco forms a neat row. Inside, rift-sawn oak paneling and floorboards warm the expansive 11,000 square feet, figuratively speaking, while oversized board-formed concrete fireplaces heat things up literally. photography Mike Kelley

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“A feeling of movement washes through the house”

bortolotto site Toronto recap Grasshopper modelling software rendered the Bézier curve of this residence’s spectacular roof, realized by tying together evenly spaced timber joists and pulling them to maximum tension—thereby fanning them. Exposed rafters clad with red oak veneer continue the zinc-shingle roof’s dynamic expression into the interior. photography Tom Arban

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“In summer, the brick protrusions cast stark shadows, while in winter they create shelves for the snow to fall on, transforming the pattern”

batay-csorba architects site Toronto recap Harking to the city’s plentiful stock of Victorian-era brick houses, a riff on Flemish-bond masonry forms the intricately textured facade of this residence, home to two retirees looking to age in place. In a subtle homage to the couple’s Italian heritage, a series of vaults—that archetype of ancient Roman architecture—artfully accent the volume. photography Doublespace Photography

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“The house is fragmented into a sequence of small connected volumes that settle into the steep land”

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aranguren & gallegos arquitectos site Madrid recap A single-family home composed of geometric volumes with glazed portals pulls in views of a pine forest to the southwest and the Royal Site of San Lorenzo de El Escorial, a 16th-century palace, to the east. Roofed in Corten steel, the house appears to merge with the granite ground (darkened by erosion) and the rust-red tones that crop up seasonally in the surrounding trees, integrating the building with its natural environment. photography Jesús Granada

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time regained A classic Haussmannian apartment in Paris gets a sympathetic modern update from Le Berre Vevaud text: ian phillips photography: stephan julliard

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Previous spread: A curved, leatherupholstered bench pulls up to an oak and marble table—both custom— in the light-filled dining area. Clockwise, from top left: Ceramics include mid-1950s Pol Chambost vases on the table and, on the sideboard below an Isabel Michel painting, contemporary vessels and lamp by Atelier DaLo. In the living area, two low-slung Pierre Paulin lounge chairs face an Italian sofa and Franco Albini’s Tre Pezzi armchair, both vintage 1950s. Glamorous custom elements in the kitchen include a Blue Wood granite island and a backsplash mural incorporating paint, mother-of-pearl, glass beads, and copper leaves by Solène Eloy.

For many, the dream of Paris intrinsically involves the thought of living in a Haussmannian apartment — the typical late-19th-century residences characterized by stately marble fireplaces, ornate wall and ceiling moldings, and chevron-pattern parquet flooring that the French call pointe de Hongrie. Yet, for designers and interior architects Raphaël Le Berre and Thomas Vevaud — whose firm Le Berre Vevaud is located in the tony 16th arrondissement, a hotbed of Haussmann-era buildings — such interiors are, if not mundane, then at least commonplace. “It’s like asking a Roman to be amazed by an ancient stone wall,” Vevaud says. “They’re part of our heritage, our DNA. Both Raphaël and I grew up in such spaces.” When hired to rework one, the designers’ approach is always the same: If the decorative elements are not top-notch, they prefer to remove them; if, on the other hand, the embellishments are of quality, the designers resolutely celebrate them, but often by giving them a contemporary twist. This 2,400-square-foot, four-bedroom flat close to the Parc Monceau certainly fell into the second category. Its owners, a couple with two young children, were drawn by its generous volumes and ceiling height, and the possibility it offered to create a large living space for the family. Le Berre and Vevaud made very few structural changes. They simply reduced the size of the entry hall to accommodate a guest bedroom, removed several partitions to open up the living room, and relocated the kitchen so the two spaces are adjacent at the front of the flat. “Our clients wanted something very

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“Haussmannian buildings are part of our heritage, our DNA — we grew up in such spaces”

convivial,” Vevaud says. “Having the kitchen island visible through the door is like an invitation to have a drink. It allows them to entertain in a more informal fashion.” The owners initially imagined a more conventional décor. “It’s true that my tastes were rather traditional,” the husband admits. “I was thinking of something pared-down in beige, white, and gray tones. I was also fanatical about things being centered, but I learned from Thomas and Raphaël that an arrangement can be asymmetrical and still remain coherent.” In the designers’ words, each new project represents “a field of exploration,” so they were more than intent on shaking things up. “ ‘Our goal is to shock you, to see how far we can go,’ ” the husband recalls them saying. Their most dramatic invention came through the use of bright colors. They originally proposed that the entry hall be completely Yves Klein blue, which proved a little too daring for the couple. Rather, the color appears on several walls as large rectangles that are painted deliberately not to align with the existing paneling. “It’s a way of giving a spin to the traditional architectural elements,” Le Berre asserts. For the designers, each room ought to have its own distinct personality. “It’s like in a play or a film,” Vevaud explains. “There should be a number of different acts.” One of the apartment’s most emblematic spaces is the kitchen that, along with its angular, faceted island carved from Blue Wood granite, features a poetic, shimmering mural commissioned from French decorative painter Solène Eloy. “We used luxurious materials and gave it the same level of treatment as we would a sitting room,” Le Berre says. One element did prove slightly problematic: The plaster-and-bronze dome pendant fixture turned out to be so heavy that the ceiling had to be reinforced with steel to support it. A significant amount of the flat’s furniture was either custom, like the bespoke green-marble and stained-oak dining table, or selected from Le Berre Vevaud’s in-house collection, such as the ball-foot slipper chair and the Left: Stephanie Forsythe and Todd MacAllen’s cloudlike paper-lantern fixture hangs above the table, which sits on a Le Berre Vevaud wool-andviscose rug and is flanked by Pierre Staudenmeyer and Julio Villani’s vintage 1988 Kolton chairs. Opposite: A vignette in the entry hall comprises a tinted molded-glass mirror by Christophe Gaignon above a steel and marble Le Berre Vevaud console on which amusing ceramics by artist Julien Michaud are displayed.

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Opposite: Haussmann-era moldings and cornices blend seamlessly with the main bedroom’s contemporary furnishings, which include a custom headboard along with an oak-andsteel upholstered bench, a ball-foot slipper chair, and a wool rug, all from Le Berre Vevaud’s furniture collection. Top: Dramatic rectangles of Yves Klein blue adorn paneled walls in the entry, where a porcelain and stoneware chair by Agnès Debizet joins a custom stained-spruce screen and a Jean-Louis Deniot stainless-steel sconce. Bottom: The shape of Le Berre Vevaud’s Nero Marquina marble stool is echoed in Furoshiki Carbone 39, a mixed-media work by Pierre Bonnefille that hangs above the tub in the main bathroom.

upholstered brushed-oak and lacquered-steel bench in the main bedroom. Their inspiration is drawn from various sources—the Bauhaus, movie and advertising posters, and postwar Italian sports cars—but almost all of their creations share a predominance of rounded forms. “They make rooms more fluid and give more ease to daily life,” Le Berre reasons. And they were more than appealing to the homeowners: “With two young children, we wanted to avoid anything with sharp angles,” the husband emphasizes. The rest of the furnishings include a sculptural porcelain chair by Agnès Debizet, a vintage Tre Pezzi armchair by Franco Albini, and quirky ceramics with faces on them by both Atelier DaLo and Julien Michaud. Le Berre and Vevaud’s favorite item, however, is quite possibly the cloudlike assemblage of biomorphic paper lanterns that hangs above the dining table. “It’s at once voluminous and very light and diaphanous,” Vevaud remarks. “Which makes it perfect for here.” The resulting décor may not at all be what the clients envisioned, but once they let go of their initial preconceptions, the couple was more than won over. “At the beginning, I was a little unsettled,” the husband admits. “But in the end, it was me who encouraged Raphaël and Thomas to go even further. Even if given the choice, I wouldn’t change a thing.” PROJECT TEAM LAURA DJIAN: LE BERRE VEVAUD. RENAISSANCE & RESTAURATION: GENERAL CONTRACTOR. PRODUCT SOURCES DINING AREA GALERIE MOUVEMENTS MODERNES: CHAIRS. LE BERRE VEVAUD: SIDEBOARD, CUSTOM BENCH, CUSTOM TABLE. MOLO DESIGN: PENDANT FIXTURE. THOMAS FRITSCH - ARTRIUM: CERAMICS ON TABLE. GALERIE SANDY TOUPENET: CERAMIC LAMP AND VESSELS ON SIDEBOARD. GALERIE ANNE JACQUEMIN SABLON: GLASS VASE ON SIDEBOARD. GALERIE PIERRE-ALAIN CHALLIER: CANDLESTICKS ON MANTLE. PIERRE GONALONS: GLASS VASE ON MANTLE. ANGELO RUGS: RUG. LIVING AREA LE BERRE VEVAUD: LARGE COFFEE TABLE, CONSOLE, RUG. GALERIE GLUSTIN: VINTAGE SOFA. GALERIE MOUVEMENTS MODERNES: VINTAGE ARMCHAIR. GUBI: LOUNGE CHAIRS. GALERIE AVANT-SCÈNE: CERAMIC BOWL ON LARGE TABLE GALERIE ANNE JACQUEMIN SABLON: CANDLESTICKS ON MARBLE TABLE. EDITION ALEXANDRE BIAGGI: FLOOR LAMP. JOSEPH DIRAND: SCONCES. KITCHEN BASSAMFELLOWS: STOOLS. GILLES & BOISSIER: PENDANT FIXTURE. CFOC: CERAMICS ON ISLAND. THEOREME EDITIONS: RESIN JUG/VASE ON COUNTER. CRISTAL SAINT LOUIS: GLASSES AND PITCHER. PUIFORCAT: SALT AND PEPPER SHAKERS. ENTRY GALERIE JEAN-MARC LELOUCHE: MIRROR. LE BERRE VEVAUD: CONSOLE, CUSTOM SCREEN. GALERIE YVES GASTOU: PORCELAIN CHAIR. POUENAT: SCONCES. GALERIE SAINT VALENTIN: CERAMICS. CODIMAT COLLECTION: RUG. BEDROOM LE BERRE VEVAUD: BENCH, SLIPPER CHAIR, RUG, CUSTOM HEADBOARD. CHARLES ZANA: TABLE LAMP. SOCIETY LIMONTA: BED LINENS. BATHROOM LE BERRE VEVAUD: STOOL. THROUGHOUT RESSOURCE PAINTS: PAINT.

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step into paradise Stera Architectures crafts a jaw-dropping seaside villa in Sardinia, Italy

text: rebecca dalzell photography: matthieu salvaing

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Stefania Stera has visited Sardinia all of her life. Born in Rome, the architect has lived in Genoa, Venice, Paris, and Fort-de-France, Martinique, but she always returns to the rugged Mediterranean island, where her family owns a granite quarry and has a house. “I’m very attached to my Sardinian origins,” confesses Stera, who founded her Paris-based firm, Stera Architectures, in 1992. As a child in the 1960s, she scrambled over the rocks, admired Cini Boeri’s brutalist Bunker House from the beach, and saw northeast Sardinia transform into a chic resort:

the Costa Smeralda, or Emerald Coast. Decades later, Stera paid homage to her beloved landscape in a three-level, seven-bedroom villa in the town of Porto Cervo. Stera had previously designed a house for the clients in Paris and understood their needs, so they largely gave her free rein with the 60-acre property. “They wanted a contemporary design inspired by the architecture of the Costa Smeralda,” she explains. Starting in the early 1960s, the Aga Khan developed this 35mile stretch of pristine coastline into something of an anti-Riviera; strict planning guidelines called for low-slung buildings nestled into their surroundings. The development’s architects—including Jacques and Savin Couëlle, Michele Busiri Vici, and Luigi Vietti—used local materials and referenced vernacular structures. Stera, who had grown up visiting the construction sites of early hotels, aimed to create a “poetic link” with the Aga Khan’s vision. Jutting into the Tyrrhenian Sea, the rocky site is dominated by an enormous granite boulder that Stera likens to a small mountain. It slopes down to a craggy inlet and white-sand beach, while oaks, myrtle, and mastic trees grow to the north. The previous house hadn’t taken advantage of its dramatic setting and the water views on three sides; Stera tore it down and removed its backfill, but otherwise preserved the land as much as possible. To start, she plotted two axes

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Previous spread: A glass and stainless-steel door glides across the oak front of the dining room. Opposite: Custom concrete-base lounges furnish the indoor-outdoor living room. Top, from left: Gray sandstone floors a paintedstucco corridor off the kitchen. A juniper driftwood chandelier by Davide Groppi hangs above the custom oak dining table. Bottom, from left: Visitors enter the house through a central courtyard paved in granite slabs. Stera built concrete caves outside of two ground-floor bedrooms.

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Top: Myrtle, mastic, and strawberry trees grow across the property. Bottom: Granite stools cluster around an ash table in an outdoor kitchen. Opposite top, from left: The concrete structure has an anthracite coating to match the color of the rocks. In a ground-level bathroom, the wall, floor, and sink are Aegean marble. Opposite bottom, from left: Granite boulders form the striking entrance to a bedroom. Azulejos-style ceramic tiles, made by Sardinian craftsmen, pave the patios and the curved master bedroom.

that determined the layout: one parallel with the sea and one perpendicular to it leading to the road. Analyzing the terrain, she created a geometric plan with structures embedded in the site to make best use of natural features. The house and a long patio form a U around a spare central courtyard, the main entrance. Four bedrooms occupy the ground floor of an L-shaped volume, with the east-facing master suite and southern living room upstairs. On the north side, the patio connects to a smaller structure with two more bedrooms and a caretaker’s apartment below; it also provides access to a roof deck via a cylindrical concrete staircase. Large service areas discreetly occupy the basement. (“The house operates like a small hotel,” Stera notes.) A winding garden path leads to the beach and an outdoor kitchen, fireplace, and dining areas. “The challenge was adapting the layout to the rocks and the topography of the site,” Stera says. Her solution takes cues from the designs of the Couëlles, who often incorporated cavelike forms in their work. On the ground floor, she built grottos that serve as private patios and entrances to two bedrooms. Though they appear carved into the earth, they in fact sit on top of it, made of boulders and concrete with soil on top. Stera brought in additional granite rocks to use across the site; they line external corridors, stud the garden, and surround a pool resembling a secluded swimming hole. From some angles, they could be land art. The architect’s favorite view is off the kitchen, where a red stucco arch frames a rough stone like a Michael Heizer sculpture. Despite the size of the project—the house and terraces total 11,840 square feet— it blends in with the scenery. Stera installed green roofs and coated the concrete structure with anthracite to match the black-lichen-covered granite. Azulejosstyle ceramic tiles made by local craftsmen brighten the patios in coastal

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shades of blue and green, colors that also appear in the lacquered caves. Inside, the materials palette similarly grounds the villa in its context, with floors of gray sandstone or marble and custom wood furniture. Stera designed the simple pieces—like deep concrete-base lounges, teak benches, and ash bed frames— to evoke a nomadic lifestyle, with the pared-down aesthetic of a tent. “The house is an extension of nature and merges with it,” Stera says. “You live

in the landscape.” In the living room, large sliding-glass doors on two sides open to create a breezy indoor-outdoor space, and swirling Indian marble floors extend to the bamboo-canopied terrace. A shower stall for the master bedroom is tucked into a curved niche off a terrace. With multiple openings in each room, spaces change throughout the day. The sun bathes the west-facing dining room with light in late afternoon, while in the morning, its reflection off the large boulder warms the white plaster walls. “The light on the rocks affects the ambiance indoors,” Stera explains. “Everything is in continuity.” At any hour, the house lets Sardinia shine. PROJECT TEAM SOPHIA LOS: LOCAL ARCHITECT. FILIGHEDDU COSTRUZIONI: CONTRACTOR. AIRE: PLUMBING, HEATING, ELECTRICAL. ELLEBI DI BOTTAN ROBERTO, PIERRE SUPELJAK: METALWORK. PLANTATIONS ET ARROSAGE: LANDSCAPING. PRODUCT SOURCES FROM FRONT DAVIDE GROPPI: CHANDELIER (DINING AREA). LES ATELIERS LEBON: CUSTOM FURNITURE. INTERMARMI: MARBLE SUPPLIER (BATHROOM). THROUGHOUT DOMUS SOLUZIONI: EXTERIOR COATING. VITROCSA: WINDOWS. PROLAQUES: LACQUERWORK. ARTIGIANATO PASELLA: FLOOR, PATIO TILE. MOGS: GLASS WALL SYSTEM. TERRANOVA: GLASS WALL FABRICATION. MAÎTRE D’HACHE DARIO BRAVI: WOOD TERRACES.

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Opposite: A bamboo canopy shades a west-facing terrace, paved with Indian marble that extends indoors. Top left: A swimming pool enclosed in granite overlooks the Tyrrhenian Sea. Top right: Lacquered plaster matches the floor tiles outside a groundfloor bedroom. Bottom left: A corridor off another bedroom. Bottom right: A shower stall is tucked off the master bedroom’s private terrace.

b o o k s edited by Stanley Abercrombie Tadao Ando: Living with Light by Philip Jodidio New York: Rizzoli International Publications, $115 288 pages, 220 photographs (49 color)

The Iconic American House: Architectural Masterworks Since 1900 by Dominic Bradbury New York: Thames & Hudson, $65 320 pages, 490 color illustrations

Here is a big handsome book of 11 handsome houses, big and small. Six are in architect Tadao Ando’s native Japan, one each is in South Korea and Mexico, and three are in the U.S. (Los Angeles, Malibu, and New York). Although all but one share Ando’s favorite building material, impeccably executed reinforced concrete, the emphasis here is on how light can be made to play across these concrete surfaces. As Ando has written: “I seek to instill the presence of nature within an architecture austerely constructed. . .The elements of nature— water, wind, light, and sky—bring architecture derived from ideological thought down to the ground level of reality and awaken manmade life within it.” This concern is amply shown in fine color photography, as many as 30 pages per house, and substantiated in rough sketches, presentation drawings, and even some working drawings. A time line shows an image each of 126 houses by the Ando firm, beginning with a 1971 house in Osaka, this in itself being surprising and ad mirable for a firm offered so many much larger commissions. Author Philip Jodidio is himself something of a wonder: editor-in-chief for 22 years of the French monthly magazine Connaissance des Arts, he has also found time to write over 100 books, including three previous ones on Ando. We must be grateful not only for Ando’s design but also for Jodidio’s presentation of it.

Dominic Bradbury is one of our most prolific design writers, and his books are always welcome here. (Recent ones include The Iconic House and The Iconic Interior.) This latest is a chronological panorama of 50 American houses, beginning with Ogden Codman Jr.’s 1902 “The Mount” in Lenox, Massachusetts, designed for (and with) Edith Wharton, and ending with Interior Design Hall of Fame member Tom Kundig’s “The Pierre” on one of Washington’s San Juan Islands, from 2010. Most of these are given six pages with fine photography by Richard Powers and succinct descriptions by Bradbury. All such personal selections inevitably invite readers (including this one) to compare them with their own imagined choices. In my opinion, for example, were any of the 50 unworthy of the epithet iconic? Well, yes, but maybe only one, that one designed by Welton Becket for President Gerald Ford and his wife, Betty. Was there a house not chosen that you wish had been? Yes, the house with a hyperbolic paraboloid roof that Eduardo Catalano built for himself in Raleigh, North Carolina, in 1954. Were there any that I was seeing for the first time? Yes, there were several, and I was happy to learn about them. Among them were houses by Frank Wynkoop, Andrew Geller, and Ray Kappe. Were there any old favorites I was surprised and delighted to see inclu ded? Yes, several of those, too, including John Lautner’s 1968 Elrod House in Palm Springs and Bart Prince’s 1989 Price House in Corona del Mar, California. So that leaves this reader in close agreement with the author and enjoyably educated by his book. Perhaps Bradbury is himself iconic.

“I purchased the book after I was coincidentally gifted two separate Velázquez-inspired art works: a painting by my father of Juan de Pareja and, from my copartner, Marwan Al-Sayed, a print by the L.A.–based artist Ramiro Gomez, who used Las Meninas as inspiration for a piece based on invisible workers. Sometimes I become obsessed with an artist and I try to learn as much as possible about them. Now, I’m obsessed with Velázquez, an exceptionally talented 17th-century Spanish painter. Art in the 17th century was very different to how we may think of it now. Most artists worked as apprentices for years. Paints were handmade from earth pigments by crushing stones (sourced from all over the world) to a powder and mixing them with oils, a very laborious and technical process. This alone gives me so much respect and admiration for his work, but Velázquez’s genius use of light in his paintings and the colors he was able to make from his pigments are Mies Anderson breathtaking. Las Meninas is perhaps his most significant Co-founder of Masastudio work in which the colors are a range of stunningly beautiful, subtle, and vibrant natural earth pigments washed with light. In fact, I’m currently developing an interior color palette inspired by the dresses of the four central figures in Las Meninas for an L.A. residence.”

Velázquez: The Complete Works by José López-Rey Cologne, Germany: Taschen, $60 416 pages, 208 color illustrations 150

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DESIGNERS IN OPEN HOUSE Alexander Gorlin Architects (“Standing Tall,” page 39), gorlinarchitects.com Butter and Eggs (“Standing Tall,” page 39), butterandeggs.com Maxim Kashin Architects (“The Right Angles,” page 33), maximkashin.com MAPA (“Standing Tall,” page 39), mapaarq.com Summerour Architects (“Standing Tall,” page 39), summerour.net

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c o n ta c t s

Henry Timi (“Henry Timi Finds Depth in Simplicity,” page 47), henrytimi.com

DESIGNERS IN SPECIAL FEATURE Aranguren & Gallegos Arquitectos (“Sculpt It,” page 124), arangurengallegos.com Batay-Csorba Architects (“Sculpt It,” page 124), batay-csorba.com Bortolotto (“Sculpt It,” page 124), bortolotto.com Standard Architecture (“Sculpt It,” page 124), standardarchitecture.com

DESIGNER IN INTERVENTION Transversal Atelier Arquitectura e Design (“Sailing the High Seas,” page 155) transversal.pt

PHOTOGRAPHERS IN FEATURES Tom Arban (“Sculpt It,” page 124), tomarban.com Boo Yeah Fotografie (“Past Lives,” page 116), boo-yeah.de Doublespace Photography (“Sculpt It,” page 124), doublespacephoto.com Jesús Granada (“Sculpt It,” page 124), jesusgranada.com Joe Fletcher Photography (“Above It All,” page 108), joefletcher.com Stephan Julliard (“Time Regained,” page 134), stephanjulliard.com Mike Kelley (“Sculpt It,” page 124), mpkelley.com Matthieu Salvaing (“Step Into Paradise,” page 142), matthieusalvaing.com

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DOUBLESPACE PHOTOGRAPHY

Christian Schaulin (“Bridle Suite,” page 100), fotografieschaulin.de

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i n t er vention

sailing the high seas In search of a retirement locale, designer Michael Brosché was drawn to the seaside town of Foz do Arelho, Portugal—in particular, a property with panoramic ocean views that was sited in a coastal conservation area. “The plot of land was so special that I didn’t want to hold back on the design,” says Brosché, who previously practiced in Florida. To ensure the structure complied with building codes, notably those restricting its overall height, he teamed with Aderito Carvalho of local firm Transversal Atelier Arquitectura e Design. “Aderito came up with the idea to embed the house partially underground,” Brosché explains. This move helped maximize square footage (it tallies around 3,800) and freed the homeowner to dream big. The house’s upper story cantilevers out toward the ocean, its waterfront facade composed of triple-layer glass, tinted pale green to highlight the blue hues of sea and sky. Retractable walls open the dining, living, and media rooms to the infinity pool and porch as weather permits, while garden light wells pull natural illumination into the subterranean level. The house’s north side is a dramatic wind wall of white-stucco-clad concrete that reflects the curve of a boat’s sail. As for the front door, it’s actually in the back of the house, so when you enter, your view is straight to the ocean. Says Brosché, “there’s an immediate ‘wow’ factor”—like stepping aboard a yacht. —Carlene Olsen

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