Interior Design Spring Homes 2022 by Interior Design Magazine

MARCH 21, 2022

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CONTENTS SPRING 2022

VOLUME 93 NUMBER 4

ON THE COVER See page 118 for Peter Pichler Architecture’s hilltop villa in Termeno, Italy, made from folded planes of cast concrete. Photography: Samuel Holzner

FEATURES 72 TONAL SHIFT by Ian Phillips

Agence DL-M sets a Left Bank Paris apartment on a colorful new course. 80 NESTING INSTINCT by Jen Renzi

Dufner Heighes modernizes a historic Pelham, New York, house for a growing family looking to put down roots. 90 WORK/LIFE BALANCE by Marc Heldens and Stephen Treffinger

Artisans and product designers take a hands-on approach to their home/ studios.

100 LINE OF SUCCESSION by Fred A. Bernstein

In East Hampton, New York, Bates Masi + Architects and David Kleinberg Design Associates create a contemporary family estate intended to be passed down to future generations. 108 MATCH MADE IN HEAVEN by Elana Castle

The design duo behind Duet gives an old-school Sydney residence a youthful update. 118 GETTING IN SHAPE by Peter Webster

Today’s best residential designs worldwide embrace fabulous forms, glamorous geometries, and stunning silhouettes.

MICHAEL MORAN/OTTO

spring.22 100

open house 35 HIDDEN TREASURE by Edie Cohen CONTENTS SPRING 2022

i29 reinvents a historic canal house in Amsterdam.

VOLUME 93 NUMBER 4

41 MOOD SWINGS by Peter Webster

A trio of new residential interiors runs the emotional gamut from bright and sunny to serene and sophisticated.

spring .22 departments 19 HEADLINERS 25 HAPPENINGS edited by Annie Block 28 TRENDING edited by Rebecca Thienes Soft Surroundings

Sensual forms in whitewashed finishes soothe the eye—and invite the touch. 51 MARKETPLACE edited by Rebecca Thienes text by Georgina McWhirter and Stephen Treffinger 67 CENTERFOLD by Lisa Di Venuta X Marks the Spot

LASSA Architects leverages a lightweight, low-cost, and reusable foam formwork to create a curvaceous concrete structure for a private residence with public gallery in Methoni, Greece. 128 BOOKS edited by Stanley Abercrombie 129 CONTACTS 131 INTERVENTION by Athena Waligore Instant Gratification

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Delavegacanolasso for Tini devises a modular showcase garage for a Madrid home.

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e d i t o r ’ s welcome

your home, your way Here it is—finally!—our most reliable stairway to heaven, one could say, our tried-and-true path to nirvana or Shangri-la…whatever! Simply pick and choose your own favorite place where design dreams come true, then dive into these pages and presto: you’ll see what I mean about feeling totally wrapped in boundless imagination. The mastery of techniques, the limitless talent, and the copious commissions together make for heavenly fare indeed, and for any respectable design junkie (aka this writer!) our Spring Homes issue is it! The resi market remains, for our industry, where it’s all at (as the saying goes), and we more than prove it inside. First, we share quick-at-a-clip excursions to all corners of the craft (the necessary shorthand for you to gauge where the biz and the market stand). A striking roundup of small abodes, from Paris to Prague, proves that color and art pack a powerful design punch. Every issue includes an abundance of products, too, like the super-chic lighting, rugs, and furniture at General Assembly’s new brick-and-mortar Brooklyn storefront. And just wait until you see the alabaster furniture coming from Cairo…a showstopper! We follow with an extensive longhand portfolio of main stories and features. A tired Tudor in Australia gets a quirky makeover (check out their heavenly staircase!); a historic Pelham, New York, home also gets a magical, modern update (watch for the wowza wallpaper!); and our essay of the best residences worldwide definitively demonstrates that stellar homes come in all shapes and sizes. Need I say more? Just turn the page to find your own bliss and say aaaaahhhh! xoxo,

Follow me @ thecindygram

SPRING.22

INTERIORDESIGN HOMES

ROYAL BOTANIA CORP. 200 Lexington Avenue Suite 400 | New York, NY 10016 www.royalbotania.com | info@royalbotania.net | +1 (212) 812-9852

h e adl i n e rs “The focus is not the size or the type of project but the opportunity to enrich lives and enhance the environment”

Bates Masi + Architects “Line of Succession,” page 100 firm site: East Hampton, New York. firm size: 17. principal: Paul Masi, AIA, LEED AP. current projects: Private residences in Geneva, Switzerland, and Long Island, New York. honors: Interior Design Hall of Fame; Interior Design Best of Year Awards; AIA NYS Honor Award; AIA Peconic Honor Award. indoors: Masi has a woodshop at his house in which he crafts everything from cribs to couches. outdoors: He surfs year-round (weather permitting). batesmasi.com SPRING.22

INTERIORDESIGN HOMES

h e a d l i n e rs

Agence DL-M

Duet “Match Made in Heaven,” page 108 firm site: Sydney, Australia. firm size: Two. director: Dominique Brammah. director: Shannon Shlom. current projects: Residences in the Sydney area. finding their métier: Brammah studied architecture and Shlom

interior architecture before alighting on their passion: working as interior designers. adorns: Shlom studied jewelry design and created a range that hasn’t (yet) gone into production. adores: Brammah enjoys the creativity and practice of floristry for weddings, photo shoots, and residential installations. weareduet.com.au

Dufner Heighes “Nesting Instinct,” page 80 firm site: New York. firm size: Four. partner: Greg Dufner. partner: Daniel Heighes Wismer. current projects: A 15,000-square-foot ground-up private residence in Miami; a 6,000-square-foot double penthouse combination and the Suzie Kondi boutique, both in New York. hopping the 1 train: Dufner is an avid patron of the Lincoln Center Theater on the Upper West Side. hopping the pond: He is planning a European tour this summer, starting with the Milan Furniture Fair and ending in Sweden. growing family: Wismer and his husband welcomed their daughter in 2020. growing house: He is currently expanding his home in Connecticut. dufnerheighes.com

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SPRING.22

“Tonal Shift,” page 72 firm site: Paris. firm size: 10. ceo and founder: Damien Langlois-Meurinne. current projects: A town house and several apartments in Paris; a villa on the Côte d’Azur in France. role model: Carlo Mollino, who like many other great Italian designers of his era, was also an architect with a global approach to projects at all scales. in the swim: LangloisMeurinne is passionate about kite surfing because, like designing, it involves searching for the perfect curve. off the grid: The designer’s vacation house, in northern Brazil, is so remote it can only be reached by boat. dl-m.fr/en

David Kleinberg Design Associates “Line of Succession,” page 100 firm site: New York. firm size: 20. founding principal: David Kleinberg. current projects: A town house on the Upper East Side in New York and a mountain house in Aspen, Colorado. honors: Interior Design Hall of Fame; Albert Hadley Lifetime Achievement Award, New York School of Interior Design. on the page: Kleinberg has authored a monograph, Traditional Now: Interiors by David Kleinberg, published by Monacelli Press. at the beach: In addition to an apartment in New York, he has a house in East Hampton. dkda.com

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happen ings edited by Annie Block

unbreakable From top: Cross Head, a 1988 cast-glass sculpture by Jaroslava Brychtová and Stanislav Libenský, is part of “Inner Light,” an exhibition of the late Czech couple’s work on view at Heller Gallery in New York from April 9 to May 30. Table Laid for a Bride, 1989. One Small Voice, 1987. 1986’s Moon Face, never before on public view.

They were the power couple of the studio glass movement: Jaroslava Brychtová and Stanislav Libenský. Innovators of the mold-melting technique, which casts the material into three-dimensional objects, sculptor Brychtová and painter Libenský met in 1954 in what’s now the Czech Republic, a center of glass manufacturing and craftmanship for centuries. Together, with him sketching designs and her producing clay sculptures of those designs, they were able to translate abstract concepts into pioneering colorful and light-capturing works that nod to Czech Cubism and metaphysical philosophy; their trio of large-scale sculptures at Expo ’67 are said to have influenced such American studio glass artists as Dale Chihuly. They and their work certainly influenced Dr. Dudley and Lisa Anderson, who, with the help of Katya and Doug Heller, have amassed a sizeable Brychtová-Libenský collection, several pieces of which are on display for the first time in “Inner Light” this spring at Heller Gallery in New York. The exhibition encompasses 19 sculptures from 1958 to 2002, the year of Libenský’s death, plus four of his drawings made while he and Brychtová, who died in 2020, were teaching at Washington’s Pilchuck Glass School in 1987.

COURTESY OF HELLER GALLERY

SPRING.22

INTERIORDESIGN HOMES

h a ppe n ings

From top: Printed and folded cardboard boxes populate the ceiling at New Era coffee bar in Munich by Ippolito Fleitz Group–Identity Architects. Andrei Munteanu’s black Lhasa chairs for KFF and stained oak millwork. Blue Magnum lounge chairs by EstudiHac for Sancal.

INTERIORDESIGN HOMES

SPRING.22

Young and dynamic. Straightforward yet detailed. That was the atmospheric goal— and result—for Ippolito Fleitz Group–Identity Architects at New Era, a coffee bar in Munich. Situated in the city’s Schwabing district, a vibrant student-populated neighborhood, Interior Design Hall of Fame members Gunter Fleitz and Peter Ippolito and their team strove to attract the Gen Z set starting from the street. Through the storefront’s glazing, passersby can catch glimpses of the rhythmic ceiling, a geometric landscape of gray, yellow, and teal cubes, actually printed and folded Forex boxes—a solution that’s at once chic, lightweight, and budget friendly. The energy continues to the wall-color palette, a spirited mix of lavender, peach, and royal blue, the latter reappearing on the café’s upholstered lounge chairs, placed in arrangements that suggest rooms within a room. Verdant live plants and barista workshops round out the 900-square-foot café, its offerings in step with its name.

ARCHITEKTURFOTOGRAFIE ANDREAS J. FOCKE

all the buzz

H I S V I S I O N CONTINUES

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B R I Z O .C O M

Sensual forms in whitewashed finishes soothe the eye—and invite the touch

edited by Rebecca Thienes

tre n d ing 28

INTERIORDESIGN HOMES

SPRING.22

Want to shift into neutrals? Start by checking out the work of Brooklyn-based Simone Bodmer-Turner, who recently wrapped her first solo show at Matter Projects, comprising 25 sculptures and furnishings in matte clay. After introducing her Permanent collection of curvy ceramic forms (perfect for minimalist floral arrangements) in 2018, Bodmer-Turner then ventured into functional design with Chair I; she continues to build her oeuvre by mixing her favored material with wood, metal, and plaster elements. “The reason I’m so drawn to clay is because of the tactile, quiet interactivity of building each piece,” she says. “It is rare to create something merely by touch—without protective gloves or loud, chaotic machinery—in such an intimate way.” Scaling up sculpture into furniture brings things full circle, she notes, “back to something that invites the viewer to take part in an otherwise aesthetic existence.” Her pieces beg to be handled: suspended balls turn on lights and voluptuous legs support upturned conical forms. Turn the page for more high-touch yet subdued pieces. mattermatters.com; simonebodmerturner.com

MARCO GALLOWAY

soft surroundings

f ur n i t u re

lig h t in g

o utdo o r

134 Ma d is o n Av e N e w Yo r k d d cny c . c o m

a c c e sso r ie s

syste ms

t r e n d ing

1 2

1. Jacqueline De La Fuente’s Noosa III in papier-mâché made of paper and card waste, left in its raw natural clay, through LES Collection. lescollection.com 2. Puffy Daisy ceramic sconce with brass or copper hardware by Eny Lee Parker. enyleeparker.com 3. Ellie and Dot side tables in South Australian limestone by denHolm. den-holm.com 4. Jean Roger’s Tulip ceramic candlesticks by Casa Branca. casabranca.com 5. Taarof table in plywood and MDF by Kouros Maghsoudi through Love House. lovehouseny.com 6. Lucille floor mirror in wood, plaster, and paint by Brent Warr Art + Home. brentwarr.com 7. Aaron Poritz’s Sculptural desk in bleached ash and leather by Poritz & Studio through Cristina Grajales. cristinagrajales.com; poritzandstudio.com 3

“Plaster, a material not typically used to make furniture, allows me to explore shape and form in different ways due to how the material can be manipulated” —Brent Warr

INTERIORDESIGN HOMES

SPRING.22

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ope n house The steep original staircase connects all three main levels of the 1675-built row house, plus three interstitial half-levels.

hidden treasure firm: i29 site: Amsterdam

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SPRING.22

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SPRING.22

ope n house

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The archetypal canal house constitutes much of the Dutch city’s residential landscape. Dating to the 17th century, these four- or five-story waterfront row houses were conceived as hybrids: part living space, part warehouse storage for goods transported along the canals. They were built sturdily of wood and masonry construction with heavy beams, i29 co-founder Joeren Dellensen explains, “which is why they still exist.” Albeit not always in Clockwise from left: The the greatest shape. Take concrete-floored kitchen has a custom oak counter that this compact 1675 house extends beyond the base near Amstelveld square. cabinets to form a dining Though designated a table; the wall separating the state monument, it had space from the entry is grayfallen into ruin before stained oak. The living room new owners initiated has a split-level view of the entry seating alcove below a meticulous two-year and the study above through restoration and update. interior windows. Like a “From the start we knew wagon-lit, the hidden reading i29 had to be involved nook off the living room is in the project, to instill just big enough for a bed. their out-of-the-box, The nook is accessed via the living room’s rotating serene, and perfect deshelving; the marble fireplace sign,” notes the client, and plasterwork were who first hired the firm restored. The study features nine years ago to craft a custom desk and, through an “invisible kitchen” for a window at the base of the bookcase, a view of the living the family’s Paris apartment that was entirely room a half-flight below.

concealed behind sliding wall panels imitative of decorative molding. Here, architectural interventions were strictly limited by mandates protecting heritage houses. “We were not allowed to demolish any walls,” co-founder Jasper Jansen says, noting that the project was a collaborative effort among firm members. “And we couldn’t build any, either, even though very few existed in the space.” Instead, color performs the role of spatial demarcation. “We used color as a tool to expose the architectural shell to the fullest and to make interventions that define functions,” Dellensen notes, adding that the classic hues chosen “are in sync with the monumental quality of the building.” Complementary blues, greens, and grays are muted and somewhat smoky, contrasting with swaths of crisp white. The 1,240-square-foot interior, adjoining a rear garden, offers long sight lines and elements of delightful surprise. A steep, SPRING.22

INTERIORDESIGN HOMES

PROJECT SOURCES SIGMA: PAINTWORK (STAIRWELL). KVADRAT: ACOUSTIC WALL FABRIC (LIVING ROOM). ALEKSANDRA GACA: PILLOW FABRIC (READING ROOM, LIVING ROOM). NORR11: LOUNGE CHAIR, OTTOMAN (LIVING ROOM). MARUNI: CHAIRS (KITCHEN). CONCRAFT: CONCRETE FLOORING. QUOOKER: SINK FITTINGS. BLUMENBERG: CUSTOM TUB, CUSTOM SINK (BATHROOM). GLAS XL: TWO-WAY MIRROR. WATER REVOLUTION: TAPS. THROUGHOUT FOSCARINI: PENDANT LIGHTS. SCHNEINDER INTERIEURBOUW: CUSTOM FURNITURE AND WOODWORK. SEASONS PARKET: OAK FLOORING. G.K. VISBEEN & CO: GENERAL CONTRACTOR. KODDE:

ope n house

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SPRING.22

Clockwise from top left: Green-tinted glass signals the garden-side guest suite at the far end of the kitchen. The main suite’s shower stall is constructed of two-way mirror offering views out but not in. The main bedroom has custom cabinetry and, like the rest of the house, Gregg pendants by Ludovica and Roberto Palomba. The main bathroom’s Japanese-inspired tub and vanity were custom made in Germany; the WC/ shower stall is hidden behind the mirrored panel on the right.

curving stairway, every bit original, connects the three full floors plus three intermediating half levels. The entry opens into a cozy seating alcove with wide steps down to the ground floor, which had to be lowered for foundation repairs. Occupying the majority of this level is the eat-in kitchen, where custom oak millwork is coupled with chairs by

Naoto Fukasawa and lighting pendants by Ludovica and Roberto Palumbo. At the far end of the space, a green glass volume marks entry to a pass-through bathroom leading to a hidden bedroom with garden access. Fittingly, the living room on floor two retains its characteristic plaster walls and basrelief ceiling ornamen-

tation, painted creamy white, and restored pine flooring. Behind the rotating bookshelf lies a surprise: a moody blue cocoon in which to read or relax. On the opposite side of the room is another surprise: Interior windows provide a splitlevel view of the entry seating nook below and the study a half-flight above, where a swath of springlike green frames the built-in desk. Up on the third floor, “sleeping quarters radiate comfort like a true hotel experience,” Dellensen remarks. Exposed beams trace the peaked ceiling in the main bedroom. Two-way mirrored panels enclose the WC/ shower stall, offering sight lines out (into the wet area’s Japanese-inspired soaking tub and beyond) but not in. Up a ladder, an additional mini level is squeezed in below the roof’s bell gable to function as the daughter’s bedroom. So enamored are the homeowners by their pied-àterre’s charm that they are spending even more time there than they envisioned. —Edie Cohen

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ope n house

GAELLE LE BOULICAUT; PRODUCED BY JEREMY CALLAGHAN

mood swings A trio of new residential interiors runs the emotional gamut from bright and sunny to serene and sophisticated Turn the page for a Paris duplex colorfully renovated by Manuelle Gautrand Architecture.

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manuelle gautrand architecture site Paris

GAELLE LE BOULICAUT; PRODUCED BY JEREMY CALLAGHAN

recap Natural light floods the award-winning architect’s first residential interior, a 1,300-square-foot duplex in a 17th-century Marais building, where ceilings were raised, a ribbon skylight installed, and the play of volumes and voids carefully calibrated to take full advantage of the expansive windows—not least in the living area, which is dominated by a stack of colorful blocks forming a sunny sculptural staircase and fireplace.

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ope n house

GAELLE LE BOULICAUT; PRODUCED BY JEREMY CALLAGHAN

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lorla studio site New York recap Quiet sophistication reigns in this renovated 1,900-square-foot garden apartment, housed in a former 19th-century church, where the confidently cosmopolitan taste of its young professional woman owner is reflected in a neutral background palette—white walls, light wood floors—that sets off a characterful array of vintage and custom furniture, warm-brass and matte-black light fixtures with sculptural silhouettes, and a gallery’s worth of commissioned and collected artworks.

SETH CAPLAN

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no architects site Prague

the program in this renovated 1,400square-foot maisonette, the former’s numbers and raw edges reflected in the perforated pattern on the radiator covers and the ragged bottoms of the kitchen cabinet doors, the latter’s gently sorrowful mood echoed in a teardrop-shape pendant fixture and the meditative greige of a feature wall. —Peter Webster

ope n house 46

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SPRING.22

STUDIO FLUSSER

recap Two striking paintings—a numerical abstraction by Vladimír Houdek and a melancholy dreamscape by Josef Bolf—set

design Mario Bellini - bebitalia.com

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edited by Rebecca Thienes text by Georgina McWhirter and Stephen Treffinger

across cultures Named for the ancient Mesoamerican

landmark, the Teotihuacán collection is a design dialogue between Mexico City’s Balmaceda Studio and the workshops in India and Nepal that execute the rugs. The patterns, all abstract riffs on the archaeological site’s pyramids, are named after excavation dates, such as the wool flatweave 1992. Some rugs are hand-knotted, with bulky textures referencing the skin of the feathered serpent deity Quetzalcoatl. Flatweaves, on the other hand, are inspired by classic examples made on pedal looms in Oaxaca. “A tribute to our pre-Hispanic origin and heritage, Teotihuacán is my vision of how our native designs would have evolved,” says company CEO and chief designer José María Balmaceda. Through The Future Perfect. thefutureperfect.com; jmbalmaceda.com

1992

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Jenna Lyons for Roll & Hill product The Cain recap The ex-J. Crew fashionista’s first line of furniture has “ghosted” references to traditional formality; we love the white-oak coffee table with brass drink trays that rotate under the tabletop when not in use. rollandhill.com

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Shanan Campanaro

Alison Rose

for Mitchell Gold + Bob Williams

for Misia

product Eskayel for Mitchell Gold + Bob Williams Collection recap The founder of textile studio Eskayel mined painterly motifs, florals, pinstripes, and more to create a collection of wallpapers in delicate, barely-there patterns for the American furnishings brand. mgbwhome.com

product Euphorie Cubiste recap The designer’s first fabric collaboration, a Cubist-inspired jacquard upholstery in a cottonviscose blend, telegraphs her love of curves, lines, and geometries perched in what she calls “harmonious imbalance.” misia-paris.com

Fernando Mastrangelo of Fernando Mastrangelo Studio product September recap Tree branches scavenged from the artist’s upstate New York home spawned the floor lamp’s sculpted brass elements, which combine with a base of hand-dyed sand and crushed glass—the entirety reflective of rural calm. fernandomastrangelo.com

PORTRAIT 1: MEI TAO

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Shadé Akanbi for Chasing Paper

Gabriel Abraham for CC-Tapis

Mat Sanders for Studio M Lighting

for &Tradition

product Kente Vintage Weave recap A knockout combination of influences—namely, Akanbi’s Nigerian-American upbringing and international travels—inform her adept translations of traditional ethnic patterns into modern wallpapers. chasingpaper.com

product Nomade recap Michelangelo Antonioni’s 1975 film The Passenger was the highbrow referent for a cream-andyellow rug in hand-knotted wool by the Atelier de Troupe founder (and erstwhile film production designer). cc-tapis.com

product Chapeau recap The L.A.-based celebrity interior designer’s pendant tops a white-glass, LED-lit orb with a clear-glass outer shade, the vintage shape a reference to brasseries in Paris. studiomlighting.com

product Caret recap Made entirely of steel lacquered dark burgundy or silk gray, this portable light sports a pyramidal diffuser inspired by the green-shade Banker lamps that are a staple of public libraries. andtradition.com

Matteo Fogale

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“Pharaohs used the stone in their tombs believing its translucency would take them into the afterlife”

OMAR CHAKIL

dispatch from cairo Omar Chakil descends from an ancient Egyptian family but is Beirut born and Paris

raised. When the pop singer turned designer began visiting his ancestral home more frequently, he alighted on an overlooked material: Egyptian alabaster. The native onyx is considered the stuff of knickknacks at Khan el-Khalili, Cairo’s 14th-century souk. “It’s seen as a bit cheap and not really special, even though it is,” Chakil notes. “It’s got a soothing quality and transmits light beautifully through the wax-like finish.” He restores the stone’s status with Suite Anima, his series of sculptural seating, lighting, tabletop accessories, and more—all carved by hand, bar the CNC-cut tub and dining table— that debuted at Le Lab contemporary design gallery in Giza this spring. thisislelab.com SUITE ANIMA

CLOCKWISE FROM TOP LEFT: GEORGINA MCWHIRTER; BILLY DOSS; SIMA AJLYAKIN; BILLY DOSS; SIMA AJLYAKIN

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TR I LLI U M

CO C K TA I L

TA B L ES

A LT U R A F U R N I T U R E . C O M

•

I N

OA K

W ITH

DA R K

MODERN ARCHETYPES

B R O N ZE IN THE

I N L AY

MAKING

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CUBI

SLINKY

so milanese J.J. Martin, the print-happy maximalist who

founded Milan fashion label La DoubleJ, teams up with vintage and contemporary design aggregator 1stDibs on new home accessories—and a first dip into “redone” furniture. The cornerstone of the collection is Cubi, a 1960s geometric print from the archives of erstwhile haute couture textile J.J. MARTIN atelier Seterie Cugnasca. The pattern is reinvented in six colorways on such items as espresso cups, dessert plates, napkins, oven mitts, aprons, tablecloths, and fringed pillows. Select vintage seating sourced via the 1stDibs online platform has also been reupholstered in La DoubleJ fabrics, like a midcentury bamboo sofa now covered in Cubi. The porcelain plates are baked and hand-finished with 18-karat gold rims in Verona, Italy, while the textiles are predominantly linen manufactured on the shores of Lake Maggiore. La dolce vita, indeed. 1stdibs.com; ladoublej.com

“Both brands share a passion for bringing historical design back to life” 56

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D E F I N I N G N O R D I C D ESIGN SI N C E 187 2

For 150 years we have shaped Danish design tradition in collaboration with visionary designers. Our belief in Nordic simplicity continues to bring extraordinary designs to life. Designed to stand the test of time and crafted in a quality to last a lifetime. Join the design celebration at fritzhansen.com

Arne Jacobsen Series 7™, 1955

ALEX PROBA

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“I start with color pairings: not too bright or bold—but bright and bold enough”

chill out custom cabinetry than it is to show it off. “Back when I designed my own kitchen, I wanted the fridge to be invisible because what was on the market wasn’t pretty,” surface designer Alex Proba recalls. Her collaboration with Samsung changes all that, reinventing an important but oft neglected appliance. The designer’s colorful patterned shapes—abstracted from quotidian sources, such as rock formations on the street—are back-printed on the safety glass fronts of the manufacturer’s Bespoke 4-Door Flex refrigerator. “It’s an unusual way to bring art into the kitchen,” she notes—although it’s certainly in keeping with the current move toward colorful, characterful cooking areas. Proba begins her creative process by cutting up colored paper; she now has a 10-year-strong digitized library of shapes that have graced everything from swimming pool bottoms to sculptures in NFTs. “I don’t say no to any surface,” she says with a laugh. Next on her wish list? A sports court. samsung.com

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SPRING.22

COURTESY OF SAMSUNG

These days, it’s more common to hide a refrigerator behind

BRING YOUR VISION TO US The experts at Ferguson Bath, Kitchen & Lighting Gallery are here to help create a home that’s as extraordinary as you are. Any project, any style, any dream—bring your inspiration to Ferguson Bath, Kitchen & Lighting Gallery. Visit build.com/ferguson to schedule your personalized showroom experience today.

Kintsu™ Bath Collection

COMPAS

COLIN STIEF, SARAH ZAMES

what’s in store General Assembly’s Sarah Zames and Colin Stief celebrate the 10th anniversary of

their architecture/interior design studio by launching a brick-and-mortar store in the Boerum Hill neighborhood of Brooklyn, New York. The punnily named Assembly Line offers access to custom pieces and private design consultations as well as quick-shop objects and a library of materials and finishes (such as limewash paint). Consumers and trade professionals alike can find Atelier de Troupe’s Compas brass pendants, which are handmade in Los Angeles, and Hannah Bigeleisen’s Ellsworth lamps, their Ultra Blue, ivory, and coral hand-formed concrete bases inspired by Ellsworth Kelly. Other zeitgeisty brands carried are Armadillo (rugs), Élitis (textiles), Fort Standard (furniture), In Common With (lighting), and Quiet Town (bath accessories), plus Calico Wallpaper, Clé Tile, and Kast Concrete Basins. assemblyline.co

“The new storefront is born from a love of what it means to feel at home”

market p l a c e ELLSWORTH

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1004 Stoneburst

caesarstoneus.com

A pebble is a symbol of constant creation, shaped by the forces of water and wind. Our sustainable surfaces now feature ﬁve pebble-inspired colors that nurture comfort and calm, bringing the blessings of sunlight and rain to the heart of your home.

“Crespi’s goal was to create flexible rattan seating that would break down the distinctions between interior and exterior”

BOHEMIAN 72

GABRIELLA CRESPI

Gabriella Crespi’s Bohemian 72 collection for Gubi is being put into production 50 years after its initial design—and 100 years after her birth. The indoor-outdoor (or “transterior,” as the company calls it) lounge chair, three-seat sofa, ottoman, and floor lamp are made of stacked, coiled cane steamed and bent by hand around a die made to the dimensions of her original drawings. The Italian designer (and Valentino muse) was famed for never allowing curtains or screens to block the flow of light or breeze. No wonder her furniture is similarly airy; the floor lamp’s shade, for instance, is formed from vertical rattan strips that cast striped shadows around the base. “I wanted to create a ‘house of the sun,’” she once said of Bohemian 72, which formed part of her wider Bamboo collection designed between 1972 and ’75. “I couldn’t help but do it with rattan and bamboo, materials that combine strength and flexibility, the warmth of mellow tones, and the ability to be run through by light.” gubi.com

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COURTESY OF GUBI; PORTRAIT: ARCHIVIO GABRIELLA CRESPI

house of the sun

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YOKO VALENTINA

“I call the aesthetic ‘sensory minimalism’”

aussie rules Working as a style editor is perhaps an atypical

path to becoming a furniture designer. But Sarah Ellison’s shelter magazine experience was crucial to giving her an understanding of what it takes to make a room great. Now, a new retail partnership with Design Within Reach brings a curated selection of the Australian’s 1970s-esque pieces exclusively to the U.S. Inspired by her home in surf mecca Byron Bay and a desire to make coastal style more modern—and not a bit Hamptons—the collection includes Alva, a sink-into-it armchair; Paloma, a rattan coffee table; Yoko, a groovy bed on spherical wood legs; and Valentina, a folding screen comprising stacked bands of ash and walnut veneer. Luxurious yet accessible, the boldly proportioned pieces have a sense of nostalgia but presented in an updated way. “Great design evokes an emotional reaction,” Ellison says. “I hope my pieces make users feel something— whether excitement, comfort, or even safety and refuge.” How about all the above? dwr.com

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PALOMA

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FAR LEFT: TREVOR TONDRO

ALVA

BU I LT TO OU TCOMFORT & OVE R L AST

WO O DAR D-F U R NITU R E .COM

c enter fold “The lightness of the formwork enabled ease of transport and installation in just a few days by a small team” 2

200

x marks the spot LASSA Architects leverages a lightweight, low-cost, and reusable foam formwork to create a curvaceous concrete structure for a private residence with public gallery in Methoni, Greece

polystyrene pieces composing formwork

text: lisa di venuta

DAYS

to pre-assemble formwork off-site

2,150 SQUARE FEET

3 DAYS

NAARO

to transport and assemble on-site

5 1. LASSA conceived a structure with an aerodynamic X-shape massing that creates a series of protected courtyards—one in each wing. To execute the organically curved form in concrete, the architects hatched a fabrication strategy at once elaborate yet efficient. 2. Theo Sarantoglou Lalis and Dora Sweijd, co-founding principals of the London- and Brussels-based firm, ideated a digitally designed polystyrene-foam formwork that could be partially pre-assembled in sections, in just a handful of days, at a local warehouse. Prior to transporting the formwork to the site, they labeled each piece and included a positive or negative notch on either side. 3. After excavating the building footprint, four team members installed—in just half a day—a laser-cut-MDF shelf to guide placement of the foam formwork. 4. Once delivered on-site, the lightweight formwork sections were placed atop the shelf, assembled like a Byzantine puzzle with plastic screws, and anchored by a support structure made of locally sourced wood—a system flexible enough to achieve the serpentine shape. 5. Concrete was poured in stages over the formwork to create the continuous, rippled facade, which extends some 400 linear feet. SPRING.22

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NAARO

“Commissioned by a collector couple, KHI House & Art Space combines elements of a gallery with a monastery typology of enclosed gardens”

c e n t e r fold 6. After fabrication was complete, the foam formwork was reused as the house’s insulation. An aerial view reveals how the completed structure anchors into the gently sloping olive grove. 7. Matte-white powder-coated steel steps lead from the kitchen’s gravel courtyard to the rooftop terrace; X- and Y-shape concrete legs support the marble bench seats. 8. Futuristic yet grounded, the dwelling’s undulating white facade, as viewed from the southeast, engages with its agrarian surroundings—as does the 344-square-foot pool offering panoramic views. 9. The south terrace is accessible via a 17-by-9-foot sliding glass door, constructed of three panels that recede into the wall, resulting in a boundless, indoor-outdoor volume. 10. Accessed through a powder-coated laser-cut steel screen door, the gallery features satin-finish terrazzo floors and marble skirting that uphold the blanched aesthetic. In lieu of conventional lighting fixtures, a perimeter trench containing a flexible LED strip was cast into the roof slab. 9

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MADE YOU LOOK. Indoor and outdoor lighting, ceiling fans and accessories. Built on quality, service and unbelievably good looks.

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Taking the long view

MICHAEL MORAN/OTTO

SPRING.22

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SPRING.22

tonal shift

Agence DL-M sets a Left Bank Paris apartment on a colorful new course text: ian phillips photography: stephan julliard

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INTERIORDESIGN HOMES

In recent years, interior designer Damien Langlois-Meurinne has worked on a series of Paris apartments that enjoy mind-blowing views. The dining room of one flat close to Place du Trocadéro is in direct axis with the Eiffel Tower. Another sits atop a hill in the city’s 16th arrondissement and offers sweeping vistas of almost all the French capital’s monuments, extending to Notre-Dame in the distance. Yet none of them has such a direct link to the Seine as this 3,500-square-foot four-bedroom located right on the river’s Left Bank. Look through the trees to the right and you see the Louvre; to the left, the Place de la Concorde. On July 26, 2024, its fourth-floor windows will no doubt be a privileged perch: That is the day earmarked for the opening ceremony of the Paris Olympics, when some 10,500 athletes will sail past on boats from the Pont d’Austerlitz to the Pont d’Iéna. The project stands out for another reason, too. Since setting up his own practice, Agence DL-M, back in 2003, Langlois-Meurinne has displayed a gift for reworking floor plans and spatial volumes. Often, he’ll gut an apartment and start things over completely from scratch. For a recent commission, he even had to remove a 215-square-foot swimming pool that had been installed, rather incongruously, on the fifth floor of a typical Haussmannian building. There are, however, exceptions to every rule, and this project, for an art-collecting couple from the Middle East, was one of them. “For once, there was a natural balance to the existing layout,” Langlois-Meurinne recalls. “I didn’t really change much apart from connecting the primary bedroom to the adjoining bathroom.” The new birch-clad portal between the two is particularly deep. “It gives the space a sense of protection and intimacy,” LangloisMeurinne notes. He also modified the shape of the walls in the kitchen, replacing jagged angles with enveloping curves. Previous spread: Circus Peanut, an acrylic on canvas by art collective Henry Codax, hangs above the living room’s wool-satin-upholstered custom sofa. Top: Damien Langlois-Meurinne designed both sofas in the living room; the porcelain and metal sculpture between the windows is Pseudosphère Verticale, by Nadège Mouyssinat. Bottom: Painted-wood artworks by Marc Cavell bookend a Gregor Hildebrandt canvas made from VHS tape and acrylic; the Italian armchair dates to the 1950s. Opposite: Corine van Voorbergen’s The Hard Around the Edge punctuates the gallery, which also features ribbed staff walls, a Nicholas Haslam plaster chandelier, and custom zebrano consoles.

Previous spread: Black-birch paneling and stainless-steel doors channel Russian constructivism in the first dining zone at Moscow’s Cafe Polet by Asthetíque. Above: Based on classic science fiction movies, Sergei Sudakov’s sculpture brings a human dimension to the restaurant’s aeronautical theme. Opposite top: In reception, table numbers in the form of stainless-steel aircraft silhouettes stand under a glass-dome porthole. Opposite bottom: Beneath the custom stainless-steel reception desk, striped concrete flooring evokes the markings painted on an airport runway.

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What was lacking, though, was much in the way of architectural personality; the space was almost completely devoid of historical elements. So, Langlois-Meurinne designed new ones largely inspired by the Art Deco style of the 1920s and ’30s. He Opposite top, from left: The dining room’s installed wainscoting and cornices in the custom wool-cotton rug anchors a white-finish large double sitting room as well as a host pinewood table surrounds by vintage Ico Parisi chairs; Estremoz marble tops the custom sheetof elements in staff, a type of plaster he bronze consoles. Noémie Goudal’s In Search of particularly loves working with. “It’s exthe First Line III, 2014 hangs in the entry, with tremely supple and allows you to create an Allied Maker lighting pendant. Opposite rounded forms more easily than you can bottom, from left: The corridor leading to the with wood or marble,” Langlois-Meurinne primary bedroom hosts a Tom Kirk chandelier and explains. The material was used to create a William Coggin stoneware sculpture, which graces a walnut plinth. In the living room, Musée the sculptural fireplace that anchors one du Louvre (Vénus) by Martin d’Orgeval finds its end of the living space, the ribbed walls in complement in a lamp crafted of blown, molded the entry hall, and the domed ceiling in glass; an enameled porcelain vase by Barbara the dining room, among other details. Lormelle garnishes the cocktail table. The rest of the decor is typical of Langlois-Meurinne’s style, from the strong axes to the integration of niches and alcoves to the bronze door frames that help structure the space. In many of his projects, the designer favors generously proportioned hallways. “For me, they’re essential,” he says. “They’re the backbone of a flat and need to be lively and have their very own personality.” Bestowing visual impact in the main hall, which serves as a gallery, is a mesmerizing moonlike work in bright red by Dutch artist Corine van Voorbergen. LangloisMeurinne also created a rhythmic pattern on the floor below by insetting the Tundra Gray marble slabs with brass bands arranged in a syncopated fashion. “Their reflections help bring light to the heart of the apartment,” he says. Light was a concern in the primary bathroom due to an absence of windows. The striking Panda White marble floor, which Langlois-Meurinne compares to a contemporary artwork, helps to distract attention from the fact. “The veining is very dynamic,” he says, “almost like an India ink drawing.” The designer also installed a plaster ceiling dome above the tub, into which he recessed indirect lighting. “When it’s switched on, it becomes quite immaterial and conjures the sensation of a light well or skylight,” he declares. Top: Corian tops the lacquered wood cabinetry in the kitchen, paved in Zimbabwe granite; a Thomas Ruff photograph accents walls clad in sanded oak. Bottom: In the powder room, more lighting fixtures by Haslam flank an antique green marble sink.

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For aficionados of Langlois-Meurinne’s work, the color palette throughout the apartment may come as something of a surprise. He has long accustomed us to cooler tones, marked by a predilection for shades of blue. “I have a very strong attachment to the sea and the Mediterranean,” he says, explaining that he spent many a childhood vacation in the Cyclades of Greece. Here, however, he decided to play with warmer tones. The walls of the dining room were painted a pale salmon hue, and a monochromatic orange acrylic on canvas—Circus Peanut, by the art collective Henry Codax—dominates one end of the living room. “I don’t know where the inspiration came from,” Langlois-Meurinne admits. “I guess it’s a question of desire, of simply wanting to try out something a little different.”

PRODUCT SOURCES FROM FRONT MARK ALEXANDER: STRAIGHT SOFA FABRIC (LIVING ROOM). LORENZO CASTILLO: ARMCHAIR FABRIC, CURVED SOFA FABRIC. VERSMISSEN: SIDE TABLES. PORTA ROMANA: GLASS LAMPS (LIVING ROOM, ENTRY, BEDROOM). BARBARA LORMELLE: VASES (LIVING ROOM). KAREN SWAMI: BLUE CERAMICS. NICHOLAS HASLAM: CHANDELIER (GALLERY), WALL LIGHTS (POWDER ROOM, BEDROOM). TFA: BENCH FABRIC (GALLERY). CREATIV LIGHT: PENDANT LIGHT (KITCHEN). ARTERIORS: TABLE. MARC UZAN: CERAMICS. GRAFF: SINK FITTINGS (POWDER ROOM, PRIMARY BATHROOM). SCHWUNG: PENDANT LIGHT (DINING ROOM). CIRCA LIGHTING: LAMP. NOBILIS: CHAIR FABRIC. HK LIVING: CONSOLE (ENTRANCE). ALLIED MAKER: CHANDELIER. TOM KIRK: CHANDELIER (CORRIDOR). CHRISTOPHE DELCOURT: NIGHTSTANDS (BEDROOM). LAMBERT&FILS: PENDANT LIGHT (PRIMARY BATHROOM). THROUGHOUT CHROMATIC: WALL PAINT. GALERIE HUSSENOT, GALERIE GRETA MEERT, GALERIE FILLES DU CALVAIRE, GALERIE SCÉNE OUVERTE, GALERIE MAISON RAPIN: ARTWORK.

Top: The apartment, located directly on the Left Bank of the Seine, has a view of the Louvre and other Paris landmarks. Bottom: In the primary bedroom, a headboard covered in a arrowroot grass-cloth joins Christophe Delcourt nightstands; between the newly added birch doorways is a gelatin silver print by Iranian artist Payram. Opposite: Black Zimbabwe granite surmounts the brushed, stained oak vanity in the primary bathroom, with Panda White marble flooring.

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“The veining in the Panda White marble is very

dynamic, like an India ink drawing”

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INTERIORDESIGN HOMES

nesting instinct

Dufner Heighes modernizes a historic Pelham, New York, house for a growing family looking to put down roots text: jen renzi photography: john ellis

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Flip back a page, please. Now, kick up your feet, relax—here, have a cocktail—and observe this intriguing wood-paneled room: the resolutely leafy view, that groovy triangular window, the serene quiet, the vintage-heavy furniture scheme. Bet you think this is the living room of some cozy ’70’smod cabin on a remote rural plot, right? Well, surprise! In fact, this is the second-floor sitting room of a painstakingly preserved century-old Edwardian-style manse within shouting distance (although please don’t; the baby’s sleeping) of the Bronx. Dufner Heighes was the firm tasked with future-proofing the historic Pelham, New York, house for a growing family. The 7,100-square-foot dwelling has an intriguing back story. Previous owners include the island nation of Barbados, which used it as an embassy, and a Coca-Cola executive who frequently hosted President Eisenhower there back in the 1950s. Another head of state, George Washington, reportedly stayed on the property, too, in a structure that once stood on this abode’s exact footprint. That provenance piqued the interest of Erica Holborn, CEO of Sandow Design Group (Interior Design’s parent company) and a self-professed real-estate enthusiast. “I’m a house-with-a-story person,” she admits. When Holborn and her husband, Andrew, first saw the property listing, they deemed the eightbedroom too big for their needs. Fast forward a year later. Their Dufner Heighes–designed Sutton Place apartment was getting a bit too snug for their expanding family (especially with WFH in the mix), and their upstate getaway, a 1970’s A-frame designed by Frank Lloyd Wright protégés, was too far from the city for full-time residency. Plus, the Holborns got an offer on the latter that they couldn’t refuse. So when the price dropped on the Pelham place around the same time, they finally took a look—and were sold. Among the structure’s many attributes was that it had been pristinely restored, from the oak millwork to the original hardware. “It was a perfect situation, because the previous owners had updated a few things, like the kitchen, but restored everything else—stripping layers of paint off moldings

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Previous spread: In the second-floor primary suite’s sitting room, windows are angled to follow the roofline; a print by Linda Colletta, Sky III, joins a Dufner Heighes–designed Stop coffee table, a D’Urso sofa, and vintage wing chairs reupholstered in shearling. Opposite: A pair of Finn Juhl chairs and a Bob sectional designed by Thomas Bernstrand and Stefan Borselius furnish the living room’s seating vignette; the area rug, like most of the floor coverings throughout, is from Aronson’s. Top: Dufner Heighes designed the mudroom’s Bubble table; the terrazzo flooring by Artistic Tile incorporates marble chips. Left: Near the living room fireplace, with original oak millwork, a Jaime Hayon side table cozies up to a leather daybed. Right: Katie Hammond’s Ol’ Dirty Bastard accents the stair hall, illuminated by Louis Poulsen pendants. SPRING.22

INTERIORDESIGN HOMES

In the dining room, wallpapered in Borderline Chinoiserie by Voutsa, a Kiki Smith print, Fawn, hangs over a Jaime Hayon credenza; a flock of mouthblown glass birds adds height and interest to the oak table by Philipp Mainzer.

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“To make the historic house feel younger, we used furniture that was contemporary but not too minimal or modern—and that had enough detail and character to hold up to the surroundings”

Top: In the sunroom, a Bouroullec Brothers Ploum sofa joins an Iacoli coffee table featuring a custom top in onyx from Artistic Tile. Left: Works in India ink from Hugo Guinness’s “Wobbly Records” series garnish the game room, adjacent to the lower-level family room. Right: In the kitchen, with Shaker-style cabinetry from Bilotta, Dufner Heighes added a built-in banquette to maximize space; the chairs and stools are by Hans Wegner. Opposite: In the foyer, a portrait by Elizabeth Peyton is complemented by handmade paper flowers by Livia Cetti and a custom table by Casey Johnson.

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and all that stuff no one wants to deal with,” notes Daniel Heighes Wismer, firm copartner with Greg Dufner. In short, it was practically turnkey. Early site visits suggested the project would be primarily decorative and cosmetic: reupholstering some existing furnishings, buying new items to fill in a few gaps, replacing antique light fixtures with more modern designs, updating cabinetry, hanging artwork. Midway through planning the new kitchen, however, it became apparent the current footprint was underscaled for the size of the house and had an awkward, dinky island unsuited to cooking and dining. “During one of our meetings with the team from Bilotta, with whom we were designing the kitchen,” Wismer recalls, “someone questioned whether we could tear down a wall to annex the adjoining butler’s pantry—and that changed everything,” necessitating plumbing and electrical rerouting plus new structural steel. “My dream has always been to have a butler’s pantry,” Holborn sighs. “And then I finally buy a house with one—and promptly take it out!” The monthslong renovation was well worth it. The new scheme is much brighter and airier, with a long Arabescato Corchia marble island that seats four, plus a window-wrapped breakfast nook. Dufner Heighes deployed two patterns of Artistic Tile terrazzo flooring, one incorporating marble chips, to create area rug–like accents that delineate spatial zones. Shaker-style cabinetry is simpatico with the period architecture yet modern enough to suit the décor. The same flooring and cabinetry also extend into an adjacent space, a former family room that now serves as a storage-packed mudroom. The reinvention of a living space as service-oriented hub made sense, given the floorplan already offered a generous number of hangout areas, including the ground-floor salon and contiguous sunroom, a second-floor playroom for two-year-old Marlowe and baby Bodhi, a sitting room off the primary suite, and the family and game rooms that anchor the daylit basement level. “The challenge,” Dufner says, “was how to make each living space feel like it had a unique function and purpose.” Seating in particular was selected with specific activities and postures in mind. Thus the salon’s more upright Bob sectional, its firm, snakelike form perfect for perching with a glass of wine; the sunroom’s more lounge-y Bouroullec Brothers Ploum sofa, a holdover from the upstate house (albeit newly reupholstered); and the superdeep, nap-conducive sofa in the family room, where TV viewing occurs.

Though the house has a traditional layout, with discrete rooms, they open graciously onto each other, and curating sight lines was particularly important. Many features were considered holistically so they would work together from room to room. On the first floor, for instance, “there are points where you can see the ceiling fixtures in the sunroom, living room, entry hall, and the dining room all at once,” Wismer explains. “So the lighting we specified all needed to work within their respective rooms and also as a cohesive group.” Furniture and other accents were chosen and placed similarly, he adds. “There was a balancing of where we could go a little wild and where something had to be toned down so it wouldn’t get too heavy or layered.” Speaking of going a little wild, check out the dining room wallpaper. The pattern, a trippy graphic confection in riotous hues, tents the room, extending up from crisp wainscoting lacquered a mercurial green-gray color. The op art patterning is the perfect jazz riff on the abode’s 1914 bones. “The contrast between historic and modern is just so great,” says Wismer. A sentiment that summarizes the project top to bottom. PRODUCT SOURCES SITTING ROOM KNOLL: SOFA. DUNBAR: SIDE TABLE. DESIGN FOR MACHA: CEILING FIXTURE. THROUGH NOGUCHI SHOP: FLOOR LAMP. GARRETT LEATHER: ARMCHAIR SHEARLING. KVADRAT: SIDE CHAIR FABRIC. LIVING ROOM BLÅ STATION THROUGH SCANDINAVIAN SPACES: SOFA. HOUSE OF FINN JUHL: CHAIRS. GUBI: COFFEE TABLE. ARONSON’S: RUG. BD BARCELONA THROUGH DDC: GREEN SIDE TABLE. FREDERICIA: DAYBED. LAWSON-FENNING: VESSELS. MUD ROOM BILOTTA: CABINETRY. ARTISTIC TILE: FLOORING. SEUNGJIN YANG THROUGH THE FUTURE PERFECT: PINK STOOL. BLU DOT: YELLOW OTTOMAN. THROUGH NOGUCHI SHOP: PENDANT. STAIR LOUIS POULSEN: PENDANTS. DINING ROOM VOUTSA: WALLPAPER. E15 THROUGH STILLFRIED WIEN: TABLE. CARL HANSEN & SØN: CHAIRS. IITTALA THROUGH FISKARS GROUP: GLASS BIRDS. BD BARCELONA THROUGH DDC: CREDENZA. ARONSON’S: RUG. GAME ROOM MITCHELL GOLD + BOB WILLIAMS: SOFA. ARONSON’S: RUG. CARL HANSEN & SØN: LOUNGE. BLU DOT: SIDE TABLE. THROUGH JOHN DERIAN: ARTWORK. SUNROOM LIGNE ROSET: SOFA. IACOLI: COFFEE TABLE. CB2: SIDE TABLE. KITCHEN ARTISTIC TILE: FLOORING, COUNTERS. BILOTTA: CABINETRY. CARL HANSEN & SØN: CHAIRS, STOOLS. E15 THROUGH STILLFRIED WIEN: TABLE. LOUIS POULSEN: PENDANTS. FOYER CASEY JOHNSON STUDIO: CUSTOM TABLE. BLU DOT: OTTOMAN. THROUGH JOHN DERIAN: FLOWERS. AJ MADISON: APPLIANCES. NURSERY LEE JOFA: WALLPAPER. THROUGH DESIGN WITHIN REACH: ROCKING CHAIR. DUNBAR: SOFA. HOUSE OF FINN JUHL: COFFEE TABLE. FLOYD: SHELVING. STOKKE: CRIB. FAMILY ROOM REJUVENATION: CEILING FIXTURE. NESSEN LIGHTING: GOLD LAMP. &TRADITION: COFFEE TABLE, OTTOMAN. CARL HANSEN & SØN: GREEN LOUNGE CHAIR. MITCHELL GOLD + BOB WILLIAMS: SOFA. ARONSON’S: RUG. KVADRAT: MAMA BEAR CHAIR FABRIC. ZAK & FOX: CLUB CHAIR FABRIC. BEDROOM DESIGN FOR MACHA: CEILING FIXTURE. MICHAEL ROBBINS: BENCH. LAWSON-FENNING: BED. ONCE MILANO: QUILT. ARONSON’S: RUG. POWDER ROOM FLAVOR PAPER: WALLPAPER. GUBI: MIRROR. THROUGHOUT VISUAL COMFORT THROUGH CIRCA LIGHTING: TABLE LAMPS (SITTING ROOM, DINING ROOM, FAMILY ROOM, BEDROOM); CEILING PENDANT (LIVING ROOM, DINING ROOM, FOYER); FLOOR LAMPS (LIVING ROOM, NURSERY); READING LAMP (LIVING ROOM). THROUGH FURNITURE FROM SCANDINAVIA: ITEMS FROM FREDERICIA, HOUSE OF FINN JUHL, GUBI, CARL HANSEN & SØN, LOUIS POULSEN, AND &TRADITION.

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Top: A custom bar in ribbed oak backdrops the lowerlevel family room, with a Hans Wegner Mama Bear chair and Simple side tables by Dufner Heighes; marble from Artistic Tile tops the Space Copenhagen Fly table. Bottom left: Daughter Marlowe’s bedroom features an Edward Wormley Knowland chaise, Finn Juhl Eye coffee table, and Lee Jofa’s Prism Pastel wallpaper. Bottom middle: Flavor Paper’s Happy Butterfly Day wallpaper and a Gio Ponti mirror bring zing to a powder room. Bottom right: The primary bedroom is furnished with a Lawson-Fenning Chiselhurst bed, custom Simple bedside tables by Dufner Heighes, a Michael Robbins Ranger bench, and a painting by Bruce Tolman. SPRING.22

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work/life balance Artisans and product designers take a hands-on approach to their home/studios Turn the page for more about the Kampenhout, Belgium, home of

JAN VERLINDE/LIVING INSIDE

ceramicist Alex Gabriels, designed by Lens°ass Architects.

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JAN VERLINDE/LIVING INSIDE

alex gabriels

Clockwise from top left: The living area features a Poul Cadovius wall unit and a Gyrofocus suspended fireplace. Gabriels creating a clay vessel on the potter’s wheel. A ceramic teapot. Jugs formed of red rough clay. Gabriels works a clay slab in her studio. An oven dish in red rough clay. A brick lattice forms the brise-soleil.

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FROM TOP: JAN VERLINDE/LIVING INSIDE (2); COURTESY OF ALEX GABRIELS

Materiality is at the heart of Alex Gabriels’s one-of-a-kind pottery pieces, made from earthy red, off-white, or black clay that shows quirks and imperfections from her touch. The same can be said of the Kampenhout, Belgium, home the ceramicist shares with her husband, Philippe de Ceuster, and their three sons. Like her vessels, the house, though a new-build designed by Bart Lens and Thijs Prinsen of Studio Lens°Ass Architects, has a timeless quality. The use of warm and durable materials such as brick and concrete form a modern take on wabi-sabi, while the striking brise-soleil facade was inspired by the Modhera Sun Temple in India. —Stephen Treffinger

“The idea for this brick house came after the architects crossed India and Philippe and I traveled to Morocco.The result is an open house that hides behind an oriental curtain”

CLOCKWISE FROM BOTTOM: JAN VERLINDE/LIVING INSIDE (2); COURTESY OF ALEX GABRIELS (2)

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When textile artist Milla Novo and her partner, Nigel Nowotarski, first encountered a neo-Gothic monastery in Bennebroek, the Netherlands, that was being redeveloped into residences, the structure’s 2,000-square-foot former chapel had been languishing on the market. “No one wanted to buy this apartment because of the unconventional layout,” she says. But where others saw drawbacks, Novo saw only a blank slate and abundant possibilities, including 20-foot ceilings ideal for executing oversize wall hangings for designer-clients such as Piet Boon and Jan des Bouvrie. She enlisted Amsterdam firm Standard Studio to create comfortable, functional interiors that would respect the monastic atmosphere—all the better to showcase works that honor weaving techniques from her ancestral Chile. —Marc Heldens 94

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ALAN JENSEN

milla novo

Clockwise from top left: A sofa from Be Pure Home and a chair from Roly Poly furnish the living room of the former chapel. Novo’s wall hangings riff on techniques used by the Mapuche, indigenous Chilean inhabitants. One of her rope sculptures, executed in collaboration with Nowotarski. Original beams dating from 1896 and light-washed stucco walls bring a transcendent quality to the primary bedroom. Novo weaving a ropework in her studio.

FROM TOP: COURTESY OF MILLA NOVO (2); ALAN JENSEN

“Daylight is extremely important for my work. The fact that work can take place at home, in my own living environment, is an extra plus”

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CLOCKWISE FROM BOTTOM LEFT: TOMMASO RIVA/LIVING INSIDE; TOMMASO RIVA, STYLING BY LISA SCAPPIN/LIVING INSIDE (2)

“I elevated the property and created a geometric yet natural-looking terracing effect to mimic the feel of rice fields feeding into one another”

CLOCKWISE FROM RIGHT: TOMMASO RIVA, STYLING BY LISA SCAPPIN/LIVING INSIDE (2); TOMMASO RIVA/LIVING INSIDE (2)

maximilian eicke During quarantine, German-born Eicke used the time to build a home for his family in Bali. Named Dukuh Haus (dukuh is Indonesian for “hamlet”), the structure incorporates weighty materials like steel, teak, volcanic stone, and marble to result in a solid yet wonderfully open environment. The dwelling is actually a grouping of five buildings placed around a courtyard and pool, a configuration that allowed Eicke—who now alternates between Asia and his Hamptons, New York, residence—to play with different materials and styles. He designed nearly every detail, from the furniture to the flatware, and uses the property as a product incubator, eventually putting favorite and viable pieces into production. —S.T. Clockwise from opposite top: The entry to the residence’s main structure. Eicke designed a solid-teak custom chair for the pool house dining area. A custom side table. The terraced central courtyard. Eicke in the dining room with a custom pendant. His Iceberg Ghost glasses for Moda Operandi. An outdoor lounge chair. The red chair visible outside the primary bedroom is part of an upcoming collection. SPRING.22

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CLOCKWISE FROM TOP LEFT: DANIEL SCHÄFER/PHOTOFOYER (2); COURTESY OF MUT DESIGN (3)

“Combining the new and the old is what we do in our job and what we wanted for our home”

mut design Pushing boundaries is the modus operandi of MUT Design and its founders, Alberto Sánchez and Eduardo Villalón, known for redefining familiar objects. The partners in work and life applied that same sensibility to their home in a 200-year-old building in Valencia, Spain, creating an open, obstacle-free space centered around a light well—a feature that brightened the dark conditions and blurred the lines between indoors and out. Every part is visible from the others—bathroom included (ahem). Furnishings are a playful mix of vintage, pieces from favorite designers, and MUT creations and prototypes for brands such as Expormim and Pulpo. Hearty brick, timber, and cement tile throughout impart a Mediterranean feel, while objects found during their travels lend an international edge. —S.T.

Clockwise from top left: Near the light well is the Náutica hanging chair MUT Design created for Expormim. Sanchez and Villalón. Beetle acoustical panel for Sancal. A Twins armchair for Expormim anchors the living room. MUT’s Petale handwoven chairs, also for Expormim. Bow wall tiles for Harmony. The designers’ Aspa rose glass side table for Pulpo.

FROM TOP: COURTESY OF MUT DESIGN; DANIEL SCHÄFER/PHOTOFOYER

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line of succession In East Hampton, New York, Bates Masi + Architects and David Kleinberg Design Associates create a contemporary family estate intended to be passed down to future generations text: fred a. bernstein photography: michael moran/otto

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Well before the East End of Long Island, New York, became known for shingle-style mega mansions, its residential vernacular was the saltbox, a simple two-story volume with a gable roof that comes closer to the ground in the back than in the front. Bates Masi + Architects decided it was the right form to give a new 11,450-square-foot weekend house for a couple and their family on a large plot of land in East Hampton. The clients asked for three semi-attached buildings, one for themselves and one each for their grown Previous spread: Connecting perpendicular sections of the three-building house, a glass cube screened with cedar slats also functions as sculpture gallery. children (and their future progeny). Firm principal and Interior Design Hall of Fame member Paul Masi gravitated Opposite top: A colorful wall-mounted artwork by John McCracken overlooks the main living area’s custom and vintage seating, including a pair of 1950’s Guillerme et Chambron oak lounge to the saltbox shape, so that the structures would feel pro- chairs. Opposite bottom, from left: In the dining area, an Ellsworth Kelly painting faces a tected from the elements in the back but wide open in the sculptural table by Joseph Walsh. Cedar shingles clad most exterior surfaces, including the roof. front, where the higher rooflines accommodate two stories Bottom: Flooded with light, this floating staircase, one of three in the house, also provides an of windows, all offering spectacular Atlantic Ocean views. ideal spot for the display of large artworks like this mixed-media piece by Franz West. Masi’s other big move was to arrange the three pavilions in an L-shape, which provides a sense of enclosure around the yard and swimming pool. The saltboxes are joined by glass connectors, but only at ground level; each has its own staircase to second-floor bedrooms and baths. The architect relied almost entirely on five materials: cedar, which clads most of the exterior; oak, for much of the interior; limestone, for floors, countertops, terraces, and some external walls; darkened bronze, for various kinds of trim; and, of course, glass. “We had to limit the palette because the house is so big,” Masi explains. “You lose the essence of it if there’s too much going on.” This ethos harks back to the early 1980s, when firm founder and fellow Hall of Famer Harry Bates—now 94 and retired— built modest beach houses out of whatever he could find in local lumber yards, a necessary discipline that became part of the firm’s DNA. When Masi joined Bates in 1998, he began devising ways to keep things simple even as clients demanded more and more luxury. This couple, intending that the property becomes a family heirloom passed down from generation to generation, wanted to make sure it would last. That was fine with Masi, who thought in centuries rather than decades while designing it. “We put a lot of redundancy into the building envelope,” he explains, noting that the house is sheathed in two layers of shingle-like boards with gutters and leaders sandwiched between them to keep water away from the weathertight shell. The cedar is fastened to the structure with custom stainlesssteel clips that don’t penetrate the wood, avoiding the damage nails or screws could cause the boards when they expand and contract.

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The saltbox form allows for openness and extensive glazing on the ocean-facing side of the house; two bronze-clad “light chimneys” peek over the roofline.

“We had to limit the material palette because the house is so big— you lose the essence of it if there’s too much going on”

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The architect didn’t make things easy for himself. Exterior walls and roofs, identically clad, meet without even a whiff of an overhang. Exposing the transition from one surface to another means there’s nowhere to hide even the smallest flaw. “It’s harder than it looks to pull that off,” Masi admits. “Everything has to be perfect.” That includes four “light chimneys,” his term for a series of massive bronze-clad skylights that project through the roof. They ensure light “cascades down Opposite top: Oak planks clad the floor and ceiling of the main bathroom, which has through the stairwells,” he continues, an effect that’s en- a custom vanity and freestanding tub. Opposite bottom, from left: A system of hanced by open-tread staircases hanging on thin vertical ceiling coffers brings natural light from the rear of the house into the main kitchen, steel-and-oak struts that descend from the second-floor which also boasts Gabriel Hendifar blackened-brass pendant fixtures. A French ’60’s ceiling. The stairwells double as ideally illuminated display glass-top table joins pieces from the couple’s collection in the sculpture gallery. areas for larger pieces of art (the couple are passionate Bottom: For geometric variety, the pool house has a flat roof rather than the saltbox form of the estate’s three residential structures. collectors). And where the house turns a 90-degree angle, the nearly cubic 18-by-18-foot glass-enclosed connector space serves as a sculpture gallery. Delicate cedar-slat screens provide necessary shade, while large, operable windows make it easy getting lage artworks in and out of the space. The clients brought in Interior Design Hall of Fame member David Kleinberg to furnish the house. The founding partner of David Kleinberg Design Associates, who has worked on multiple residences for the same couple before, softened the vast main living area with a custom beige wool rug. Much of the furniture is upholstered in shades of gray, including custom club chairs and sofas and a pair of French 1950’s oak lounge chairs. The seating is gathered around two Fredrikson Stallard cast-acrylic coffee tables that sit on the rug like massive chunks of ice. A patinated-bronze and polished-copper suspended light sculpture by Niamh Barry adds a note of drama overhead. But Kleinberg has no desire to hog credit for this house. “It’s clear that architecture was the highest priority,” he notes. “The artworks were second in importance. And then came the furnishings, which were to be laid back, relaxed, and supportive of the architecture and art.” What Kleinberg doesn’t mention is that many of the pieces he has so carefully curated could well become heirlooms in their own right.

PROJECT TEAM KATHERINE DALENE WEIL, NICK DARIN, NICK BRAAKSMA, HUNG FAI TANG: BATES MASI + ARCHITECTS. LANCE DUCKETT SCOTT: DAVID

KLEINBERG

DESIGN

ASSOCIATES.

ORSMAN DESIGN: LIGHTING CONSULTANT. STEVEN MARESCA: STRUCTURAL ENGINEER. MEN AT WORK CONSTRUCTION: GENERAL CONTRACTOR.

AWG ART ADVISORY: ART

CONSULTANT. PERRY GUILLOT: LANDSCAPE CONSULTANT. PRODUCT SOURCES FROM FRONT MAISON GERARD: OAK LOUNGE CHAIRS, LIGHT SCULPTURE (LIVING AREA). DAVID GILL GALLERY: COFFEE TABLES. PATTERSON FLYNN: CUSTOM RUG. JOSEPH WALSH STUDIO: CUSTOM TABLE (DINING AREA). VICTORIA + ALBERT: TUB (BATHROOM). APPARATUS: PENDANT FIXTURES (KITCHEN). WOLF: RANGE (KITCHEN). VENT-A-HOOD: VENTILATION HOOD. SUB-ZERO: REFRIGERATOR. BERND GOECKLER: GLASS TABLE (SCULPTURE GALLERY). THROUGHOUT BYBEE STONE COMPANY: LIMESTONE FLOORING AND CLADDING. SKY-FRAME, WESTERN WINDOWS, MHB: WINDOWS AND DOORS.

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The design duo behind Duet gives an oldschool Sydney residence a youthful update

match made in heaven text: elana castle photography: anson smart

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Previous spread: Accompanying an Esedra pouf by Monica Förster and a marble coffee table, the family room’s leather-clad custom sectional modules can be reconfigured over time as the clients’ needs change. Top: The rear addition housing the game room is visible beyond the Tudor-style main house and accessed via the enlarged six-car garage. Center: Piero Fornasetti’s Teatro wallpaper clads the study, where a brass egg sculpture and Joel Escalona’s Miss Jolie ceramic vase alight on an Antella desk by Kazuhide Takahama. Bottom: The spiral staircase and wall moldings are newly added. Opposite: In the playroom, the sofa (with a machinewashable slipcover) and rug are custom; a Greta Grossman B-4 table lamp perches on a custom desk.

As far as first projects go, this five-bedroom house set on a half-acre plot complete with pool and tennis court is an undoubtedly impressive one, both for its scale and for the design freedom extended to interior designers Shannon Shlom and Dominique Brammah. Collaborating for the first time as co-founders of the Sydney studio Duet, the pair worked symbiotically to transform the jaded Tudor-style dwelling in suburban Strathfield, Australia, into a fresh-faced home suited to modern living. The clients, George and Michleen Geagea, had purchased the sizeable two-story residence with the desire to create a family-friendly environment for their growing brood. George, a property developer and frequent traveler, also wanted the interior to reflect the luxury hotel aesthetic he appreciated on the road, and to leverage his company’s team of contractors and consultants. Other than that, he gave Duet carte blanche. “This was a true trust exercise where we had complete autonomy to run with our ideas based on the initial brief,” Shlom recalls. Although the house, built in 1916, had been through a previous renovation and addition, “it was formulaic and lacked heart and soul,” Shlom explains. “The original spaces were bland while the more recently added contemporary spaces were a pastiche of confused styles.” The duo’s initial site visit and floor plan review sparked an idea they realized would improve the flow of foot traffic while also instating spatial logic: relocating the staircase from the entry hall to a more central spot closer to the layout’s actual midpoint. The new stair, a twisty spiral with Carrara marble treads, neatly divides the plan into two zones: a formal one comprising the living room, the guest

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powder room, and the study, and a more casual, free-flowing wing housing the family room, kitchen/dining area, butler’s pantry, and an additional half-bath. “Those adjustments honored the proportions of the original rooms while allowing for the creation of a generous, open, contemporary space,” Brammah notes. Further bridging old and new are architectural details including custom wall paneling, large-scale dentil molding, parquet de Versailles oak flooring, and vintage lighting— “elements that acknowledge the history of the house yet allowed for a new language that didn’t feel like a replication,” she continues. “It’s an approach that encapsulates the essence of the project: a deeply layered scheme that can continue to evolve with the family over its lifetime.”

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Other major interventions to the property include a pergola with an outdoor kitchen and bath, a freestanding tennis/guest house courtside, a rear extension encompassing an enlarged showcase garage (home to George’s vintage car collection) and a game room in which the couple can host late-night card games without disrupting family life in the main house. Indeed, the entire property is both party minded yet practical, down to the kitchen. “The family loves entertaining—but not the idea of guests getting elbow-deep in grease during cleanup after a long Sunday lunch,” Shlom says. So, Duet conceived a double kitchen: a showpiece cookery paired with a hardworking tucked-away butler’s pantry that houses a second set of appliances. The latter functions as the day-to-day meal-prep area,

Opposite: A vintage Bilia lamp by Gio Ponti sits in front of the living room’s original stained-glass windows; the sofa and cushions are custom. Top: A papier-mâché vase by McMullen & Co. tops the kitchen island, which pairs Verde Chambray and Calacatta marble; the dining area’s Lindsey Adelman chandelier sports a copper patina finish. Bottom left: The butler’s pantry backsplash is handmade brick. Bottom right: Custom marble parquetry flooring bedecks the foyer, where a Graziela Guardino linen on canvas drapes over a 1970 console by Giacomo Sinopoli; the pendant is an Italian design dating from the midcentury era.

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This page: Sibella Court’s Franklin wallpaper animates a small sitting area, dubbed the cubby, off son Peter’s bedroom, illuminated by a Verner Panton Flowerpot lamp. Opposite, clockwise from top: Moroccan Zellige tiles clad the walls of Peter’s terrazzo-floored bathroom. The primary bedroom’s headboard, bedside table, linens, and lighting pendant are custom; the walls are papered in grass-cloth. A Brescia Capria backsplash brings an artful note to the tennis house kitchen, furnished with Thonet cane-seat stools.

“We created a deeply layered scheme that can continue to evolve with the family over its lifetime”

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which freed Duet to push the design parameters of the publicfacing side, oriented around a commandingly contemporary two-tone stone island that stands sculpture-like. For furnishings, Shlom and Brammah sourced far and wide. “Lighting was an important part of bringing a worldly, welltraveled feel to the design, with many eras represented so as not to create a prescriptive style,” Shlom says. The showstopper Lindsey Adelman Drop pendant above the dining room table, in a patinated copper finish, “made our hearts sing,” Brammah says, pointing out how it elegantly twists and turns in the breeze when sliders to the adjacent outdoor living spaces are open. Duet also commissioned myriad custom pieces. In the primary bedroom, for instance, the headboard, bedside tables, pendants, checkerboard broadloom carpet, bed linens, and silk window treatments are all bespoke. As for the young members of the household, who range from six months to 11 years old, their sanctums are at once age-appropriate yet designed with longevity in mind, featuring colors and finishes sure to stand the test of time. Take the playroom: The ground-floor space, formerly an uptight formal room, is now an ode to a big-top tent, treated to a vibrant mix of terracotta ceiling stripes and circular elements ranging from the sofa cushions to the area rug. Equally playful, albeit in another vein entirely, is George’s study. Mirror-backed built-in shelving showcases his prized whiskey collection alongside vintage treasures. An added

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Top: A view across the tennis court—built by former homeowner Daphne Akhurst, a grand slam winner—to the remodeled rear of the house; to the right is the newly constructed tennis house. Center: Boldly veined Brescia Capria marble animates daughter Annabelle’s bath, with custom mirror. Bottom: Acrylic lamps and a tiered chandelier by Julie Neill illuminate the guest bedroom. Opposite: A deft layering of shapes, colors, and patterns creates sophistication in Annabelle’s bedroom, with a custom headboard and carpet.

grace note, the designers specified Piero Fornasetti’s classic Teatro wallpaper, featuring an audience of theater-goers, “so George would always be in good company working late into the night,” Brammah says with a laugh. Who needs alone time? PROJECT TEAM AJH+: ARCHITECTURE. STUDIO REWILD: LANDSCAPE CONSULTANT. MEGAN MORTON: EDITORIAL STYLING. SOPHIA KAPLAN: EDITORIAL FLORALS. PRODUCT SOURCES FROM FRONT GLOBEWEST: COFFEE TABLES (FAMILY ROOM, LIVING ROOM), TABLE, CHAIRS (KITCHEN), SOFA, SIDE TABLE (CUBBY), BEDSIDE TABLES (GUEST BEDROOM, DAUGHTER’S BEDROOM). POLTRONA FRAU THROUGH CULT DESIGN: POUF (FAMILY ROOM). PULPO THROUGH DOMO: FLOOR LAMP. COLE & SONS THROUGH ICONRADFORD WALLPAPER: WALLPAPER (STUDY). CASSINA THROUGH CULT DESIGN: DESK. FOURTH STREET HOME: EGG SCULPTURE. THROUGH MERCER & LEWIS: AMPHORA POTS. JOEL ESCALONA THROUGH ADORNO DESIGN: CERAMIC VASE. THROUGH JAMES SAID: VINTAGE WALL LIGHT (STUDY), VINTAGE CHANDELIER (LIVING ROOM). GUBI THROUGH CULT DESIGN: CHAIR (STUDY), LAMP (PLAYROOM). THE VISUALS: PLINTH (STAIR), SCULPTURES (STAIR, LIVING ROOM). DEEMAH STONE: STONE FLOORING (STAIR, FOYER). LIGHTING COLLECTIVE: PENDANT LIGHT (PLAYROOM). SIMPLE STUDIO: WINDOW TREATMENTS. MUROBOND: ACCENT PAINT (PLAYROOM, GUEST BEDROOM). HOUSE OF ORANGE: BENCH (PLAYROOM), CONSOLE (LIVING ROOM), LAMPS (GUEST BEDROOM). THROUGH SMITH STREET BAZAAR: VINTAGE PENDANT LIGHT (LIVING ROOM). THROUGH TIGMI TRADING: LOUNGE CHAIR, FOOTSTOOL. JETMASTER: FIREPLACE. LINDSEY ADELMAN STUDIO: PENDANT LIGHT (KITCHEN). GRAZIA & CO.: STOOLS. M C MULLEN & CO.: VASE. PORTER’S: CABINETRY PAINT (KITCHEN, BUTLER’S PANTRY). GRANITE & MARBLE WORKS: COUNTERTOP MARBLE (KITCHEN, DAUGHTER’S BATHROOM), BACKSPLASH (TENNIS HOUSE). THROUGH 1ST DIBS: PENDANT (FOYER). LIWANS THROUGH NICHOLAS & ALISTAIR: VINTAGE CONSOLE. ZIP WATER: SPECIALTY TAP (BUTLER’S PANTRY). ONSITE SUPPLY & DESIGN: BACKSPLASH. WK: COUNTERTOP STONE. TIM ROODENRYS: RUG. &TRADITION THROUGH CULT DESIGN: LAMP (CUBBY). THE SOCIETY INC.: WALLPAPER. ASCRAFT: WALLPAPER (PRIMARY BEDROOM). FIBONACCI STONE THROUGH ONSITE SUPPLY AND DESIGN: STONE TILE (TENNIS HOUSE). HONORÉ THROUGH TIGMI TRADING: PENDANT LIGHT. THONET: STOOLS. JULIE NEILL THROUGH MONTAUK LIGHTING CO.: PENDANT LIGHT (GUEST BEDROOM). S A S VEER: ARTWORK. THE STITCHING PROJECT: BEDCOVER. THROUGHOUT DULUX: PAINT. WE LOVE PARQUET: FLOORING. PERRIN & ROWE THROUGH ENGLISH TAPWARE COMPANY: SINK FITTINGS. TAPPETI: CUSTOM RUGS. HERITAGE TILE CO.: TERRAZZO (KIDS’ BATHS). SURFACE GALLERY: WALL TILES (KIDS’ BATHS). SNELLING: WALL LIGHTS (KIDS’ BATHS).

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getting in shape Today’s best residential designs worldwide embrace fabulous forms, glamorous geometries, and stunning silhouettes text: peter webster

See page 126 for a new hilltop villa surrounded by vineyards in Termeno, Italy, by Peter Pichler Architecture. Photography: Gustav Willeit.

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studio lens°ass architects site Pelt, Belgium recap Located in a village, the only thing traditional about this new 4,100-square-foot, twolevel house for a retired couple is the extensive use of brick, a favorite local material. It forms the body of the structure, two cylindrical volumes topped with a single cast-concrete roof slab, folded up at its ends like a jaunty hat. Walls of glazing keep the upper-level kitchen, dining, and living areas bright and airy, while a wide, slotlike shaft brings light to the bedroom and bathroom in the basement, which is accessed via a sculptural concrete staircase. photography Jan Verlinde/Living Inside.

“The cylindrical shapes enclose an intimate interior with rounded corners and organic forms in true harmony with nature”

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horma estudio site Puerto de Sagunto, Spain recap Classic Iberian colors and materials—white lime render and terra-cotta colored tile—make the contrasting exterior forms and geometries of this 4,300-square-foot house even more graphic. Inside, the archetypal hues reappear in pointillistic terrazzo flooring that’s joined by maple and cherry built-in furniture and cabinetry, blanched walls and ceilings, and oodles of natural light thanks to wide swaths of glazing—all of which help to orchestrate the complex play of curves and angles, solids and voids. photography Mariela Apollonio.

“Mass, geometry, and space work in harmony, their relationships constantly varying to create diverse interiors designed according to the needs of the inhabitants”

“I wanted to try to create an inner disposition in which people can move naturally, where they can swim like a fish in the water”

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atelier štěpán site Nový Jičín, Czech Republic recap An enormous oval aperture punched in the flat roof of this 3,600-square-foot, two-story villa allows for a gardenlike atrium—an expanse of grass lawn flanked by a sauna, plunge pool, and timber decking—that really brings the outdoors inside. The large opening is repeated on a smaller scale with James Turrell–like circular skylights above the living area, stairwell, and elsewhere, all bringing nature even deeper into the heart of the home. photography BoysPlayNice.

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peter pichler architecture site Termeno, Italy recap Located on a vineyard hilltop in the South Tyrol, this new 4,100-square-foot villa exults in dramatic lines and intriguing geometries inspired by the surrounding Alpine landscape. Comprising folded planes of cast concrete, the low, ribbonlike form embraces a central courtyard protected from strong winds off nearby Lake Garda. Surfaces clad in local wood warm the simple, minimalist interiors where strategically positioned glass walls frame magnificent views while maintaining privacy. photography Clockwise from top left: Gustav Willeit (3); Samuel Holzner.

“The exterior concrete mirrors the texture and color of chalkstone retaining walls in the surrounding vineyards”

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b o o k s edited by Stanley Abercrombie Treetop Hideaways: Treehouses for Adults by Philip Jodidio New York: Rizzoli, $45 260 pages, 208 color illustrations

The Story of the Country House: A History of Places and People by Clive Aslet New Haven: Yale University Press, $25 256 pages, 60 illustrations (50 color)

Philip hilip Jodidio, one of our most interesting and prolific design authors, has looked at nature and found domesticity. Here are more than three dozen treehouses, 14 of them in the U.S., the other 23 scattered among 14 other countries and four continents. Although the treehouse is apparently newly popular, this book traces its pedigree back to the Medici of 16th-century Italy, when one was built by the Grand Duke of Tuscany Cosimo de Medici, and another by his son Francesco, the latter structure being 25 feet above the ground and accessed by two spiral staircases. Most present day examples are, on their exteriors, as woodsy and rustic as expected. But because each treehouse depends on the particular form of the tree or clump it occupies, it is necessarily unique and, thanks to its lack of earthbound foundations, ecologically responsible. Treehouse interiors, as the book amply shows, also vary widely— even, on occasion, “morphing into a luxurious hotel room in the air,” as Jodidio notes in his preface. Many are surprisingly modern and, perhaps more surprisingly, elegant. There is running water, electricity, and WiFi (but, apparently and tellingly, no TV). There are woodstoves, steel fireplaces, and impeccable kitchen counters. There are commonplace beds but also netting-hung hammocks. Here is a copper bathtub for long soakings, there an Eames rocking chair for relaxing. And, of course, decks and windows offer views spectacularly different from anything we might see from the ground floor. There is also fine color photography throughout the book.

This is not a richly illustrated portfolio of country house designs, nor is it a dry textbook on the subject. It is more like a lively conversation with a charming, witty, and greatly knowledgeable friend. Clive Aslet was the editor of the British magazine Country Life from 1993 to 2006 and is the author of more than 20 books (one of which, The American Country House, House, was reviewed here in May of 1992). This new book takes us chronologically through the British country house in the Medieval, Tudor, Elizabethan, Stuart, Commonwealth, Queen Anne, Georgian, Regency, and Victorian eras, ending with the chapter titled “Now.” It is a fascinating, enlightening, stimulating, and delightful journey. Aslet’s conclusion: “The times are too uncertain to look very far into the future, but it is surely a safe bet, in these circumstances, that the country house will continue for many people to be an ideal.... COVID stopped the world and caused a period of reflection, not least about the homes people were forced to spend so much more time in.... Perhaps a refuge from the outside world will be needed as the twenty-first century wears on. The country house has often served that need before. Until then, let us celebrate its long continuity, admire the architecture, and enjoy.” An extensive bibliography and a thorough index make this not only a good read but also a useful reference.

What They’re Reading...

Rebecca Robertson Founder of RR Interiors

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“We moved to Italy for a year and my husband, In Praise of Shadows Marco Pasanella, also a designer, read it aloud by Jun’ichirò Tanizaki Chicago: Leete’s Island Books, $10 to my son—a 12-year-old Japan enthusiast—as we drove him to school every day, and it’s a 56 pages treasured time in my life. Originally published in 1933, it’s a brief love letter to subdued design. Tanizaki talks about the importance of aesthetic subtlety within the Japanese home. He analyzes material detail from gold leaf to even the white porcelain of toilets, reminding us that something isn’t more beautiful the brighter it shines, and that age and tarnish create beauty and depth. We recently moved a client in at 220 Central Park South. It is a stunning building with beautiful detailing. We chose mouth-blown opaque light fixtures that give a warm glow to the living and dining spaces, and used textured shagreens and tables and desks topped with handsewn leather. Next up, I am planning on rereading Elena Ferrante’s books. I love the gritty, intense detailing of life in Naples. Maybe I’ll even get some design inspiration: We are working on another exciting New York project at 53W53, the celebrated Jean Nouvel/Thierry Despont supertall wonder.”

DESIGNERS IN AT HOME i29 (“Hidden Treasure,” page 35), i29.nl Lorla Studio (“Mood Swings,” page 41), lorlastudio.com Manuelle Gautrand Architecture (“Mood Swings,” page 41), manuelle-gautrand.com No Architects (“Mood Swings,” page 41), noarchitects.cz

DESIGNERS IN SPECIAL FEATURE DeSallesFlint (“Eye on the Future,” page 140), desallesflint.com.

DESIGNER IN CENTERFOLD

Floret Arquitectura (“Eye onLASSA the Future,” page 140), floret.pt. Architects (“X Marks the Spot,” page 67), lassa-architects.com Lost and Found Home Design Porto (“Eye on the Future,” page 140), lostfoundporto.com.

DESIGNERS IN SPECIAL FEATURES PHOTOGRAPHERS IN SPECIAL FEATURE

Alex Gabriels (“Work/Life Balance,” page 90), Jimmy Cohrssen Photography (“Eye on the Future,” page 140), alexgabriels.com jimmycohrssen.com. Atelier Štěpán (“Getting in Shape,” page 118), Pion Studio (“Eye on the Future,” page 140), pionstudio.com. atelier-stepan.cz Horma Estudio (“Getting in Shape,” page 118), Anna Stathaki (“Eye on the Future,” page 140), annastathaki.com. hormaestudio.com Ivo Tavares Studio (“Eye onMaximilian the Future,” Eicke page 140), ivotavares.net. (“Work/Life Balance,” page 90), maxidnystore.com

PHOTOGRAPHERS IN FEATURES Milla Novo (“Work/Life Balance,” page 90), millanovo.com Shao Feng (“Creature Comforts,” page 116), sfap.com.cn. MUT Design (“Work/Life Balance,” page 90), mutdesign.com Eric Laignel Photography (“Reading California,” page 124), ericlaignel.com. Peter Pichler Architecture (“Getting in Shape,” page 118), peterpichler.eu Mikhail Loskutov (“Taking Flight,” page 108), Standard Studio (“Work/Life Balance,” page 90), mloskutov.squarespace.com. standardstudio.nl Studio Lens°Ass Architects (“Work/Life Balance,” page 90), (“Getting in Shape,” page 118), lensass.be

PHOTOGRAPHERS IN FEATURES Anson Smart (“Match Made in Heaven,” page 108), ansonsmart.com John Ellis (“Nesting Instinct,” page 80), johnellisphoto.com Michael Moran/OTTO (“Line of Succession,” page 100), ottoarchive.com

c o n ta c t s

Stephan Julliard (“Tonal Shift,” page 72), stephanjulliard.com

DESIGNER IN INTERVENTION delaVegaCanolasso for Tini (“Instant Gratification,” page 131), tinyhome.es

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IMAGEN SUBLIMINAL (MIGUEL DE GUZMÁN + ROCÍO ROMERO)

60 days. That’s the length of time Madrid-based modular home company Tini promises construction and installation of its units, which are designed by Ignacio de la Vega and Pilar Cano-Lasso, both also of architecture firm Delavegacanolasso. That estimate includes customization, and although there are two standard sizes for Tini modules—253 square feet and 366—many clients combine them to meet their specific spatial needs. For a Madrid residence, two units were joined to create a 560-square-foot showcase garage for the family’s 1948 Porsche 356 and 1959 Austin Healey 3000. The architects customized the modules to accommodate six lindens on the verdant site. “We adapted the width and length of both structures, so we had no need to touch the trees,” de la Vega explains. “As a result, from the first day the pavilion looked as if it had been there for years, totally integrated in the garden.” The pavilion’s frame is weathering steel, while the 29.5-footlong facade is composed of a trio of manually operated sliding doors with vertically oriented 2 ¾-inch-wide pine slats that allow light and air into the space. Interior plywood boards were painted a dramatic matte black to highlight the vintage cars, while the floor is a treated prefab concrete slab. The architects set down a pair of black Barcelona chairs and a custom pine side table to create a lounge area within the pavilion. Though less than 200 feet from the main residence, the garage feels light-years away. —Athena Waligore

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