NOVEMBER 2023
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UNIFOR SHOWROOM MILAN
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CONTENTS NOVEMBER 2023
VOLUME 94 NUMBER 10
ON THE COVER At a 1978 home in Brasschaat, Belgium, preserved and modernized by Ten Architects, the conversation pit features its original concrete flooring and cedar-slat ceiling but ex panded glazing to overlook the property’s new L-shape pond. Photography: Luc Roymans/Living Inside.
features 104 THE LINE OF BEAUTY by Peter Webster
The sinuous curves found in nature, art, and historical narrative inform the three-story addition to a landmarked 19th-century cottage in Sydney by Carter Williamson Architects. 114 READ ALL ABOUT IT by Rebecca Dalzell
Brava, a rental tower in Houston by MaRS and Munoz + Albin, makes headlines with nods to its site’s newspaper history, underscored by contemporary art and amenities. 124 HOME ON THE RANGE by Raul Barreneche
FERNANDO GUERRA/FG+SG ARCHITECTURAL PHOTOGRAPHY
Sited on an exclusive golf course near São Paolo, lush greens and local stone distinguish an expansive ground-up home by Studio Arthur Casas.
134 OF A CERTAN AGE by Thijs Demeulemeester and Jen Renzi
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In Belgium and Brazil, a trio of retro period pieces that encapsulate their time and place get a modern-day reboot. 148 PET PROJECT by Elizabeth Fazzare
For a Madrid show house, Studio Ruiz Velázquez fetches an apartment concept that benefits humans, their animals, and the environment. 156 STOPPING THE SHOW by Monica Khemsurov
A new Georgian-style residence in Dublin gets a contemporary, flamboyantly theatrical interior by DesignLed. 164 DOMESTIC BLISS by Annie Block
From East Coast to West, Florida to New York, luxury and affordable apartment buildings evict a cookie-cutter approach for character, eco-consciousness, and copious perks.
124
new! ch07 lounge chair, 60th anniversary limited edition in santos rosewood and oak designed by hans wegner, 1963 - made in denmark by carl hansen & son
carl hansen herman miller karakter muuto vitra kartell bensen knoll flos artek artifort foscarini and more!
visit hivemodern.com or call 1 866 663 4483 please inquire about our a&d trade program
11.23
CONTENTS NOVEMBER 2023
VOLUME 94 NUMBER 10
special homes section ON THE COVER
A custom linen-covered headboard and a Cylinder sconce by Apparatus distinguish the main bedroom of an 8,600-squarefoot residence in Buenos Aires, Argentina, by Estudio Karina Kreth. Photography: Celeste Najat.
openhouse 45 THE ART OF REINVENTION by Rebecca Dalzell 51 CENTER STAGE by Lauren Gallow 57 LIVING FOR THE CITY by Georgina McWhirter
From New York to Dublin, these carefully considered urban dwellings prove great design happens at any scale.
crosslines 71 LOOKING AHEAD by Stephen Treffinger
Piet Boon celebrates a professional milestone with a bevy of new projects, from hotels to homes, all bearing his studio’s trademark materiality and balanced, refined feel.
departments 19 HEADLINERS 23 DESIGNWIRE by Annie Block and Lisa Di Venuta 28 PINUPS by Rebecca Thienes 32 SHOPTALK 35 CREATIVE VOICES Serious Fun by Peter Webster
Fernando Laposse’s furniture is a witty critique of—and thoughtful answer to—the environmental and cultural devastation wrought by the global marketplace. 79 MARKET edited by Rebecca Thienes text by Wilson Barlow, Lisa Di Venuta, Georgina McWhirter, and Rebecca Thienes 99 CENTERFOLD Material Metamorphosis by Athena Waligore
204 BOOKS by Wilson Barlow 205 CONTACTS 207 INTERVENTION by Wilson Barlow 35
NIN SOLIS/LIVING INSIDE
Years of research into the structural potential of standard textiles transformed silk into a towering installation in Spain by Paloma Cañizares Office.
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e d i t o r ’s welcome
feasting on residential! To our consummate readers savoring these pages, it may seem like this month’s blood, sweat, and tears (aka the superhard work of our writers, editors, graphics designers, and myself) could be distilled into an otherwise improbable “cheers to good times!” I mean, it’s all so abundant, those folks should be instantly forgiven for having such a thought; plus, I could shout that, too, adding a helping of decorum by describing our fall presentation as “a testimonial to the incredible challenges that designers and architects intrepidly confront trying to solve agonizing problems of today’s living”… blah, blah, blah and all that serious stuff. But nah, I’ll stick to the thing we know is true: Everyone just craves residential. So, this is an especially special treat dedicated to design’s irresistible playpen, our homes. And just to keep those good ol’ times rolling through and through—a perfect antidote to autumn’s gray days—we decided to take a breather from most concerns and obligations. Forgetting remote work and carbon footprints for a minute, we chose to assemble an unfettered global feast of all resi design, here and now. Near São Paolo, Studio Arthur Casas hits a hole in one with a sprawling 14,000-square-foot house literally on a golf course! Very-old-meets-very-new at a glorious three-story modern addition to a quaint vintage cottage by Carter Williamson Architects in Sydney. And commercial and residential cohabitate at a domestic roundup of apartment buildings—from affordable to luxury—chockablock with yummy amenities like indoor-outdoor living (love the botanical mural) and wellness (I’ll take a pool any day!). And don’t miss our sumptuous front-of-book section dedicated to Interior Design Homes, a twice-yearly favorite! Yep. This is the all-you-can-eat, multicourse November residential meal. So, my hungry friends, dig in! xoxo
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NOV.23
INTERIOR DESIGN
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LILY SERIES
boydlighting.com
Studio Arthur Casas “Home on the Range,” page 124
founder: Arthur Casas. firm site: São Paulo. firm size: 50 architects and designers. current projects: Pulso Hotel in São Paulo; Villa Dubrovnik Hotel in Croatia; a condominium in the Bahamas. honors: Interior Design Best of Year Award; World Architecture Festival Awards Future Projects finalist. countrymen: Casas is an enthusiast of Seu Fernando da Ilha do Ferro furniture and Brazilian pop music. country: A favorite place to draw is at his beach house on the São Paulo coast, which also overlooks the Atlantic Forest. arthurcasas.com
headliners
“Our process starts with the principle that, in architecture, the whole is always bigger than the sum of its parts. Therefore, our attention is directed to all scales, from building to furniture”
BOB WOLFENSON
NOV.23 NOV.23 INTERIOR INTERIOR DESIGN DESIGN
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MaRS Culture
DesignLed
“Read All About It,” page 114 principal: Kelie Mayfield, IIDA. firm site: Houston. firm size: 24 designers and architects. current projects: Houston Zoo building renovations; T3 RiNo workplace interiors in Denver; Rosette residential tower interiors in Nashville, Tennessee. honors : PaperCity Design Awards.
“Stopping the Show,” page 156 design director: Lisa Marconi. firm site: Dublin. firm size: Four designers. current projects: Residences in Dublin; Wicklow, Ireland; and London.
work: Mayfield cofounded MaRS in 2010 but will be sole founder and creative director of Make Culture, officially launching January 2024. water: Her recent vacation activities ranged from canyoning through the Italian Alps to sailing in Mallorca, Spain. marsculture.com
tunes: Marconi plays the piano and saxophone. tails: She also fosters puppies. designled.io
Studio Ruiz Velázquez “Pet Project,” page 148 ceo, senior architect: Héctor Ruiz Velázquez. firm hq: Madrid. firm size: 30 architects and designers worldwide. current projects: A mixed-use complex in San Juan, Puerto Rico; Bannister Hotel & Yacht Club in Samaná, Dominican Republic; graphics for Salt dining complex in Dubai, United Arab Emirates. honors: XV Congreso Internacional de Interiorismo y Arquitectura award. stateside: Ruiz Velázquez was born in Puerto Rico and earned his master’s in architecture from the University of Virginia. abroad: He founded his firm in 1995 in Madrid, and now has additional studios in Dubai and PR. ruizvelazquez.com
PEAKE, NIASS, CARTER
Munoz + Albin Architecture & Planning
Carter Williamson Architects
“Read All About It,” page 114 principal: Enrique Albin, AIA. principal: Jorge Munoz, AIA. firm site: Houston. firm size: 15 architects. current projects: CityCentre Six office building in Houston; Aire multifamily tower in Dallas; IBM headquarters in Austin, Texas.
“The Line of Beauty,” page 104 principal architect: Shaun Carter. design director: Ben Peake. senior associate: Julie Niass. firm site: Sydney. firm size: 16 architects and designers. current projects: Residences and the Village preschool renovation in Sydney. honors: New South Wales Architecture Awards Emerging Architect and Lord Mayor’s prizes.
u.s.: Albin and Munoz founded their firm in Houston in 2000. global: They’ve had offices in Barcelona, Spain, and Mexico City, resulting in an international portfolio of projects from Western Europe to the Middle East. munozalbin.com
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in charge: Carter is a former president of the Australian Institute of Architects. in shape: Peake watches the sunrise on his daily morning runs. at peace: Niass is a yogini and an avid hiker of Sydney’s Blue Mountains. carterwilliamson.com
RIGHT, FROM TOP: RUTH MARIA MURPHY/LIVING INSIDE; PABLO VEIGA
h e a d l i n e rs
moltenigroup.com
Patterns Shown: Cinema / Intermission / Mezzanine
Crypton weaves thoughtful, colorful, luxurious contract textiles in North Carolina, preserving a treasured American tradition. Every stylish Crypton look is crafted with unbeatable performance.
design wire
edited by Annie Block
on point It’s becoming a trend. Cultural venues that not only forge community but also epitomize flexibility. The Perelman Performing Arts Center by Rex and Rockwell Group, which bowed late summer at the World Trade Center site in New York, is one, offering some 60 different configurations for theater, dance, and music. Aviva Studios, opened October 18 in Manchester, U.K., is another. The new home to Factory International, which presents year-round programming of events and original art by the likes of Yayoi Kusama, the 145,000-square-foot structure is by Office for Metropolitan Architecture, the firm’s first major public building in Britain. Conceived with adaptability in mind, Aviva is based around large, open spaces that can be constantly reconfigured, enabling artists to develop inventive, large-scale works. “The project allows audiences unexpected vistas of performers and to experience something different with every visit,” OMA partner and lead architect Ellen van Loon says. The spaces are contained inside an angular concrete and corrugated-steel facade that looks like a site-specific sculpture itself. Rising to nearly 70 feet along the banks of the River Irwell in Manchester, U.K., is Aviva Studios, Factory International’s flexible new space for art, music, and culture by Office for Metropolitan Architecture.
DAVID LEVENE
NOV.23
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d e s i g n w ire
wonder land
Clockwise from top: For London Design Festival, Sketch mounted “Crafted Wonder,” temporary installations that took over three of the dining establishment’s rooms, including reception, where La Manufacture Cogolin covered the floor in custom colorways of its wool Idylle collection, the pattern derived from Christian Bérard drawings. Walls and the pillows on the Ini Archibong Oshun sofa are a cotton-linen fabric that Cogolin is launching in 2024. Lasvit customized its Herbarium glass chandelier for the Glade lounge. Julian Carter Design’s compo sition of interlocking steel cubes filled the East Bar’s mezzanine. 24
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MARK COCKSEDGE
Sketch, the London dining and art destination founded by Mourad Mazouz, celebrated its 20th anniversary last year. Over the two decades, its spaces have been designed and redesigned by such luminaries as Noé DuchaufourLawrance, Yinka Shonibare, and Interior Design Hall of Famer India Mahdavi. Sketch also participates in the annual London Design Festival, creating temporary immersive installations. This year’s iteration, titled “Crafted Wonder,” transformed three rooms into boundary-pushing, international examples of the handmade. It began at the entry, where French rug maker La Manufacture Cogolin covered the floor and arches with a golden pattern derived from 1930’s gouache drawings by the late fashion illustrator Christian Bérard. The mode shifted to this century in the bar: Multidiscipli nary British artist Julian Carter forged what he calls a “three-dimensional line drawing” from steel rods. Finally, in the lounge, Czech glass manufac turer Lasvit presented a special gold version of its Herbarium chandelier by Mária C̆ulenová Hostinova to complement the lush botanical setting.
f ur n i t u re
lig h t in g
outdo o r
134 Ma d is o n Av e Ne w Yo r k d d cny c . c o m
a c c e sso r ie s
syste m s
damascene scene
In 18th-century Syria, members of the wealthy El-Mourabeh family feted honored guests with banquets of lamb samosas, kunafa pastry, and dried fruit in the reception hall of their estate. This Ottoman splendor is rendered in modern context as Damascus Room, debuting for the first time in the U.S. as a permanent installation at Los Angeles County Museum of Art in December. Acquired in 2012, the 15-by-20foot chamber was imported to L.A. by way of London in 24 crates and reassembled this past summer. Its poplar panels, carved with Arabic poetry and embossed with ajami gypsum reliefs, veneered in brass leaf and painted with gesso pigments, offer historical mise-en-scène for the museum’s simultaneous exhibition, “Dining With the Sultan: The Fine Art of Feasting,” which will present Islamic art in the context of its associated culinary traditions through some 250 antique stone-inlaid silver vessels, embroidered Turkish napkins, and tinned copper salt shakers. There will also be an interactive holographic dining experience, further transporting visitors to the cradle of civilization. —Lisa Di Venuta
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M
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COURTESY OF MUSEUM ASSOCIATES/LOS ANGELES COUNTY MUSEUM OF ART
d e s i g n w ire
3-form.com/textures
COURTESY OF MUSEUM ASSOCIATES/LOS ANGELES COUNTY MUSEUM OF ART
From left: Damascus Room, an 18th-century, 300-squarefoot chamber imported from Syria, has been acquired by Los Angeles County Museum of Art as a permanent installation debuting there December 17, featuring carved poplar panels and cupboard doors adorned with stone mosaics, gesso reliefs, and plaster motifs. It will be accompanied by some 250 food-related relics in “Dining With the Sultan: The Fine Art of Feasting,” which runs through August 4, 2024.
NOV.23
LUA COLLECTION
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p i n ups edited by Rebecca Thienes
getting a lift In these experimental designs, soft forms draped over minimalist supports convey a sense of gravitas
ARNAUD LAPIERRE DESIGN STUDIO
Arnaud Lapierre Design Studio’s limited-edition Oriflamme LED lamp, with an armature made of Japanese lacquered–wood and steel, artfully showcases its Dedar fabric shade. arnaud-lapierre.com
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LIVINGDIVANI.IT + 39 031 630954
SUMO PIERO LISSONI
AREA MANAGER NORTH AMERICA SHAWN KELLY T. +1 917 291 0235 SHAWN.KELLY@LIVINGDIVANI.IT
p i n ups experimental
Made of a riveted, folded aluminum sheet, an armchair by Niveau Zéro Atelier sports a vacuum-packed plastic “cushion”—which doubles as a standalone sculpture— containing green clay from Romainville, France, near where the multidisciplinary studio is located.
CAMILLE POITEVIN
niveauzeroatelier.space
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TAGWALl
Architectural Glass Wall Systems www.tagwall.com
How is your firm addressing the nationwide shortage of affordable housing? “We use wellness, sustainability, and biophilic principles to conceive residences that support environmental health and, together with our mission-focused clients like the supportive-housing nonprofit Breaking Ground, advocate for policy and building standards that encourage the same. We believe there’s a disproportionate benefit to early investment in better design and healthier materials, significantly improving quality of life for residents.”
“We support marginalized communities through our pro-bono division, Design Forward, such as designing a clothing boutique in a domestic violence shelter.” —Betsy Vohs, Studio BV
—Darin Reynolds, CookFox Architects
“We’re working on projects that provide housing for humantrafficking survivors, former foster youth, and young mothers. We also started the Legacy Project: Every few years, we donate a house to someone in need, and plan to do this in all 12 cities where we have an office, aiming to create generational wealth through homeownership.”
s h o p talk
“The crisis is urgent and unprecedented. I was born in a homeless shelter in Poland and lived in the first public housing project in the Bronx when my family immigrated to the U.S., so I understand this issue intimately. My wife, Nina, and I have long been committed to social issues; our studio has been designing low-cost, social, temporary, and disaster-relief housing for two decades. Recent projects are the 45-unit Allan and Geraldine Rosenberg Residence on Long Island, for seniors with incomes 50-60 percent below the area’s median, including 30 percent set aside for formerly homeless individuals, and a Brooklyn building that’s part of the NYC Housing Authority’s Seniors First program. Both provide social and medical services on-site. Doing this kind of work is not easy—there’s no cookie-cutter solution. But to give marginalized communities a true sense of home and civic pride is a much more sustainable solution.” —Daniel Libeskind, Studio Libeskind
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BOTTOM: STEFAN RUIZ
—Yanitza Brongers Marrero, Moody Nolan
serious fun FROM TOP: PEPE MOLINA; TIMOTHY DOYON/COURTESY OF FERNANDO LAPOSSE AND FRIEDMAN BENDA
Fernando Laposse’s furniture is a witty critique of—and thoughtful answer to— the environmental and cultural devastation wrought by the global marketplace
From top: The designer in his Santo Domingo Tonahuixtla, Mexico, studio in 2018, working on a Pup bench covered in raw sisal fibers from the leaves of agave plants, the same material used for Monster, part of a larger installation, in the background. His Lovebird cabinet, its agave-fiber coat dyed with natural pigments.
c r e at i v e voices
If an exhibition exploring the negative social, economic, and environmental impact of global trade on rural communities sounds like a high-minded lecture you don’t want to attend, think again. Mexican furniture designer Fernando Laposse’s recent one-man show, “Ghosts of Our Towns” at Friedman Benda gallery in New York, was so delightful that its serious themes—the loss of biodiversity, the destruction of rural culture in his homeland—became an energizing riff on engagement, possibility, and the power of collaboration. Born to Mexican parents in France, raised there and in Mexico, and trained at Central Saint Martins, Laposse is himself a son of globalization. He saw the consequences of international trade agreements and industrialized agricultural methods when he returned to Santo Domingo Tonahuixtla—a tiny indigenous community he’d visited frequently as a child—and found its traditional heirloom corn–growing practices abandoned, its lands eroded, and its inhabitants forced to migrate elsewhere. As the exhibition title suggests, it was fast becoming a ghost town. Since 2016, Laposse has collaborated with the townspeople on reestablishing the economic viability of the ancient crop by turning the multicolor husks, regarded as waste, into an innovative product called Totomoxtle, a marquetry veneer that clad some pieces in his show. The sustainable material not only generates new skills, jobs, and income for the community but also helps preserve its social and cultural fabric. Another native plant, the agave, which the village grows in bulk to fight soil erosion, provides fibers for the luxuriant “hair” on some of the other displayed objects. And monumental textile portraits of actual villagers offered a preview of what Laposse will show at Australia’s National Gallery of Victoria Triennial this December. He tells us more. NOV.23
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You’re known for your innovative use of humble natural materials such as corn husks and agave leaves. How did that begin?
Fernando Laposse: With the Central Saint Martins foundation course, a year in which I was able to try a bit of everything and really get my hands dirty in the workshops learning a lot of practical skills. We were encouraged to do a project using a material from our own country and I chose loofah. I got to understand the anatomy of the fibrous fruit, navigate its limitations, and “domesticate” it to the point where it could be worked into a piece of furniture. I developed a methodology—filleting it with a knife like a fish, then flattening it—that I still use. What was your next important material discovery? FL: Corn husk, which came out of my residency at an Oaxaca foundation started by the artist-activist Francisco Toledo. At the time, there was a lot of pressure to ban GMOs to protect our native corn, but I began to look for ways to create more revenue for the small farmers growing it that didn’t involve the grain itself. I found the answer in the leaves, which are as colorful as the maize kernels. Pre viously, I’d worked for London designer Bethan Laura Wood, an experience where I learned about 36
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marquetry. That led me to treat the dried husks like cardstock, cutting it into small shapes to form a continuous patterned veneer—not too dissimilar to what we’re doing today. Did that result in your ongoing collaboration with Santo Domingo Tonahuixtla? FL: Yes. When I first revisited the village, which in many ways had become a ghost town, I was inspired by the 70-year-olds planting agave in the mountains, trying to reverse the erosion. Similarly, we began
working on reintroducing ancient varieties of in digenous corn with the help of Mexico’s largest seed bank, using the old ejidos system of communal farming from the 1930’s. We set up a community workshop in the abandoned casa ejidal—the meeting hall where collective decisions were made—to which farmers bring corn husks to be transformed into the final product, including cutting out the shapes with a laser machine. I’d say the bulk of my work over the last nine years has been de signing that whole production system. Most of the
CLOCKWISE FROM FAR LEFT: TIMOTHY DOYON/COURTESY OF FERNANDO LAPOSSE AND FRIEDMAN BENDA (2); NIN SOLIS/LIVING INSIDE (2); TIMOTHY DOYON/COURTESY OF FERNANDO LAPOSSE AND FRIEDMAN BENDA
c r e at i v e voices
veneer applications are done in the village workshop, but more complex pieces are finished in my other studio in Mexico City, where we have bigger machines and better electricity!
TIMOTHY DOYON/COURTESY OF FERNANDO LAPOSSE AND FRIEDMAN BENDA
You presented your Conflict Avocados project, which uses waste skin and pits to make dyes, at this year’s World Around Summit. Tell us about it. FL: The avocado trade in Mexico—the world’s largest exporter of the fruit, all of which comes from Michoacán—is impacting the country terribly in regard to violence, deforestation, and loss of biodiversity. The textile portraits in the Friedman Benda show, which were made with avocadodyed cotton, are just a taste of what’s to come. For the NGV Triennial, we’re currently making a 130-foot-long tapestry telling the story of a Michoacán village that stood up to illegal logging. I’ll also show the original version of Resting Place, a chaise covered in avocado-dyed cotton patches embroidered with guns and knives that com memorates Homero Gómez González, an activist who was murdered for protecting the monarch butterfly’s forest habitat. I want my work to be more than just nice materials I can present at design fairs. I want it to have lasting impact.
Clockwise from opposite, far left: The sarcophagus-like Resting Place, a chaise lounge upholstered with avocado-dyed cotton, and a textile portrait in avocado- and marigold-dyed cotton of village builder Don Emiliano, both from “Ghosts of Our Towns,” a recent exhibition at Friedman Benda gallery in New York. Feliz Navida, a table lamp incorporating cactus wood and thorns. Laposse with heirloom corn–husk marquetry he uses for furniture veneer and wallcovering. A full-size Dog bench backdropped by a husk– veneered panel. A view of the gallery installation including Corn Kumiko, a marquetryveneered beech cabinet, and Hair of the Dog, a brass-lined cocktail cabinet covered in agave fur. The Lovebird cabinet with its doors closed. The Pink Furry armchair, its agave hair dyed with cochineal, a pigment derived from insects.
—Peter Webster NOV.23
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workplace education healthcare
drift
Change is the constant that each new generation brings to the table. DriftTM seating encourages people to come together with new ideas, new priorities and new ways of thinking. The welcoming look is ideal for collaborative spaces in the workplace to community spaces in healthcare. The series includes lounge and side chairs, bar and counter stools, and task swivel models, connecting people and places wherever the day takes us.
globalfurnituregroup.com
astek.com 818.901.9876 @astekinc design | wallcovering | print
Earthen 1 - Porcelain | Terrene collection
dreamy sanctums
It’s all in the details. Every piece of our hardware is handmade from mold to finish in the USA. Each artist’s vision is brought to life by many hands, using time-honored techniques. State-of-the-art precision ensures precise function and reliability, the way it was intended. From our hands to yours.
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rockymountainhardware.com
J0749 CACAO ORINOCO
This innovative, ultra-matte, soft-touch surface makes an impact in any residential or commercial design. Find out more at fenixforinteriors-na.com
open house the art of reinvention firm: messana o’rorke site: new york
In a Flatiron District loft, the bedroom’s office nook— with art by Wayne Thiebaud, Fernando Botero, and Amber Andrews—is clad in custom fumed and wirebrushed European white oak.
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Clockwise from opposite top: A mirror in steel and oxidized glass by Nicolas and Sébastien Reese hangs inside the entrance. The downstairs rec room includes a custom billiards table; wine storage is hidden below the staircase. A corridor lined with triple-glazed windows connects the guest wing with the main house; the exterior pairs Corten sheet siding and board-formed concrete. DKDA’s custom sectional and a Gerrit Rietveld armchair furnish the guest sitting room. A David Hockney iPad drawing, Yosemite I, October 16, 2011, overlooks custom brass-inlaid tables in the dining room; Ingo Maurer’s Luce Volante pendant fixtures float above.
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DAVID MITCHELL
Clockwise from top: Sliding frosted-glass panels framed in unlacquered brass separate the bedroom from the living area, which has a Nicolas Party painting and a cocktail table and lounge chairs by Poul Kjærholm. An oak bookshelf anchors the dining area, where the table is by George Nakashima. The main bathroom, including its custom sink and vanity, is wrapped entirely in travertine. Floor-to-ceiling shelves in the entry’s mirror-backed shoe closet are Euro pean white oak. In the kitchen, the waterfall countertop is basaltina stone and the custom cabinetry French oak, which matches the new flooring throughout.
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Rarely does an architect get to renovate the same property three times— let alone within a decade. But the owner of a loft in Manhattan’s Flatiron District, an art dealer, kept coming back to Messana O’Rorke. After the firm designed his original 800-square-foot apartment, the client purchased the studio next door; partners Brian Messana and Toby O’Rorke combined them to create a 1,200-square-foot unit. Later, they returned to install a new kitchen and flooring. Throughout the process, the loft retained a warm, minimal aesthetic and oak-and-brass palette. “We expanded and altered it while keeping the same spirit,” Messana notes. Located in a former factory building, the expanded apartment has an 11foot ceiling and seven south-facing windows. The challenge, Messana says, “was how to keep the essence of a loft, that big open space, without creating a studio.” The solution lay in sliding frosted-glass doors trimmed in unlacquered brass that separate the bedroom suite and a snug den from the living and dining area, but allow light to flood through. The first iteration of the apartment had a galley kitchen that the client rarely used, but over the years, he began to cook more and wanted to entertain. Messana O’Rorke opened the kitchen to the great room, removing the DAVID MITCHELL
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Clockwise from top: A Julian Pace painting hangs in the bedroom. The water closet off the shower is enclosed by a pocket door. Peter Bristol’s lamp stands on the custom headboard. More bronze-framed glass panels enclose the den off the dining area.
partition wall and installing a basaltina stone countertop with a fridge and freezer hidden underneath. Cabinets clad in French oak match new 9-inch-wide floorboards that replaced fumed-oak flooring to further lighten the space. For all their appeal, lofts can lack an element of surprise: You walk in the door and see a huge space in its entirety. “The problem is you only have one experience—it’s one-note,” Messana says. He and O’Rorke laid out the apartment so it reveals itself gradually, creating a sequence of events. At the entrance, visitors encounter an intimate foyer with a shoe closet, then turn into a storage-lined hallway and glimpse the front windows. But it’s only farther down, when they arrive at the kitchen, that they can start to appreciate the full size of the loft—and it takes further exploration still to discover the more tucked-away den and bedroom. There’s one last surprise. “Nobody expects the main bathroom—it’s insane,” Messana says. A masculine, spalike retreat, it’s covered almost entirely in exuberant travertine, including a sexy shower stall with an illuminated tinted mirror. An encore indeed. —Rebecca Dalzell
FROM FRONT FAIR: STOOLS (KITCHEN). DWR: SOFA (LIVING AREA). ARMADILLO: RUG. THE CITIZENRY: OTTOMAN. WATER WORKS: FITTINGS (BATHROOM). UC GROUP: CUSTOM BED (BEDROOM), CUSTOM GLASS PANELS, CUSTOM SLIDERS (BEDROOM, LIVING AREA), MEDICINE CABINET (BATHROOM), SHELVES (CLOSET). JUNIPER: LAMP (BEDROOM). WEST NYC HOME: SOFA (DEN). THROUGHOUT THE HUDSON COMPANY: WOOD FLOORING. LV STONE SOURCE: STONE SUPPLIER. ZEROLUX LIGHTING DESIGN: LIGHTING CONSULTANT. M.A. RUBIANO: MEP. WOOD FLOORS & SURFACES: WOODWORK. ABS RENOVATIONS: GENERAL CONTRACTOR.
DAVID MITCHELL
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Let it Be sofa designed by Ludovica + Roberto Palomba
Made of Stories
by people who design, craft and live. Handmade with love in Italy to last generations, since 1912. poltronafrau.com
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collection ESSENTIALS | LES NATURELS pattern RÊVERIE TROPICALE
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center stage firm: estudio karina kreth site: buenos aires, argentina
CELESTE NAJT
A white-painted steel staircase with solid-oak treads is the focal point of the two-story house’s main level.
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CELESTE NAJT
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Argentine architect Karina Kreth took a major detour on her path to her current profession. “When I was at university studying architecture,” she reveals, “I started working as an art director for films”—a job she’d keep for 15 years. That career trajectory informs her multidisciplinary practice, founded in 2009, to this day. “Now, when I work with clients,” she continues, “I talk to them about creating a script and a choreography for their house and the way they want to live.” Kreth’s cinematic approach shines through her latest project, a residence in San Isidro, on the outskirts of Buenos Aires. The restrained yet highly detailed design emphasizes negative space, with sculptural elements and focused moments of color that offer a stage set for life to unfold. The arrangement of the 8,600-square-foot, twostory home, which opens on both levels to outdoor living spaces and terraces, features airy, uncluttered volumes that highlight the young family’s many artistic, culinary, and social pursuits. “For this client, and for me, too, the new luxury is having the time to stay home and be with friends and loved ones,” Kreth notes. Instead of filling rooms with layers of color, furnishings, and texture, she took a tightly edited, less-is-more approach. In the living room, for example, a large L-shape sectional sofa frames the fireplace. But where a cocktail table would typically stand there’s empty space instead, so the couple’s two young girls can bring out their drum sets for impromptu concerts and dance parties. In many cases, custom
Clockwise from opposite top: The dining area is anchored by a custom Ascolta table and Federico Churba’s Clio chairs. Jason Miller’s Endless Straight pendant fixture illuminates custom cabinetry in the kitchen, outfitted with hidden Miele appliances. The living room features a Patricia Urquiola Sengu sofa and a Krane lamp by Ladies & Gentlemen and Vera & Kyte; paintings are by Alejo Musich. In the main bedroom, the linenupholstered headboard integrates with a built-in oak credenza and Apparatus’s Cylinder sconces; the bouclé sofa is custom. The powder room contains a custom honedgranite sink, Venetian oak panel ing, and an IC pendant by Michael Anastassiades. A porthole door between the entry and the stair case opens onto a hallway to the powder room.
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o p e n house Clockwise from top: In a daughter’s bedrooms, a built-in wardrobe frames a linen-covered headboard, both custom. A skylight caps the stairwell, with a pendant by Konstantin Grcic. One of the two main bathrooms sports Panda white marble walls and casework built of Petiribi, a local wood.
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furnishings and casework by Kreth provide visual interest while serving double duty to hide clutter. The kitchen is a case in point: She created a large central island to house the dishwasher and oven, but clad it in light-blue fluted wood to make it a sculptural centerpiece. In the entry, an absence of artwork means the white-steel spiral staircase leading up to the second floor’s three bedrooms becomes the focal point. “All the little things for me are very important, because on the big screen, it’s those little things that create the atmosphere,” the architect notes. Ultimately, Kreth used her director’s eye to imagine scenes of family life playing out in each space, then conceived rooms around those conjuredup vignettes. It is a concept she often refers to as architectural syncretism, or the practice of amalgamating the residents’ countless experiences and memories. “In cinema you compose everything—the costume design, the setting, the props,” Kreth says. “But I cannot imagine a space without people in it. It’s impossible for me.” —Lauren Gallow FROM FRONT FLOS: PENDANT FIXTURE (STAIR), SCONCE, PENDANT FIXTURE (DINING AREA), PENDANT FIXTURE (POWDER ROOM), SCONCES (BATHROOM). ASCOLTA: CUSTOM TABLE (DINING AREA). FCH: CHAIRS. ROLL&HILL: PENDANT FIXTURE (KITCHEN), LAMP (LIVING ROOM). CASSINA: SOFA (LIVING ROOM). APPARATUS: SCONCES (MAIN BEDROOM). LISTONE GIORDANO: WALL STONE (POWDER ROOM). THROUGHOUT DULUX: PAINT.
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DISCOVER SAIL, SLIDING PANELS. DESIGN GIUSEPPE BAVUSO
New York Flagship Store 102 Madison Ave New York, NY 10016 newyork@rimadesio.us +1 917 388 2650
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From New York to Dublin, these carefully considered urban dwellings prove great design happens at every scale
living for the city
MANOLO YLLERA
See page 58 for Shamir Shah Design’s Wooster Street loft in Manhattan. NOV.23
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site New York. size 10,000 square feet. recap Revisiting a decade-old project after his clients purchased the neighboring apart ment, firm founder Shamir Shah combined the two units into an ultra-large one, with homeowners’ quarters on the main floor and an upper-level guest suite. A party-ready 20-seat custom walnut dining table—hoisted in via crane—anchors the central living area, its materiality vibing with the room’s original timber pillars. shamirshahdesign.com
MANOLO YLLERA
shamir shah design
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MANOLO YLLERA
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objektor architekti site Prague. recap Homeowner Tereza Porybná, a visual anthropologist and curator, hosts exhibitions and artists in residence at her apartment, where concrete surrounds serve as a foil to more colorful interventions: Geometric marble slabs are set into the kitchen floor, like a modernist rug, and a neutral bath room turns jewel-toned from light filtering through a stained-glass window and its red-painted shower room. objektor.cz
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BOYSPLAYNICE
size 2,250 square feet.
BOYSPLAYNICE
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studio alexander fehre site Stuttgart, Germany. size 1,290 square feet. recap An L-shape module clad floor-to-ceiling in oiled-oak slats cleverly zones this villa’s open-plan ground floor and offers abundant storage: One side houses kitchen cabinetry, the other a built-in seating nook warmed by the living room fireplace. Every square inch is put to use; there’s even a jungle gym—complete with a slide—tucked into dead space beside the staircase. en.alexanderfehre.de
PHILIP KOTTLORZ
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kingston lafferty design site Dublin. size 4,050 square feet. recap Channeling the distortion, surprise, and delight experienced at a funfair or hall of mirrors, this Victorian town house—with a palette Yves Klein would have approved of— features bold materiality. There’s peachy onyx flooring, an op art–esque marble portal between living areas, and a funky tinted-glass balustrade in the aforementioned cool blue.
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BARBARA CORSICO/LIVING INSIDE
kingstonlaffertydesign.com
Fabrics that party. For design that exceeds expectations, nothing ordinary will do. Crypton fabrics bring luxury, performance, and a wealth of style options to the party.
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viruta lab site Valencia, Spain. size 915 square feet. recap The local architecture and interiors studio swathed the lower half of this third-generation family apartment, a 1946 fisherman’s cottage, in a hypnotic checkerboard of blue-black and off-white tiles, a graphic move that recalls historic facades in the neighborhood and plays off original exposed brick walls and new custom emerald-green furniture.
DAVID ZARZOSO
virutalab.com
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hino studio site Bal Harbour, Florida. size 3,265 square feet. recap Latin-American flair meets European mid-century style at an apartment for avid art collectors located in the chichi Miami Beach enclave. An arcing walnut-slat screen creates an impactful entry; the shapely curves continue into the powder room, its barrel ceiling lending the snug space the unexpected air of a stately cathedral. hinostudio.com —Georgina McWhirter
MAX BURKHALTER
Fine Solid Bronze Architectural Hardware 866-788-3631 • www.sunvalleybronze.com Made in the USA 68
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UKIYO
[u-key-yo] · Japanese (n.) living in the moment, detached from the bothers of life. “The floating world”
A new collection designed by Claudia Afshar. Two structured patterns available in five colors that transform the identity of cladding.
CRESCENT
ROUND DINING TABLE
BERMANROSETTI.COM | PHONE 310.476.6242
Piet Boon celebrates a professional milestone with a bevy of new projects, from hotels to homes, all bearing his studio’s trademark materiality and balanced, refined feel
looking ahead
Over the course of his fourdecade career, Dutch designer Piet Boon pivoted from his early days as a building contractor— realizing the creativity of others—to spearheading an expansive multidisciplinary global firm. Cofounded in 1983 with his business partner, Karin Meyn, Studio Piet Boon now encompasses over 70 people, working on projects ranging from private residences to luxury hotels for brands such as Andaz, Baccarat, Four Seasons, and the Rosewood Hotel Group. The company, headquartered just outside Amsterdam, is also a prolific furniture-design entity; recent introductions include Cara, a hospitality-focused swivel chair, and Layers, a hand-tufted rug collection for CC-Tapis. Whether creating kitchen systems or corporate offices, Boon’s work is characterized by innovation and a restrained but refined materiality. To wit: On the occasion of its 40th anniversary, the studio just published a thoughtfully curated, 500-page monograph that celebrates its poetic yet pragmatic approach— exemplified by the book’s cover sleeve, which cleverly (and beautifully) converts to a display stand. We chat with Boon about what makes him tick.
From top: The Studio Piet Boon cofounder. The firm’s Cara swivel chairs.
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How did the Aspen villa you recently completed come about?
PB: The owner of a New York apartment I was working on invited me to go skiing for a few days in Aspen, where he wanted to build a house. A lot of the residences there are chalets: They’re huge and look like the house of Santa Claus. Whereas this client wanted a minimalistic villa—ski in, ski out. We designed a freestanding box that looks beautiful year-round.
How did you shift from your early career as a contractor to designing your own projects?
Piet Boon: Building projects for other architects was always a bit frustrating; sometimes their designs didn’t seem so long-lasting. So, I thought to launch my own studio, which started small but grew and grew. Eventually, I sold off the contracting business and began only designing. We started with villas, first in the Netherlands and then farther afield like Bonaire. Our first big assignment abroad was in Manhattan: a 7,000-square-foot apartment on Fifth Avenue overlooking Central Park. What’s been your formula for growth?
PB: In the beginning, I hired people who had the same mentality or skill set that I had. At a certain point, I thought, OK, but we’re not growing. Then I started hiring 72
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people who were much better than me. That helped us build a brand. It’s important that Studio Piet Boon is not about me, but about the team and its spirit. If I drive into a tree tomorrow, this company has to go on, of course.
You often collaborate with landscape designer Piet Oudolf on residential commissions.
PB: Piet is a close friend and also my hero. Having him do the garden helps a house look beautiful in all weather and seasons. Landscaping is important when designing a house—about 40 percent of the design’s success.
Were there advantages to locating your head quarters in Oostzaan, outside Amsterdam, rather than downtown?
Your firm is known for refined materials and timelessness. How do those two things relate?
PB: It’s hard to have a big-enough studio in the city center. We have quite a large building, and it houses three showrooms—one each for bathrooms, living rooms, and kitchens. We also have a huge materials library and all kinds of mood boards here; because we have such an international team, everyone brings in new materials from abroad.
PB: We only use the best materials. Wood, stone, bronze, copper—they last forever and get lovelier over time, whereas cheap materials diminish after a few years. I built my Amsterdam house 22 years ago, and I haven’t had to change a thing. Well, of course we’ve changed the furniture because I like to live with new models to test them out. Most important is that
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furniture be comfortable, then beautiful, and then long-lasting. Was that your formula for the Cara chair?
PB: We wanted a slightly feminine shape, because many of our forms are more masculine—very massive and heavy. Cara was originally conceived with four legs, but we got a lot of feedback from our hospitality clients who wanted a return-swivel base, so you can step in without having to move the entire chair. What sparked your new rug collaboration with Italian brand CC-Tapis?
PB: The Layers collection is about perfect imperfection. If a carpet is too perfect, you’ll see every stain. We tried to achieve something more like natural stone or concrete. There is a little grading on the edges, and you can choose your own grades and colors. For us, it’s always about the lines and the tranquility. You’ve mentioned your Kekke dining chair is based on the look of a Chanel bag?
PB: In fact, a few Chanel boutiques use the chair. The new outdoor version of Kekke has the same shape as the original, but it’s like a convertible: Hidden at the back is a cover that you can fold over the chair for pro tection if it rains. The RAF indoor/outdoor daybed
Clockwise from opposite top: A villa in Aspen, Colorado. Boon’s Fold collection for luxury leather brand Giobagnara, which includes desk accessories. The RAF indoor/outdoor daybed. The interior of an office project in Brabant, Netherlands. At Piet Boon Studio’s flagship store in Oostzaan, Netherlands, the designer’s Kekke chair and a rug from the Layers collection for CC-Tapis. A spread from the designer’s new anniversary monograph, 40 by Studio Piet Boon. Its cover sleeve, which converts to a book stand. NOV.23
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also has a hidden cover, as well as moveable backrest pillows that can be used all sorts of ways. How did you approach the new book celebrating your company’s 40th anniversary?
PB: At first, I thought about covering 40 years of my work, but it proved more interesting to highlight the studio’s 40 best ideas. We’re showing our best projects and giving away a lot of ideas: We talk about materials, how to build a villa, etc. Tell me about the book’s cover.
PB: We always try to do something novel, so we de signed a sleeve that can be taken apart for use as a bookstand. A coffee table book just lying open on a table never looks beautiful. —Stephen Treffinger
Clockwise from top: An outdoor space at the Brabant office project featuring Boon’s GIJS loveseats. The monograph’s cover in use as a book stand. Interiors of the Jane, a Michelinstarred restaurant in Antwerp, Belgium. A Boon-designed kitchen and chairs at the Brabant project. The Kekke dining chair. A mood board for a private client. The exterior of the Brabant office, a barnlike composition of volumes.
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c r o s s lines
FLUTTI CIGNO ELEGANZA BRIO
v a n i ty & m i rror i n w h i te oa k a n d m a tte b l a c k , a s h top f a u c e ts a n d tu b f i l l e r i n m a tte b l a c k a c c e s s ori e s i n m a tte b l a c k b a th tu b i n m a tte w h i te
CREATING BEAUTIFUL BATHROOMS MADE IN THE USA CUSTOM PROJECTS WELCOME
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NYCXDESIGN CONNECTS AND AMPLIFIES THE BROAD COALITION OF DESIGN WHICH FUELS NEW YORK CITY AND ENRICHES THE WORLD. NYCxDESIGN Festival May 16-23, 2024
nycxdesign.org
Nora Shelving + Lounge Collection by Davis Design Team
market edited by Rebecca Thienes text by Wilson Barlow, Lisa di Venuta, and Georgina McWhirter
HAY X LIBERTY MATIN
hay British heritage brand Liberty is renowned for its vintage ditsy floral prints; housewares company Hay is all contemporary Copenhagen cool. Put the two together—in Inga Sempé’s popular Matin table lamp, a modern-day classic with pleated cotton shade, released in 2019—and the mishmash feels entirely of the moment. Hay cofounder Mette Hay selected five Liberty patterns for the collaboration that traverse shades of light to dark: Mitsi, Betsy Ann, Ros, Ed, and Cherry Drop. Hay notes that when the au courant shade is rendered in a pert floral, “The print becomes graphic and, in some ways, modern.” We couldn’t agree more. us.hay.com
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ANNA KARLIN
anna karlin furniture + fine objects
PLINTH 01 MULBERRY CONE
The self-taught product designer’s hotly anticipated fall collection of lighting, furniture, and objects was three years in the making. It includes a whopping nine lighting series, among them Mulberry, with a silkcovered art nouveau–inspired shade that flowers from curved bentwood arms, and the sculptural Plinth, in which striking forms in marble and glass (or bronze and acrylic) emerge from traditional travertine pillars. The molded-fiberglass Lantern Stack stretches six totemic shapes from floor to ceiling, while cast-glass table lamp Squidge is, as the name suggests, rather globular. Ceramic Bar Cabinet recalls an antique Swedish stove, its tiled exterior covered in intriguingly dimensional glyphlike shapes, and the tonal Field headboard explores the Arts and Crafts Movement. No object is too small for Karlin’s eye—there’s even a cast-bronze bottle opener. “Each piece I design,” she notes, “informs the development of the next.” annakarlin.com
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CLOCKWISE FROM TOP: NICK HUDSON; ADRIAN GAUT (3)
PLINTH 02
SQUIDGE; FIELD LANTERN STACK CERAMIC BAR CABINET
MULBERRY SPHERE
market
“Each piece stems from an evolving conversation; one piece begets a counterbalance, something to challenge it, or a supporting piece.In this way, scenes build, tableaux evolve, a world emerges.”
CLOCKWISE FROM BOTTOM RIGHT: JOHNNY MILLER (3); ADRIAN GAUT (2) BOTTLE OPENER
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CLOCKWISE FROM BOTTOM: JAMES MERRELL (2); ROBIN KITCHIN (2)
market
DOT CHECK
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farrow & ball
STRIPE CHRISTOPHER JOHN ROGERS
CLOCKWISE FROM TOP LEFT: JAMES MERRELL (2); ROBIN KITCHIN
Christopher John Rogers is known for expressive clothing alive with color, pattern, and joy. But the celebrated Brooklyn-based, Louisiana-born fashion designer’s latest endeavor marks a sea change: Carte Blanche, a capsule collection of paints and wallpapers for U.K.’s Farrow & Ball, is for the home. In the latter category is a wide statement Stripe that can be hung in four different orientations, a Bauhaus-inspired mixed-scale Check that pays homage to Anni Albers, and the graduated and textured Dot, a riff on the flatbed printing method and one of Rogers’s best-known motifs. A dozen paint shades round out the collection, from deep black Liquorice to Hog Plum, a greenish yellow reminiscent of the sweet and sour fruit found across the southern U.S. farrow-ball.com
“Colors—and the feelings that I get from them—are always my starting point” NOV.23
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John Sorensen-Jolink of Coil + Drift
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product Greenwich Abstract. standout The fashion designer’s love for Nepal and New York translates into a 28-piece collection blending Indian mysticism with American pragmatism, as evinced in this organically shaped hand-tufted 100 percent wool rug. rugsusa.com 84
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Jenny Magdol and Steffie Oehm of Alter Interiors
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product Ridge. standout The contours of a bird’s outstretched wings inspired this 2-foot-long cast-brass pendant fixture with a verdigris patina, constructed in and designed as an homage to Upstate New York. coilanddrift.com
Alexa Hampton for The Shade Store
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product High Bar. standout The San Francisco studio’s modern take on a 15thcentury cellarette is a 7-foot-tall cabinet in natural ash, Alexandrita quartzite, and ceramic tile, with plentiful drawers to conceal either booze or bud. alterinteriors.com
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product Cloud Chain. standout Rendered in dainty embroidery, the prolific designer’s 1970’s-esque tubular graphic motif—ideal for drapes, pillows, Roman shades, and more—conveys light and movement. theshadestore.com
PORTRAIT 1: FRANK FRANCES; PORTRAIT 2: ZACH HYMAN; PRODUCT 3: HALEY HERAMB
Prabal Gurung for Rugs USA
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marimekko Sabine Finkenauer, a German artist based in Barcelona, Spain, initially specialized in sculpture. But her more recent oil pastels on paper have crystallized a handdrawn vocabulary of everyday shapes inspired by ornament and geometry. Now, Finnish design house Marimekko releases a 16piece collection of ceramic tableware and textiles featuring original work Finkenauer created solely for the Artist Series. Among the patterns are checkered Atalaya, Sambara, and Almena, all inspired by carved wooden chess pieces the designer came across at Madrid’s El Rastro flea market, and Tomina, which repeats an angular hourglass shape that crops up time and again across the her oeuvre. marimekko.com
SABINE FINKENAUER ARTIST SERIES
CLAUDIA ZALLA
“The series gives creatives a new canvas on which to present their work” NOV.23
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m a r k e t scape
bath/spa
Erin Fetherston for Anthropologie
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product Dulcette. standout The fashion and interior designer’s inaugural collab with the boho retail giant yields a plush faux fur poly throw with abstract motifs resembling pressed flowers scattered on a coffee-colored ground. anthropologie.com 86
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Grant Wilkinson and Teresa Rivera for SCP
NOV.23
Jeff Martin for Objective Gallery
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product Peonia. standout Peony petals inspired both the name and the gracefully bowed form of the debut uphol stered sofa, shown in mohair-cotton cord, by the hardwood-furniture specialists and married cofounders of Wilkinson & Rivera. scp.co.uk
Shea McGee for Kohler
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product Sarcophagus. standout Highlights of the designer and Vancouver gallery owner’s recent New York exhibition with Sam Klemick, “Please Sit for the Alternate Ending,” included a patchwork console clad in stone ware tiles. objectivegallery.com
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product Edalyn. standout To commemorate the K&B behemoth’s 150-year anniversary, the Studio McGee founder perused its archives and applied her signa ture transitional aesthetic to a collection that includes a chic wall-mount pot filler. kohler.com
GEORGE YABU AND GLENN PUSHELBERG
market
AXO
cc-tapis
SEAN DAVIDSON
Architectural and surrealist motifs distinguish Memento, a new rug collection by Yabu Pushelberg. Launched at a packed opening in the New York showroom of Italian brand CC-Tapis, the Tibetan wool rugs are knotted and carved by hand in a combination of dyed and undyed fibers. The seven designs, including Axo, Drift, and Echo, are memory dreamscapes. Their conception allowed Interior Design Hall of Fame members George Yabu and Glenn Pushelberg, partners in business and life, to quietly reminisce on their shared history—creating mementos that can live on a floor or wall. Elusive and allusive, the references may be known only to the designers—but they’re beautiful to all. cc-tapis.com
DRIFT ECHO
“There’s a tapestry of personal narratives in each rug”
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“The Plasterglass collections by other designers are generally realized in black or white, but I wanted mine to play with colors and even introduce a new material: mosaic”
PRISCILLA
elizabeth garouste market
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JIM
Almost a decade since her first show with Ralph Pucci International, Elizabeth Garouste returns with a seven-piece collection, Beans. The Parisian designer mined disparate influences, from the Middle Ages to neoclassicism, to create the whimsical biomorphic forms, which include a mirror (Herman), console (Jim), chandelier (Priscilla), side table (Ara), and more. All are handmade of Pucci’s proprietary Plasterglass resin-plaster composite and fabricated by master sculptors working as artists-in-residence at the celebrated gallery’s New York studio. Mosaic tiles and bold colors like deep red and pale grassy green adorn the free-flowing shapes, amplifying their effervescent charm. It’s a more than worthy continuation of her witty and unconventional work as one half of the noted duo Garouste & Bonetti, which flourished in the 1980’s and ’90’s. Through Ralph Pucci International. ralphpucci.com
ANTOINE BOOTZ
HERMAN
ARA
neolith.com
market
reform “This collection explores the tension between craft and industrial manufacturing”
ALBERTE TRANBERG
Glass, ceramic, wood, and metal are four elemental materials in product design. For the release of two new kitchen cabinet series, Shaker and Plain, Copenhagen’s Reform tapped four female cre atives to each select one of these raw materials to create cabinet handles. For the range, dubbed the Atelier collection, designer Maria Bruun integrated both na tural and smoked oak into pulls MARIA BRUUN and knobs. In creating her handles, ceramicist Yukari Hotta was drawn to round unglazed forms inspired by rocks gathered on the beach. Glass blower Nina Nørgaard fabricated clear and colored glass knobs in organic shapes. Artist and metal fabricator Alberte Tranberg embraced the idea of doing things “wrong” by letting the 90-degree angles on her tubular bentbrass pulls flatten in on themselves. reformcph.com
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NINA NØRGAARD
YUKARI HOTTA
Pleasantrees™ elevate your space...
A Colour & Design Inc. Company
denovowall.com | 501.372.3550
little greene British paint maker Little Greene, owned by the Mottershead family and manufactured in the foothills of Snowdon in North Wales, is well regarded across the pond—up there with the Farrow & Balls and Edward Bulmers of the world.
DAVID, RUTH, AND BEN MOTTERSHEAD
BASSOON
m a r k e t furniture JEWEL BEETLE
MASQUERADE
MISTER
“Our paints are all tinted to order, so we produce as little waste as possible”
zaven ATOMIC RED
DEEP SPACE
PLEAT
Now, the brand makes its U.S. debut with a store in Greenwich, Connecticut, and a localized e-commerce website. The 196 colors in the brand palette are catalogued by historic period and contain 40 percent more pigment than typical paints—a combination of all-natural and safe synthetic ones. We’re partial to Atomic Red, a super-saturated mid-century redorange, and Pleat, a shade that lives in the liminal space between green, blue, and gray. Craftspeople rather than machines do the mixing, and there are interior and exterior finishes plus oil- and water-based paints to choose from—not to mention handcrafted decorative wallpapers aplenty. littlegreene.us
NETHER RED SMALT
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market
market
monogram x keeler brass company In 1893, three enterprising brothers founded the Keeler Brass Company, which became known for crafting furniture trim as well as brass parts for the legendary Model T car. More than a century later, the legacy continues, as the domestically manufactured brand relaunches with new hardware—and a partnership with appliance company Monogram. The Monogram Designer Collection, by creative director Richard T. Anuszkiewicz, offers handles, hoods, and refrigerator panels in solid brass or titanium inspired by fine jewelry and watches, some wrapped in hand-stitched Edelman leather. “The proportions and scale are tailored and refined,” Anuszkiewicz notes, “so the user has a tactile experience that engages the senses.” monogram.com; keelerbrasscompany.com
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MONOGRAM DESIGNER COLLECTION
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M
U W ’ ff
“These handles are the definition of craftsmanship, embodying function and beauty”
RICHARD T. ANUSZKIEWICZ
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material metamorphosis Years of research into the structural potential of standard textiles transformed silk into a towering installation in Spain by Paloma Cañizares Office 1. Paloma Cañizares Office used AutoCAD to develop Silk Pavilion, a temporary installation unveiled last spring at the Concéntrico design festival in Logroño, Spain. 2. The pavilion was formed from over a hundred yards of black silk that’s typically used to make clothing. 3. The fabric was draped over pleated molds, and then coated with resin, stiffening it enough for it to become a self-supporting structural panel. 4. Architect Paloma Cañizares and her team oversaw the process at the fabric manufacturer’s studio in Madrid. 5. For additional support, the panels sandwiched a thin layer of fiberglass.
10 328 12
0.5mm FABRIC THICKNESS
CLOCKWISE FROM BOTTOM: COURTESY OF PALOMA CAÑIZARES OFFICE (2); ASIER RUA (3)
architects and installers led by founder Paloma Cañizares
LINEAR FEET OF SILK
TWENTYSIX feet tall
PANELS
“Silk is a resilient natural fiber, boasting four times the strength of steel at an equivalent cross section and, once rigidified, having structural and limitless artistic possibilities” —Paloma Cañizares NOV.23
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1. The exterior panels of the completed Silk Pavilion, which first appeared in the courtyard of Escuela Superior de Diseño de La Rioja during Concéntrico last April before traveling to Madrid’s Nuevos Ministerios gardens for 10 days, were painted gold. 2. Beyond a semi-sheer entry curtain, also silk, the 57-square-foot interior contained custom benches in lacquered steel, the same metal as the triangular structural pillars supporting the pavilion’s roof. 3. The color and pointed folds of each panel—repeated 12 times to form a dodecagon—were intended to evoke a bright star. 4. Natural light, its pattern and shadow cast on the interior shifting with the movement of the sun, filtered through the narrow gaps around the roof oculus, also resembling a star. —Athena Waligore
c e n t e r fold
JOSEMA CUTILLAS
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BRUNEAU
COLLECTION
A LT U R A F U R N I T U R E . C O M
SHOWN •
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THE MAKING
nov23
A compilation of living well
ERIC LAIGNEL
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the line of beauty The sinuous curves found in nature, art, and historical narrative inform the three-story addition to a landmarked 19th-century cottage in Sydney by Carter Williamson Architects text: peter webster photography: pablo veiga/photofoyer styling: claire delmar
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Sydney glories in one of the world’s largest and most beautiful natural harbors. Carved out of sandstone bedrock, the 21-square-mile inlet has 150 miles of convoluted shoreline, providing the city with a wealth of enviable building sites, from imposing promontories and cliff-lined coves to rocky bays and sandy beaches. A recent project by Carter Williamson Architects—a 5,400-square-foot addition to a 2,150-square-foot, 19thcentury cottage—responds with sensitive imagination to its harborside location, transforming the property into a sophisticated family residence as glamorous as its setting. “The original cottage, which is heritage protected, was built in 1881, using sandstone quarried on the site,” principal Shaun Carter says of the pleasingly modest, two-stories-and-basement charmer. Various additions had been made to the rear of it during the 20th century, but they lacked cohesion. The homeowners—a media executive, his textile artist wife, and their three children—wanted the hodgepodge replaced with something better suited to entertaining a large extended family, as well as accommodating serious art and wine collections. “They’d liked a similar historic project of ours in the neighborhood and recognized we’d successfully navigated the approval process,” Carter continues. Little could be done to the cottage beyond its careful restoration, which included repointing the sandstone blockwork and replacing the slate roof. “We did turn the kitchen back into the bedroom it once was,” the architect notes, “and took out a basement wall to connect it to the new extension”—a structure that is, to say the least, as exuberant and expansive as its older companion is quiet and contained. Building the addition, which comprises a roof deck and three levels that cascade down the steep lot to a swimming pool terrace and small jetty, involved much more than demolishing the existing extension. “Working with a skilled excavator, we cut the bedrock down to within 7 feet of the waterline,” says architect and Carter Williamson design director Ben Peake. “The back of the cottage became a completely new site,” a gaping void now filled by the brick, cast-concrete, and stone structure. A canyonlike cleft runs deep into the middle of the building, splitting the front into a pair of wings that reach out toward the harbor. The wildly curvaceous facade is sheathed entirely in steel-and-glass window walls that, on the top level, are framed with projecting fins—
“You don’t really see the new extension from the street, just the cottage”
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Previous spread: An Eileen Gray daybed, a Sabine Marcelis Candy Cube table, and Sydney Ball’s acrylic painting Oriole share center stage in the cabana, part of Carter Williamson Architects’s recent addition to a historic 1881 cottage in Sydney. Opposite top: The back door of the restored cottage now connects to the extension’s entry gallery, which adjoins the stair. Opposite bottom: Little was done to the landmarked cottage beyond repointing the blockwork and replacing the slate roof. Top, from left: The gallery includes a sitting area with Gastone Rinaldi’s Orsola chair and ottoman and a Bridget Riley screen print overlooking an internal courtyard. Ingrid van der Aa’s Bed Sheets hangs above the restored fireplace in the cottage’s formal front parlor. Bottom, from left: An illustration and a ceramic sculpture by Bree Cribbin enliven the adjacent study. Outfitted with Faye Toogood’s Roly-Poly chair, the custom steel-and-oak staircase sits in an elliptical brick-lined lightwell. NOV.23
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In the cabana sitting area, Rive Roshan’s round Color Dial table is flanked on one side by Francesco Binfare’s gray Standard sofa and, on the other, by Don Cameron’s Element Bloc module and Oblique table, all backdropped by a Jacqui Fink wall hanging.
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“We call them the building’s eyelashes,” Peake reports— providing privacy for the pair of bedrooms behind them. The extension’s undulating form is something of a Carter Williamson trademark. “We’re always playing with compound curves,” Carter observes, adding that the sinuous line coursing through Australian artist Brett Whiteley’s vast abstract paintings of Sydney Harbour is a constant source of inspiration. The organic curves found in nature—serpentine coastlines, sculptural rock formations, gnarled gum trees—are a subliminal influence, too. But perhaps it’s another of Australia’s natural wonders, the lyrebird, that best serves as a metaphor for the project. The way the extension erupts in a profusion of curvilinear shapes behind the neat-and-tidy cottage irresistibly suggests the bird’s tail feathers unfurling in graceful spirals from its little-brown-hen body. “You don’t really see the new part from the street,” acknowledges Carter Williamson senior associate Julie Niass, who led the interiors team. The ground floor of the cottage includes a formal front parlor, open to a study in the back, and two bedrooms; there are two more bedrooms, a bathroom, and storage space upstairs, while a large billiards room and laundry occupy the basement. Principal access to the extension is via the cottage’s back door, which is on axis with the street door and the glazed cleft in the rear facade, giving arriving visitors a straight-arrow view through both structures to the harbor beyond. Once they step into the new building, however, the power of the marine panorama is skillfully countered by the interior architecture, which, as Carter puts it, “is a tectonic experience of light, shade, and spatial ambiguity.” The house declines to prioritize the view at the expense of everything else. What is essentially a conventional layout—a large gallery space and two bedrooms on the cottage-entry level; a secondary side entrance, kitchen, dining area, and wine cellar one floor down; and below that, a home theater, art room, and cabana adjoining the pool—is transformed by oversize cutouts in the concrete floor slabs. These rounded apertures form a series of voids that allow for the free flow of space, and—thanks to strategically placed skylights—natural light throughout the Top, from left: Tom Dixon’s Globe Burst chandelier hangs in the skylit void above the dining area. Flooring in the kitchen is oak herringbone, as it is throughout the addition’s top two levels. Bottom, from left: In the main bathroom, Aldo Bakker’s steel-sheet table joins ceramic tiles and terrazzo flooring. The cabana sitting area, which includes Andrea Steidl’s green Suiseki armchair, can be viewed from the kitchen above through a cutout in the concrete floor slab. Opposite: Next to the main bedroom, the crook of a deep cleft in the steel-and-glass facade offers a narrow view of Sydney Harbour. 110
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Top, from left: Cossack by Marta Figueiredo stands sentry at the bottom of the stair, where flooring is travertine tile in a crazy-paving pattern. The swimming pool artwork is by Janet Ottaviano. Bottom, from left: The custom headboard in the main bedroom is smoked eucalyptus, while the coverlet is Naoki Kawano’s embroidered Centaure. Palm tree–pattern tile joins custom oak-veneer cabinetry and micro cement–finished walls in the cabana bathroom. Opposite top: The addition’s roof terrace is grey ironbark decking. Opposite bottom: Steel fins frame its top-level windows, providing privacy screening for the pair of bedrooms occupying the wings.
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interior, creating connection, controlling circulation, and making it almost as bright and airy indoors as it is out. The stair that links all floors, for example, sits in an elliptical lightwell lined with blond brickwork, a glowing volume that sets off the apparently free-floating staircase like a sculpture. Another soaring void, topped with an oculus, defines the dining area, which can be enclosed with floor-to-ceiling curtains for a more intimate feel. Next to it, a second elliptical void houses a glass-walled internal courtyard, bringing further light, greenery, and visual openness with it. Named Wurrungwuri—an Indigenous Australian word meaning the side of the river that honors the site’s original inhabitants—the house also weaves narrative threads from the past into its rich texture, sometimes by serendipity. Montagu Scott, a Victorian artist whose large canvas A Day’s Picnic on Clark Island, Sydney Harbor hangs in the State Library of New South Wales, once lived in the cottage. At a recent art fair, the current homeowners chanced on one of Scott’s works, which now hangs in the billiards room, the line of history coming full circle. PROJECT TEAM TAI DANH LIEN: CARTER WILLIAMSON ARCHITECTS. STUDIO CD: ART CONSULTANT. JANE IRWIN LANDSCAPE ARCHITECTURE: LANDSCAPE ARCHITECTURE. REBAL ENGINEERING: STRUCTURAL ENGINEER. CWL GROUP: MEP. SUBLIME CUSTOM CABINETRY: WOODWORK. ARTECHNE: GENERAL CONTRACTORS. PROJECT SOURCES FROM FRONT CLASSICON: DAYBED (CABANA). VIABIZZUNO: FLOOR LAMP. ZANOTTA: BLACK TABLE. FLOS: TABLE LAMP. HENRY TIMI: SIDE CHAIR. ARMADILLO: RUG. THROUGH GALLERY SALLY DAN-CUTHBERT: CUBE TABLE, WOOD COFFEE TABLE, ROUND TABLE, SOFA MODULE, STOOL. TACCHINI: CHAIR, OTTOMAN (GALLERY). OPT SUDIOS: STOOL. DIMOREMILANO: SIDE TABLE. USM: CABINET. RACHEL DONATH: LAMP. THE RUG ESTABLISHMENT: RUG. TECTA: ARMCHAIR (PARLOR). TOOGOOD: CHAIR (STAIR). ARTEK: ROPE CHAIR (CABANA). EDRA: SOFA. MERCI MAISON: PENDANT FIXTURE. TOM DIXON: CHANDELIER (DINING AREA). MATTIAZZI: STOOL (KITCHEN). KARAKTER: TABLE (MAIN BATHROOM). LACIVIDINA: GREEN CHAIR (CABANA). SENATOR POOLS: POOL (TERRACE). TAIT: CHAIRS. MARLO LYDA: SIDE TABLE (BEDROOM). PIERRE FREY: COVERLET FABRIC. BRODWARE: SINK FITTINGS (CABANA BATHROOM). THROUGHOUT ECO OUTDOOR: TRAVERTINE FLOOR TILE. PRECISION FLOORING: WOOD FLOORING. PETRE’S CURTAINS & BLINDS: CUSTOM CURTAINS, CUSTOM BLINDS. BRH STEEL: CUSTOM WINDOWS, CUSTOM STAIRCASE.
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text: rebecca dalzell photography: eric laignel
read all about it
Brava, a rental tower in Houston by MaRS and Munoz + Albin, makes headlines with nods to its site’s newspaper history, underscored by contemporary art and amenities
Residential high-rises tend to look similar. Step into a gleaming white-stone lobby, and you could be anywhere from Philadelphia to Phoenix. But Brava, a 46-story building in downtown Houston, by MaRS Culture and Munoz + Albin Architecture & Planning, bucks the trend. It has something most contemporary towers lack: a sense of place. Kelie Mayfield, MaRS principal and the interiors lead, believes that a concept only resonates if there’s a story behind it. “It has to do with the site, the context, and the nature of the location,” she says. “If it doesn’t have a soul or purpose, then it’s just a pretty space.” Mayfield starts each project by creating a narrative that informs all design decisions. For Brava, she and her team focused on the history of the location, which was once owned by The Houston Chronicle, thus formulated interiors that tip a hat to both the physical newspaper and the stories within it. Located in the heart of the arts district, Brava stands out with its shape, a slim rectangle diagonal to the street. Munoz + Albin, the building architect, rotated the structure 45 degrees to maximize views for the 373 rental units and gave it a dynamic exterior. The developer, Hines, has its headquarters across the street, so Brava had to be a showpiece with distinctive offerings. On the podium, housing retail and parking, a white aluminum frame projects in front of a dark perforated screen, mimicking a proscenium in a theater. Above it, Munoz + Albin devoted level 10 to such amenities as an outdoor pool, entertaining kitchen, a fitness room, and coworking space, and installed a sky lounge with a terrace on the 46th floor.
“It’s a unique assembly of pieces that resulted from the geometry of the site”
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Previous spread: In the lobby of Brava, a 373-unit rental tower in Houston by MaRS Culture and Munoz + Albin Architecture & Planning, a custom fluorescenttube fixture spells out Libertas perfundet omnia luce, Latin for Freedom will flood all things with light, referring to freedom of the press and the building’s site, which once belonged to The Houston Chronicle. Left: Local muralist Robynn Sanders stenciled historic headlines from the Chronicle onto the handtroweled concrete on structural columns. Top, from left: Gently undulating plaster walls evoke newspaper folds in the leasing lounge, furnished with a custom table by MaRS that’s veneered in smoked oak. Beyond the elevator lobby’s ebony-veneer paneling is the mailroom and a Jaime Domínguez artwork. Right: Limestone forms the walls of Brava’s motor-court entrance.
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Opposite top: Sergey Gravchikov chairs face another custom mural in the coffee shop. Opposite bottom: A custom concrete sink serves the men’s bathroom. Above: Custom velvet-upholstered chairs face a concrete-plastered structural column, on which little stainless-steel airplane silhouettes are mounted and backlit.
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“We made some innovative moves,” principal Jorge Munoz notes. “It’s a unique assembly of pieces that resulted from the geometry of the site.” The confines of the parcel required Munoz and co-principal Enrique Albin to round off the corners of the rectangle, resulting in a boatlike shape. They also created a curtain wall with a bowed vertical edge that resembles a glass sail. The mix of curved and straight lines continues inside. “The interior and exterior work together well,” Albin adds. “When you walk into the building, it feels like a whole composition.” MaRS, which was responsible for the two model apartments and all public areas, totaling 20,00 square feet, aimed to make the interiors feel fluid. This was a challenge given the unusual geometry and hulking structural columns. The designers embedded the latter in undulating plaster walls inspired by the folds of a newspaper. “This helped us integrate the structure while creating something seamless,” Mayfield explains. The folds also draw you through and impart a sense of movement, which she thinks of as a kind of choreography that references the dancers that perform in the neighborhood’s surrounding theaters. Columns that remain visible are still on theme: They’re embossed with front-page headlines from the Chronicle dating to 1908. The earliest headlines are in the lobby and more recent ones appear upstairs on the amenity floor; they range from “Thousands Out to Greet President Taft in Houston” (1909) to “Thousands Jam the Streets to Celebrate With Astros” (2017). A local muralist applied the text on hand-troweled concrete using a custom stencil. Many of Brava’s 45 artworks similarly refer to newspapers, if not so literally. For the lobby, Spanish artist Sergio Albiac used Chronicle clippings for a digital portrait collage that hangs at reception. Overhead, a circular fixture spells out a Latin phrase meaning Freedom will flood all things with light, alluding to freedom of the press. In the pet spa, a large Opposite top: The building’s 10th floor is devoted to amenities, including the resident lounge with a Christophe Delcourt sectional, Anthony Fox cocktail table, and custom rug. Opposite bottom: Calacatta marble and porcelain top the custom 23-foot-long island-table in the resident kitchen. Top: Beyond oak-veneered panels, built-in seating around a concrete table forms a nook in the penthouse lounge, another building amenity. Bottom: Munoz + Albin’s facade of acid-washed precast concrete panels with limestone masonry faces the 10th-floor pool.
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Opposite top, from left: Sergio Albiac’s digital portrait of Chronicle clippings in reception. The boatlike curved facade. D’lisa Creager’s copper-mesh sculptures and a Domínguez artwork at the gym’s entry. Opposite center, from left: Painted poured-in-place concrete and panels of perforated aluminum and concrete cladding the podium. Domínguez’s Alebrije Madre C1. The pool lounge’s cane chair. Opposite bottom, from left: A model apartment’s bedroom. The pool’s resin chaise lounges and side tables. Dana and Stephane Maitec’s Mirror Reflections #60 in the resident kitchen. This page: Sculpted balconies fringe the northeast side of the 46-story building, its LED-edged glazed facade resembling a sail.
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photograph printed on vinyl shows a local rescue dog who made headlines of his own. The art collection plays into the color and material palette. “What’s black and white and red all over,” Mayfield jokes. “We used warm tones, like natural paper with black contrast, and saturated colors that draw on the color blocking used in the early history of the newspaper.” Bright pieces—like a red acrylic-on-canvas circle by Jaime Domínguez—pop against a neutral background of eucalyptus-veneered walls and gray tile flooring. More muted pieces balance them out: On the amenity floor, MaRS paired another bold Domínguez with D’lisa Creager’s woven copper-mesh sculptures. Other allusions to ink on paper include carpeting in tenant corridors with a scribblelike pattern and wallcoverings woven from recycled newspaper. Yet the narrative never overwhelms the design. “We kept distilling it down to make it quiet and timeless,” Mayfield concludes. Pierro Lissoni seating in the lobby, Neri&Hu lighting in the amenity kitchen, and smoked-oak tables in the leasing lounge ensure the setting still feels current—more like a boutique hotel than an apartment building. Mayfield thinks that residential developers are finally taking cues from the hospitality world and giving their projects local character. The end of the bland high-rise? Now that would be good news. PROJECT TEAM ERICK RAGNI; RACHEL GRADY; DANIELA GONZALEZ; LINNEA WINGO; ZOE PITTMAN; ALISHA GAUBERT: MARS CULTURE. JEFF SCHMIDT; TAYLOR CURRELL; RICHARD RODGERS; MICHAEL COX: MUNOZ + ALBIN ARCHITECTURE & PLANNING. KIRKSEY: ARCHITECT OF RECORD. TBG PARTNERS: LANDSCAPE ARCHITECT. KPK LIGHTING DESIGN: LIGHTING CONSULTANT. WEINGARTEN ART GROUP: ART CONSULTANT. NATURAL GRAPHICS: CUSTOM GRAPHICS. MAGNUSSON KLEMENCIC ASSOCIATES: STRUCTURAL ENGINEER. SCHMIDT AND STACY: MEP. 2STONE DESIGNER CONCRETE: CONCRETEWORK. HARVEY CLEARY: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT MEYDA LIGHTING: CUSTOM LIGHT FIXTURE (LOBBY). ARHAUS: CHAIRS. FOUR HANDS: BENCH (LOBBY), CHAIRS (RESIDENT KITCHEN). ROVE CONCEPTS: CHAIRS (LEASING LOUNGE). ABBEY: CUSTOM RUG. ECHO-WOOD: PANELING (ELEVATOR LOBBY). MINOTTI: SECTIONAL (RESIDENT LOUNGE). RH: COCKTAIL TABLE. THROUGH BRANCH: CUSTOM RUG. THORNTREE SLATE: ISLAND TOP (RESIDENT KITCHEN). NERI&HU: PENDANT FIXTURE. INNOVATIONS: WALLCOVERING (NOOK, PENTHOUSE LOUNGE). SUNPAN: TABLE (NOOK). LEDGE: CHAISE LOUNGES, SIDE TABLES (POOL). MITCHELL GOLD + BOB WILLIAMS: CHAIR (POOL LOUNGE). JAIME YOUNG CO.: TABLE LAMP (BEDROOM). AREA ENVIRONMENTS: WALLCOVERING (HALL). PROTEC: FLOORING (GYM). ASTEK: WALLCOVERING. DCW EDITIONS: PENDANT FIXTURES (PENTHOUSE LOUNGE). LIVING DIVANI: SOFA. THROUGHOUT PORCELANOSA: FLOOR TILE. PPG PAINTS: PAINT.
Top: Wallcovering with Kitty Sabatier art lines a corridor on the penthouse floor. Bottom: Recycled-rubber flooring and a Henri Boissiere photograph outfit the gym. Opposite top: Yesterday’s News, recycled-newspaper wallcovering, backs a penthouse lounge with Bertrand Balas pendant fixtures and a Piero Lissoni sectional. Opposite bottom: A terrace adjoins the gym.
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text: raul barreneche photography: fernando guerra/fg+sg architectural photography
home on the range Sited on an exclusive golf course near São Paolo, lush greens and local stone distinguish an expansive ground-up home by Studio Arthur Casas
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The 3,000-acre upscale community of Fazenda Boa Vista is in Porto Feliz, about an hour from São Paulo, but a world away from the megacity’s relentless bustle. Envisioned by JHSF, developers of Brazil’s most exclusive shopping enclaves as well as its luxurious Fasano hotel group, the resort has become a favorite escape for well-heeled Paulistanos who prefer a weekend in bucolic horse country over the beach. A quarter of the site’s rolling green hillsides are preserved as pristine native forests and shimmering lakes. But the real attraction for weekenders-at-play are its abundant amenities and activities: two 18hole golf courses, an equestrian center, a spa, tennis center, hiking and cycling trails, even a working farm and a kids’ club with an indoor skating rink. This ambitious country idyll, its name translating roughly to beautiful view farm, has tapped some of Brazil’s best talents for its architecture. Isay Weinfeld conceived the Fasano hotel on the property, the equestrian center, and several neighborhoods of Fasano-branded residences. Other districts feature houses by Marcio Kogan and Uruguayan architect Carolina Proto. Add to the list of South American design luminaries Interior Design Hall of Fame member Arthur Casas, who designed a weekend villa for a São Paulo family overlooking the green expanses of one of Fazenda Boa Vista’s golf courses. Coincidentally, Studio Arthur Casas also did the home next door. Maintaining privacy–and aesthetic distinctions–between the two structures was key for the architect. “I wanted this house to have its own identity,” Casas begins. The boxy, linear three-story home brings to life many of the signature elements of Casas’s work, especially dramatic spaces that smoothly integrate indoors and out by opening themselves completely to the surrounding landscape. In
Previous spread: In a six-bedroom house by Studio Arthur Casas in Fazenda Boa Vista, a resort community in Porto Feliz, Brazil, the ground-floor living and entertaining areas maximize outdoor space, opening onto a patio of large-format ceramic tiles with Dorival armchairs by Arthur Casas, a pool, and deck. Top: Granitelike Brazilian Moledo, shattered on-site and set into sandy mortar, clads the lower levels, while autoclaved carbonized pine wraps the upper floor and roof. Bottom: In the living room, Moledo walls pair with a ceiling in the same pine to envelop arm chairs by fellow Brazilians José Zanine Caldas, Ricardo Fasanello, and Sergio Rodrigues. Opposite top: A custom brise-soleil of hollow Y-shape ceramic blocks, or cobogós, filters light and air through the dining room and kitchen. Opposite bottom: The owner’s Charlotte Perriand Lc7 chair pulls up to a Quilombo desk by Casas in the home office.
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“Dramatic spaces smoothly integrate indoors and out by opening themselves completely to the surrounding landscape” The upper level of the 14,000-square-foot home features pivoting pine shutters that, when closed, sit flush with the exterior to create a seamless wooden volume atop a stone base.
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Top, from left: The living room’s Tonico armchair by Rodrigues faces Casas’s Três Toras Log Center tables. The overhang and deck, with Vidigal chair by Leonardo Lattavo and Pedro Moog, are autoclaved carbonized pine like the facade. Bottom: Viewed from above, the residence overlooks one of Fazenda Boa Vista’s two 18-hole golf courses. Opposite: The pine-wrapped lounge outside the sauna, contained in the house’s subgrade lowest level, offers a peek into the glass-sided swimming pool outside.
this house, a sprawling 14,000 square feet, the public rooms open onto a terrace extending the length of the swimming pool, then stepping down to a wooden deck, and finally a lush lawn bordering a golf course sand trap. The terrace, finished in large-format ceramic tiles, is a unifying element as well as a dividing line between the natural and architectural worlds. Starkly different facade materials distinguish the base of the structure from the upper floor. The lower levels, which contain entertaining spaces, the main bedroom suite, a home office, gym, and a subgrade sauna with lounge, is finished in a rustic material typical of this region of the countryside. Hefts of granitelike Brazilian Moledo were cut on-site from larger pieces and set into a sandy mortar with wide gaps between the stones. The upper level is clad entirely–from its pitched roof to the exterior walls–in horizontal slats of autoclaved pine that’s been injection-dyed to a carbonized finish. The same slatting finishes the flat roof of the ground-level living room and wraps onto the room’s angled interior ceiling. Window shutters on the five upstairs bedrooms pivot open to shade small balconies, creating privacy while letting in fresh air. When closed, the shutters blend with the exterior siding to render the upper floor a seamless wood-shrouded box, a favorite detail of Casas. “They merge with the facade so they’re practically imperceptible,” he explains. A metal arm locks each shutter, which is fitted with a counterweight for easy maneuvering, at fixed angles of 90, 45, and 30 degrees. Casas looked to a distinctly Brazilian invention—the cobogó, a ceramic or concrete-block brise-soleil inspired by traditional Arabic lattice screens—to filter sunlight and draw breezes in the expansive open kitchen and dining room he calls “the gourmet area.” The cobogó, a portmanteau of the surnames of its inventors (engineers Amadeu Oliveira Coimbra, Ernesto August Boeckmann, and Antônio de Góis), was first used in Brazil in the early 20th century and became 130
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popular through the work of mid-century architects like Lucio Costa and Oscar Niemeyer. The sculptural and sensory effects of its plays of light, shadow, and wind still appeal to architects in sunny tropical climates like Brazil’s. Casas formulated this hollow ceramic profile, a production piece for the Brazilian company Manufatti he previously used in the +55 Design store in São Paulo, as a pair of conjoined Y shapes, one upside down and the other right-side up. Thus was born the “Ipsilon Cobogó,” as in the Portuguese name for the letter Y. In this house, the screen wall takes on added meaning: The owners’ surname begins with a Y, making it an architectural monogram of sorts. Throughout the house, Casas hewed to materials and finishes that “highlight the rusticity of a country house,” as the architect describes it. Suede, leather, cotton and linen fabrics, and natural-fiber and kilim rugs complement architectural surfaces in pine, porcelain, and ceramic. Furnishings are a mix of contemporary and vintage, mostly from Brazil. Casas’s own Jaky dining table joins his Três Toras table, which resembles a bundle of polished wood logs atop an andironlike curved metal base, in the living room, where there are also sculptural armchairs by Ricardo Fasanello, José Zanine Caldas, and Sergio Rodrigues. Collections of artisanal objects in the main bedroom and displays of roughhewn ceramics reinforce the rustic-chic vibe. For Casas, such details—along with natural finishes and materials and a soft, neutral interior palette—are as much a part of the home’s sensitivity to the landscape as the building. As Casas puts it, “It’s an architecture that is respectful of its environment.” Top: Caldas’s Zeca chair stands in a guest bedroom, which opens onto a terrace shaded by the pivoting shutters. Bottom: Flooring is porcelain in the ground-floor main bedroom suite, where telescoping glass doors open to views of the landscape. Opposite top: The pool is 78 feet. Opposite bottom: A sliver of the brise-soleil is visible through a window in the powder room appointed in pine and Moledo.
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PROJECT TEAM NARA TELLES; RAFAEL PALOMBO; FABÍOLA ANDRADE; MARCOS RETZER; RAIMUNDO BORGES; DIOGO MONDINI; FERNANDA ALTEMARI; ANA BEATRIZ BRAGA; LUIS LOURENÇO; ANA MARIA PEDRESCHI; SUSANA BROLHANI; CLAIRE DAYAN; JULIA SAMPAIO; VINICIUS FADEL; GIOVANA MICHELONI; AMANDA TAMBURUS; AUGUSTO GODOI: STUDIO ARTHUR CASAS. OM STUDIO: LIGHTING CONSULTANT. DEDICATTO: CUSTOM FURNITURE WORKSHOP, WOODWORK. EPSON: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT LATTOOG: WOVEN CHAIR (TERRACE). MICASA: SOFA (LIVING ROOM), DESK (OFFICE). ETEL DESIGN: CHAIR, OTTO MAN (MAIN BEDROOM). THROUGHOUT THROUGH DPOT OBJETO; THROUGH ESPASSO: FURNITURE. PEDRA MOLEDO: STONE WALLS. MANUFATTI: BRISE-SOLEIL. EXBRA: CERAMIC COATINGS.
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of a certain age In Belgium and Brazil, a trio of retro period pieces that encapsulate their time and place get a modern-day reboot text: thijs demeulemeester and jen renzi
See page 140 for a 1970’s house in São Paolo by João Batista Vilanova Artigas. Photography: Filippo Bamberghi/Living Inside.
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ten architects
After having lived on a boat for many years, a couple with two children opted to become landlubbers, purchasing a quirky 1978-built house on a tranquil lot in Brasschaat, Belgium. Designed by its original owner, a technical draftsman, the property had many selling points, including a leafy, forestlike site and a retro-cool conversation pit with built-in ’70’s-era light switches. It also had some less savory period flourishes: too-small windows that made the interior feel cramped, an overabundance of brown finishes, and dated wall-to-wall carpeting. . .in the bathroom. “We kept the original identity of the house by preserving the conversation pit, the
cedar ceiling and concrete floor, the interior doors, and even the toiletcontrol panel,” Ten Architects founder Elke van Goel recalls. To lighten things up a bit, though, she whitewashed the walls, replaced the tiny windows with more expansive glazing, swapped out rotting awnings for new versions, and otherwise improved the indoor/outdoor flow and connection to surrounding greenery. A highlight of the redesign is a new outdoor water feature, an L-shape pond that wraps the glassed-in living area, so when the homeowners relax in their sunken conversation pit, they feel like they’re on a boat. photography: luc roymans/living inside
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“Sitting in the restored conversation pit, gazing out over the landscape’s new pond, the owners enjoy the sense they’re floating on the water”
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joão batista vilanova artigas A São Paolo residence epitomizes the famed architect’s innovations in concrete construction and his efforts to create a sui generis Brazilian modernism that departed from European norms. Designed in 1974 for a former student, the iconic building boasts complex interior volumes, unorthodox floor ramps, a Brutalist sense of materiality, and a symbiotic relationship with its surroundings that were pioneering indeed. Though the house remains privately owned by the original family, this fall it moonlighted as a public-facing gallery during Aberto/02, a cultural happening that forges connections between art and architecture. The exhibition, conceived by Brazilian-born, London-based art advisor Filipe Assis in collaboration with furniture designer Claudia Moreira Salles and curator Kiki Mazzuchelli, showcased some 130 artworks throughout Vilanova Artigas’s daring structure, which was restored for the occasion. The exposed-concrete walls, double-height spaces, and stained-glass window formed a dynamic foil for paintings, sculptures, and furniture by the likes of Alighiero Boetti, Humberto Campana, Leda Catunda, and Ernesto Neto. In one room, for instance, a 2002 oil on canvas by Adriana Varejão dialogued with Ivens Machado’s freestanding concrete-based sculptures from 1983 that have an almost furniturelike presence. photography: filippo bamberghi/living inside 140
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“Works installed throughout João Batista Vilanova Artigas’s restored modernist icon drew connections between art and architecture”
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PROJECT TEAM: MARTIN HROUDA; JIŘÍ KOTAL; JAN MALEČEK.
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fronton architecture Louis-Herman De Koninck, one of Belgium’s most influential modernist architects, had to lobby hard in 1936 to get the building permit approved for this two-story villa. At the time, most houses in the seaside resort of Knokke were thatched or red tile–capped cottages, and he was proposing a rather anachronistic flat-roofed concept in the so-called “style pacquebot,” with rounded corners, porthole windows, and streamlined roof railings evocative of ocean liners. Luckily, he prevailed, and the resulting struture has since achieved landmark status. Though the building had been modified over the decades, the original glass-block ceiling, terrazzo floors, and pastel bath tiles were still intact when real-estate investor Hubert Bonnet purchased the protected monument for use as a vacation and rental property. He hired Brusselsbased Fronton Architecture to restore it, starting with pouring a new floor slab. “We found termite damage, and it turned out the house was built on top of a dune—there was barely any foundation,” firm project manager Alain Delogne recalls. Other interventions included scraping off layers of paint to uncover the original orange window frames, rebuilding the roof terrace with original tiles, and installing De Koninck’s iconic Cubex kitchen cabinets, a ’30’s design that’s still in production. Bonnet, an art collector, commissioned Bauhaus-inspired rugs and furnished the house with classic pieces by Alvar Aalto, Poul Kjaerholm Serge Mouille, and Charlotte Perriand. Also featured are highlights from his portfolio of minimalist and conceptual art, including a Sol LeWitt tattooed on the dining room walls. photography: jan verlinde/living inside
“Pieces by Alvar Aalto, Poul Kjaerholm, and Charlotte Perriand are joined by the homeowner’s collection of minimalist and conceptual art, such as the Sol LeWitt wall drawing”
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pet project For a Madrid show house, Studio Ruiz Velázquez fetches an apartment concept that benefits humans, their animals, and the environment text: elizabeth fazzare photography: nacho uribe salazar
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Many of us love our furry friends. But, while we may fill our houses with their toys and accessories, we don’t often design interiors for them. However, for a compact apartment appearing in the annual Casa Décor Madrid show house last spring, Spanish architect Héctor Ruiz Velázquez set a chic precedent. Partnering with Ecoplen, a fellow Spanish company that manufactures smart textiles, the Studio Ruiz Velázquez CEO and senior architect conceived of the home for a family of two species—a human with a cat and a dog, not coincidentally the same pets that Francisco Pérez, CEO of Ecoplen parent company Atenzza Group, has—and planned it with their health, harmony, and nature in mind, harnessing the latest product innovations in naturally hygienic materials. The project began with the idea of equality. “It’s typical of interior design to categorize between accessory and essential, between decoration and structure,” Ruiz Velázquez begins. “In this case, the main elements cover the needs of both pets and their guardians.” Meaning, in this residence, no space would be off-limits for any occupant. The site for the show-house project was a 290-square-foot, two-level studio in a 1929 neoclassical building, but the components can be disassembled and reassembled with different configurations inside another envelope. Turning to nature for inspiration, Ruiz Velázquez’s concept grew to the idea of a grove of two trees, their cylindrical trunks sheltering the private spaces and supporting a lofted bedroom in their undulating “canopy” above, wrapped in flexible fabric walls. These hanging partitions create privacy and bathe the studio in a lambent glow, softening the light from strip fixtures Previous spread: For the Casa Décor Madrid show house last spring, Studio Ruiz Velázquez envisioned a 290-square-foot loft for a client who sought to live comfortably, healthily, and in harmony with their pets, fabricating tree-trunklike cylinders that house—and separate—the bathroom and bed from the main living area, then wrapped the upper expanses in Ecoplen, a self- and air-cleaning textile and the project sponsor. Top: A grid of dowels transforms a wall into a custom play area for a cat. Bottom: The moveable furniture, also custom and upholstered in the same self-cleaning fabric, is suitable for use by humans or pets. Opposite: Under the cylinders, one of which contains a bioethanol fireplace, and throughout is antibacterial ceramic floor tile that Héctor Ruiz Velázquez designed for Cerámica Saloni.
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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Top: The pared-down kitchen is nestled in the curved space between the two cylinders. Bottom: Surrounding the cat’s scratch-and-climbing pole are walls finished with a natural clay-based material with both insulating and sound-absorbing properties. Opposite top, from left: Vertical openings in the fabric “tree canopy” allow natural light to cast soft shadows. Next to a niche for pet food and storage, a cylinder swings open to the water closet. Opposite bottom, from left: The apartment has a 13-foot ceiling. A custom bed and cushions outfit the loft bedroom, which is in one of the cylinders.
recessed into vertical edges of the organically shaped dropped ceiling. “The canopy becomes a wall during the day and, due to its translucent capacity, it becomes a lamp at night, giving light with different intensities,” Ruiz Velázquez explains. The wall textile is Ecoplen, which is not only self-cleaning and stainresistant but also treated with virus-killing biocides and mineral-based photocat alyst, a natural antimicrobial activated by sunlight, to actively purify the interior. “The beauty lies in the forms and materials born from a context of their own environment,” says the architect, for whom natural materials were an essential design choice for a space inspired by trees and living beings. In addition to the canopy, he used Ecoplen fabrics to create soft moveable floor cushions, a pinkhued artwork, and a cat play wall that can be endlessly reconfigured with a grid of dowels and pliable textile shelves. The curving walls, structural cylinders, and kitchen are finished in Ecoclay, a natural clay-based material that is both insulating and sound-absorbing. The ground-level flooring is made of an anti bacterial ceramic tile that Ruiz Velázquez designed, while the concrete staircase and the loft’s slab floor are covered in micro-cement, a waterproof finish mixed with minerals and resins. “All of this creates a healthy and 360-degree healing environment,” he notes. In line with its nature-based material performance, the apartment is largely earth-toned, with pops of pink, blue, and orange only in the soft furniture and accessories. Though it is filled with daylight, Ruiz Velázquez envisioned the interiors like a cave, mostly because of the thermal properties and color of the clay finishes. Sited in the curved niche between the two trunks, the sinuous stovetop and counter of the kitchen feel particularly like a natural landform. The adjacent bioethanol fireplace adds to this cozy atmosphere on the lower level. Because of the apartment’s small size and the team’s research into the ideal environment for pet enrichment, “We decided to elevate the private areas, freeing up the main floor,” for play, gathering, cooking, and eating, Ruiz Velázquez continues. The shower, for example, which occupies the taller of the two cylinders, is set two steps up the stairs but has separate fittings for humans and dogs to wash up. Its accompanying sink is a few steps up from that. Though the nestlike loft is meant for relaxation, it’s accessible for all—particularly via the cat scratch-and-climbing pole that runs the vertical height
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of the residence. Its custom round bed is supported by the other structural trunk, the one that houses the water closet downstairs. Maintaining sightlines between all common areas was important for daylighting, safety, and peace of mind, so Studio Ruiz Velázquez formulated strategically placed openings in the trunks and canopy to ensure that “animal and human can always have a visual connection, even from different levels,” the architect adds. Though the built-in activity and exploration nooks, like the pet door added to the toilet room for more curious creatures, can provide stimulation, contact between pets and guardians is the main goal. “This project in particular has a larger scope than the architecture itself,” Ruiz Velázquez opines. “It’s the purest connection of life on the planet, animals and humans living in the same home where they share not only leadership but also the same level of priority in the functional design.” Atenzza’s Pérez wholeheartedly agrees: He’s currently reinstalling nearly every element of the show house—from the cat play wall to the canopy and cylinder systems—at his apartment in Valencia. PROJECT TEAM ALMUDENA DE TOLEDO; DAVID JABBOUR DÍAZ; MARTA GARCIA RIOS: STUDIO RUIZ VELÁZQUEZ. CEMENT DESIGN: CEMENT WORK. PROYECTOS Y REFORMAS: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT DRYPETS: PET BED (LIVING AREA). ESTUFAMANIA: FIREPLACE. GEBERIT: TOILET (WATER CLOSET). BANG & OLUFSEN: SPEAKER (BEDROOM). THROUGHOUT ECOPLEN: TEXTILES. CERÁMICA SALONI: FLOOR TILE. ECOCLAY: WALLS. AXOR: SINK FITTINGS, SHOWER FITTINGS. ZARA HOME: ACCESSORIES.
Top: In the same cylinder, the custom shower is two steps up from the ground floor and has fittings that can be used by the owner and on his dog. Bottom: Taking advantage of every inch of space, the bathroom sink is in the stairwell, which leads up to the bedroom and where flooring switches to micro-cement. Opposite: In the loft, the canopy has strategically placed openings for views to the ground level, letting in light, yet maintaining privacy.
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“Maintaining sightlines was important for daylighting, safety, and peace of mind”
stopping the show
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text: monica khemsurov photography: ruth maria murphy/living inside
A new Georgian-style residence in Dublin gets a contemporary, flamboyantly theatrical interior by DesignLed
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Previous spread: Referencing the Georgian-style exterior of this newly built Dublin house, DesignLed installed custom wood-molding panels incorporating hidden doors and painted client-requested colors in the formal sitting room and elsewhere. Top: A vintage desk appoints the adjacent study. Center: Dolomite stone clads the backsplash and countertops of the custom oak kitchen, its island lined with Hay’s Neu 12 stools. Bottom: Paintings by contemporary Irish artist John Redmond overlook the sitting room’s maroon Terje Ekstrøm chair and a gold Astrea armchair and Bubble 2 sofa, both by Sacha Lakic. Opposite: A custom bouclé-covered chaise lounge and Luca Nichetto’s Lato side table form a vignette under a staircase in the entry hall, capped by a Rome chandelier.
After spending the early part of her career as a documentary film director, Dublin resident Lisa Marconi pivoted a decade ago to become a self-taught interior designer. As principal of DesignLed, she has cultivated a practice informed by her visual-arts background but with a strong focus on client collaboration and input. Due, perhaps, to her outsider’s perspective, Marconi’s approach to each project is especially accommodating. As she says, “I’m not someone who has very strict rules about what you can and cannot, should and should not do.” No surprise, then, that Marconi enthusiastically accepted the challenge when a couple came to her with a residential project full of highly specific requests—dark teal walls, among them—as well as some fundamentally contradictory ones. The clients were tearing down a 1970’s house to build something more modern yet modeled after the Irish capital’s famed Georgian architecture. U-shape in plan, the 4,500-square-foot home would span two stories and include formal and casual living areas along with five bedrooms, all connected by broad corridors, yet it needed to feel cozy for a family with small children. DesignLed’s brief was to make the interior as striking, even showstopping, as possible while still being friendly and welcoming to the guests the family frequently entertains. The spaces Marconi and her team created address those issues by embracing eclecticism and playing with color, scale, and detail. A key element in the designer’s overall strategy is something so subtle it’s hardly noticeable at first, despite the fact that it begins the moment you walk in the front door: the use of custom wall paneling to visually bridge the gap between the residence’s late 18th century–style facade and its contemporary interior. Vertical panels, inset with pale tonal wallpaper depicting herons, backdrop the twin staircases 158
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on either side of the double-height entry hall, where a giant bubble chandelier and oak parquet de Versailles flooring add to the immediate wow factor. In the formal sitting room, the molding is more pronounced and traditional, despite the fact that the walls are color-blocked in aqua and the requested teal, the paintings are modernist-inflected acrylics by the contemporary Irish artist John Redmond, and the furniture is, as Marconi observes, “a motley crew of ubermodern and vintage” that includes such up-to-the-minute pieces as a maroon Terje Ekstrøm chair and a purple Sacha Lakic sofa juxtaposed with a pair of 1960’s oak armchairs the clients already owned. “We really liked that contrast,” she notes. The molding also performs another traditional function, which is to camouflage a cabinet bar set into the wall and a door to the adjacent study. Upstairs in the main bedroom, the paneling is more minimalist—an updated take on the classical arch form—yet still manages to conceal doors to the en suite bathroom and boudoirlike dressing room. There are, in fact, hidden doorways in most of the principal rooms. “It’s a way of making them feel more contained and bringing the scale down, so you don’t just see doors everywhere,” Marconi explains. “It helps the house feel like a comfortable family home, not this giant mansion.” Adding to the effect, each wing of the house, and each room within it, has its own distinct personality rather than sharing a consistent style aimed at making the spaces flow seamlessly into one another. “Of course, we wanted the project to make sense as a whole,” the designer continues, “but we also wanted the rooms to stand alone.” 160
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Opposite top: In the main bedroom, a Carmen pendant fixture by PaulinePlusLuis hangs above the custom velvetupholstered bed. Opposite bottom: Lievore Altherr Molina’s Piktor table rests on the sitting room’s Path rug by Catherine MacGruer. Top, from left: A vintage rosewood sideboard stands on the entry hall’s oak parquet de Versailles flooring. The main bedroom’s dressing table is also vintage. Bottom: Evoking a classic dado, two types of ceramic tile appear on the powder room wall.
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To that end, the guest room adjacent to the teal sitting room and study is painted deep cranberry, while the tone of the open-plan kitchen, dining, and living area that occupies the opposite wing is bright, minimalist, and neutral, augmented with natural materials like oak and Dolomite stone. The main bedroom leans more pastel, with extensive use of softer textures like velvet upholstery and wall-to-wall carpeting under Kitty Joseph’s Optik rug. And to further underscore its unique design identity, every room has a different style of statement lighting fixture, from the opulent crystal chandelier in the dressing room to the sleek, brass linear pendant above the kitchen island. The wide hallways connecting these big-personality spaces are painted plain white to act, the designer says, “as a visual palette cleanser.” While Marconi takes plenty of stylistic risks, she acknowledges she was spurred on by her adventurous clients. “They weren’t looking to play it safe,” she reports, noting that the couple found DesignLed through Instagram and specifically approached the firm because of its fearlessness. “Our designs are dramatic,” Marconi admits, “though I wouldn’t describe what we do as ‘out there’ or ‘wacky’—it’s just about making an impact. Playing with shapes and colors or putting something into a room that’s theoretically too big for it but somehow works, that’s our brand.” Showstopping indeed. PROJECT TEAM SARAH DRUMM: DESIGNLED. PROJECT SOURCES FROM FRONT VARIER: MAROON CHAIR (SITTING ROOM). E15: SIDE TABLE. SOVET: COFFEE TABLE. ROCKETT ST GEORGE: SCONCES. ROCHE BOBOIS: GOLD CHAIR, SOFA (SITTING ROOM), THROW (MAIN BEDROOM). FLOOR STORY: RUGS (SITTING ROOM, STUDY, MAIN BEDROOM). THROUGH APRIL AND THE BEAR: VASES (SITTING ROOM), LAMP (ENTRY HALL), PENDANT FIXTURE (BEDROOM). CA DESIGN: CHAIR (STUDY). THROUGH ACQUIRED: DESK (STUDY), NIGHTSTANDS (MAIN BEDROOM), SIDEBOARD (ENTRY HALL). HAY: STOOLS (KITCHEN). ROTHFELS: PENDANT FIXTURE. JONATHAN WILLIAMS KITCHENS: CUSTOM CABINETRY. TECNOGRAFICA: WALLPAPER (ENTRY HALL). DOHERTY FLOORING: PARQUET. ZOFFANY: CHAISE LOUNGE FABRIC. &TRADITION: SIDE TABLE. MULLAN LIGHTING: CHANDELIER.
Top: Wallpaper fronts closet doors in the main bedroom’s dressing room, where all storage is custom. Center: Astro Tacoma sconces light a guest room bath. Bottom: Art deco–inspired stripes of marble tile cover its wall and floor. Opposite: Patricia Urquiola’s Triple Slinkie rug softens the oak floor planks in the adjoining bedroom.
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HARTÔ: PENDANT FIXTURE (MAIN BEDROOM). THROUGH VINTERIOR: VANITY. OLIVER BONAS: MIRROR. MARKS & SPENCER: STOOL. THROUGH ETSY: SHELVES. LINWOOD FABRIC COMPANY: BED FABRIC (BEDROOMS). FOSSIL STONE SPECIALIST: WALL TILE (POWDER ROOM). DUSK LIGHTING: SCONCES (BATHROOMS). LUSSO STONE: VANITIES. DRENCH: SINK FITTINGS. ITALIAN TILE & STONE: FLOOR TILE. FEATHR: WALLPAPER (DRESSING ROOM). LOVE YOUR HOME: BED (BEDROOM). WEST ELM: NIGHTSTAND. CC-TAPIS: RUG. THROUGHOUT FARROW & BALL; FIRED EARTH: PAINT.
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domestic bliss From East Coast to West, Florida to New York, luxury and affordable apartment buildings evict a cookie-cutter approach for character, eco-consciousness, and copious perks text: annie block
See page 170 for The Suffolk, a 378-unit rental building in Manhattan by JG Neukomm Architecture that strives to reflect the diverse spirit of its downtown neighborhood. Photography: Scott Frances/Otto. NOV.23
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“Beautiful but efficient apartments are linked together by vibrant communal spaces that encourage social, indoor-outdoor living”
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morris adjmi architects project Asher, Tampa, Florida. standout Massive yet LEED Gold and WELL certified, the 22 stories offer 501 rental and furnished extended-stay units in a factorystyle tower that nods to the region’s industrial past. Conceived with price-conscious tenants in mind—homes start at 380 square feet— details are anything but budget: American oak, terrazzo, brass, and Venetian plaster mix with artwork by Windy Chien, William LaChance, and Thomas Trum and an amenity deck featuring a 74-foot pool. photography Clockwise from top right: Strategic Property Partners (2); Matthew Williams (3).
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“The restoration marries upgrades for the modern buyer with sought-after prewar charm”
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pembrooke & ives and ash staging project The Astor, New York. standout The Upper West Side property by Clinton and Russell dates to 1901—as do such interior finishes as the entry’s heavily veined marble. To bring the rental-owner hybrid into the 21st century, developer CIM hired Pembrooke & Ives to redesign 25 res idences as luxe condominiums ranging from studios to five-bedrooms, all with contemporary kitchens, oversize main bathrooms, and marble fireplace mantels, as well as two model units, where, along with the lobby, furniture and artwork have been curated by Ash Staging. photography Christian Harder.
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vida design project Launch, Alameda, California. standout The northern city is actually an island that once hosted a naval air station, so the 13,000 square feet of amenity and public spaces—even the noir mail room—in the rental mid-rise boast the streamlined, symmetrical influences of maritime architecture, centered on a palette that evokes the color of the sea by day and night (aka Benjamin Moore & Co.’s Polo Blue and Space Black). Furnishings—the lobby’s custom nautical-hued sofas, the club room’s leather Blu Dot loveseats—are fittingly aerodynamic and shipshape. photography Shelsi Lindquist.
“The setting evokes the feeling of life on the water—a sense of adventure and enchantment”
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jg neukomm architecture project The Suffolk, New York. standout Just as the Lower East Side is home to myriad cultures, the common areas and unit finishes of this 30-story building are a palimpsest of materials and moods. The area’s historic Guastavino vaults inspired the artisanalplastered, terrazzo-floored lobby with custom 9-foot pendants, the amenity lounge skews continental with Calacatta Viola risers and Patricia Urquiola seating, while the coworking carrels are pure punk with black-and-white photography and Area Environments wallcovering titled Collected Turbulence. photography Clockwise from opposite bottom left: Scott Frances/Otto (5); Jean-Gabriel Neukomm.
“The neighborhood is a kaleidoscope, so we reflected that in our approach—both materially and in space-planning”
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“The distinctive building geometry, particularly the roof, creates exceptional interiors filled with natural light”
lorcan o’herlihy architects project South E8, Raleigh, North Carolina. standout To accommodate the southern city’s explosive growth yet maintain its low-rise scale, the three-story building adds eight rental residences to a lot that previously had one, and does it with drama and environmental awareness: The angular facade shifts from white-painted brick to black standing-seam steel paneling, while interiors boast such passive design strategies as cross ventilation, energy- and waterefficient fixtures, ample daylighting, and outdoor access. photography Keith Isaacs. NOV.23
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hickok cole project Wellsmith Apartments, Richmond, Virginia. standout With the goal of enriching tenants’ days, replenishing their energy, and improving well-being, the 349-unit new-build rental property features a graphic white-brick and black-aluminum exterior complemented inside by local painter Naomi McCavitt’s 11-by-20-foot botanical mural, plus additional stress-relieving art; such elevated finishes as quartz, chrome, porcelain tile, and polished concrete; and airy communal spaces that open onto pools, courtyards, and greenery for a front-porch experience with urban benefits. photography Garrett Rowland.
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“A curated collection of amenities focuses on convenience, entertainment, and revi talization”
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“Occupants feel secure, dignified, and emotionally connected to their neighbors”
studio libeskind project Allan & Geraldine Rosenberg Residences, Freeport, Long Island. standout The firm’s first affordable-housing project also happens to be for seniors, so all 45 units’ ceramic-tiled bathrooms are accessible. Common areas are too, and they’re dynamic as well: Precast-concrete pavers form a rooftop walking track and an internal courtyard, from which doorways painted bright colors that help orient residents to their floor are visible. It’s all contained in a StoTherm ci Mineral facade punched with geometric apertures. photography Inessa Binenbaum.
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™
FILZFELT ARO Shingle designed by architecture research office acoustic panels inspired by building cladding made of 100% wool design felt
5 unique designs in 95 colors
filzfelt.com
2
INTERIORDESIGN LAUNCH
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LAUNCH EDITORS' PICKS
EDITORS’PICKS MADEMOISELLE JO
Melted using traditional Murano techniques, Joan Bebronne's Glowy wall hooks are made from three layers of textured glass for an enticingly dimpled, warped effect. mademoisellejo.com standouts sold in sets of 3 or 4 brass armature trays also available
NOV.23
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LAUNCH EDITORS' PICKS
STANDOUTS BY MUT DESIGN
33.5" WIDE SUITED TO SMALL SPACES
OMELETTE EDITIONS
Bolet is a deceptively simple cup-shape lounge chair inspired by the flared form of certain mushrooms, with an elongated button decorating its comfy-cozy seat. omelette-ed.com
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LAUNCH EDITORS' PICKS
STANDOUTS FLATWEAVE FIELD IN HEMP AND JUTE , FINISHED WITH A SHAG PILE CUSTOM SIZES HANDMADE IN INDIA
WARD & GRAY
PORTRAIT: JOHN DANIEL POWERS
Christie Ward and Staver Gray first imagined Dune for an oceanfront residence, its hypnotic squiggles sparked when the duo drew concentric circles in the sand during the initial site visit. wardandgray.com
NOV.23
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LAUNCH EDITORS' PICKS
MERIDIANI
standouts
A dynamic balance of shapes and soft lines defines the Oscar sofa and lounge chair, an elegant duo with tubular backrests inspired by the letter O. meridiani.it/en
by andrea parisio
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leather or textile upholstery chaise also available
LAUNCH EDITORS' PICKS
STANDOUTS BY KATIE DEEDY SHOWN IN PINAR DEL RÍO COLORWAY
INTERIOR DESIGN BEST OF YEAR HONOREE
GROW HOUSE GROW
Sparked by a tall tale the designer's Cuban grandfather used to tell her about the day he ran off to join the circus, Fauna Fantasía wallpaper fills its jungle foliage with enchanting creatures big and small. growhousegrow.com
NOV.23
INTERIORDESIGN LAUNCH
187
LAUNCH EDITORS' PICKS
STANDOUTS SUNBRELLA SOLUTION DYED ACRYLIC - POLYESTER
55" WIDE BY RACHEL DORISS
POLLACK
Graphic and contemporary, the hand-drawn indoor/outdoor fabric Swell was inspired by the embroidered waves of the brand's everpopular Piccadilly textile. pollackassociates.com
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LAUNCH EDITORS' PICKS
STANDOUTS SOLID ASH WOOD FRAME LIMITED EDITION BY LIMA DE LEZANDO
STUDIO DE LEZANDO
The Cologne-based designer's shapely, almost Deco Daybed 02 features plush velvet upholstery that lends a 1970's vibe. studiodelezando.com
NOV.23
INTERIORDESIGN LAUNCH
189
LAUNCH EDITORS' PICKS
STANDOUTS AVAILABLE IN FABRIC , LEATHER , OR VINYL ENHANCED COLOR PALETTE DESIGNS FROM 1954
KNOLL
The renowned manufacturer reissues the Model 31 lounge chair and Model 33 small sofa nearly 70 years after their debut—both designs from the mind of pioneering architect, interior planner, and furniture designer Florence Knoll. knoll.com
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LAUNCH EDITORS' PICKS
STANDOUTS FLOOR LAMP ALSO AVAILABLE THE NAME NODS TO THE TECHNOLOGICAL OPTIMISM OF THE POSTWAR ERA
GUBI
Satellite, a 1953 Mathieu Matégot pendant brought back into production but adapted for outdoor use, showcases the designer’s signature material innovation: the elegant perforated-metal sheeting he called rigitulle. gubi.com
NOV.23
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LAUNCH PARTNERS // FLOORING
PARADOR
Crafted of healthy, renewable materials, innovative Modular ONE flooring utilizes an effortless, adhesive-free click installation system, making it a go-to solution for environmentally responsible design projects. paradormodularone.com
standouts
98% all - natural materials
32 wood and stone finishes , 3 formats integrated cork backing
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FABRIC & WALLCOVERING
// LAUNCH PARTNERS
standouts
EZOBORD
for ceilings , walls , dividers , and furniture applications
Robin Sprong Collection represents an exciting collaboration that harnesses the creative energy and designs of independent global artists with EzoBord's wall and ceiling products to seamlessly integrate art, culture, and acoustic performance into working and hospitality spaces. ezobord.com
various thicknesses and configurations fully customizable
120+ patterns , tex -
tures , and art pieces of renowned artists
NOV.23
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LAUNCH PARTNERS // SEATING
standouts
3 depths graphite - metal feet seat cushion now separated from base
ARFLEX
Edo is an expansion of Swedish design studio Claesson Koivisto Rune's 2018 Tokio sofa system for the Italian manufacturer, retaining the classic lines and overall dimensions of the original, but enhancing comfort in the form of re-engineered construction and pleasing curves. arflex.com
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MIX
// LAUNCH PARTNERS
DAVIS FURNITURE
LUTRON
Crafted of solid aluminum and featuring aerodynamically curved bases, Jehs+Laub’s Capas collection tables nest together as desired and are offered in more than 30 colors for maximum design flexibility. davisfurniture.com
With endless fabrics, finishes, and styles to choose from, the company’s simple, sustainable Motorized Shades can fulfill any design vision. lutron.com
SANCAL
CRL
With a petite footprint and a curvy silhouette inspired by wine barrels, the Tonella armchair by Stockholm-based studio Note is—like all the manufacturer's products—made in Spain and designed to last. sancal.com/en
Maximize transparency and daylighting with the Fallbrook glass partition system, an ideal choice for contemporary spaces thanks to its slim floating doorframe, matte-black finish, and ability to create all-glass spans. crlaurence.com NOV.23
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LAUNCH PARTNERS // MIX
FIBERBUILT UMBRELLAS
B+N INDUSTRIES
The wind-resistant Riva umbrella, bolstered by a heavy-duty aluminum pole and fiberglass ribs, is offered in an array of fabrics and finishes, suiting it to the decor of any outdoor environment.
Offered in anodized-aluminum finish options, the midcentury-modern-style Sorbetti 2.0 shelving system is utterly modular and versatile, with abundant options, micro-adjustable internal hardware, and integrated LED lighting. bnind.com
fiberbuiltumbrellas.com
YELLOW GOAT DESIGN
VERSTEEL Combining strong lines and subtle curves, the Troupe series of gathering and in-line tables features unique tapered steel legs that conceal wires within their concave forms. versteel.com 196
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The customizable Liquid Sky fixture embodies the sun rising over the beach: The changing sky is rendered in edge-lit fluted acrylic panels mounted to powder-coated metal tubes. yellowgoatdesign.com
MIX
// LAUNCH PARTNERS
ANDREU WORLD
EXPORMIM
Bolete Lounge BIO’s ergonomically curved modules adapt to any setting courtesy of their sinuous profiles, numerous upholstery options, and easy reconfigurability, combining to create cocooning conversation areas. andreuworld.com
Ludovica+Roberto Palomba’s Obi, featuring a fully recyclable aluminum structure, is a tribute to Japanese culture: a colorful band cinches the sofa’s back and arms like a kimono belt. expormim.com/us
KASWELL FLOORING SYSTEMS
JUNIPER
New from the manufacturer is the innovative Konnect End Grain panel format, available in black locust, white oak, and walnut—and in various shapes and patterns including custom designs. kaswell.com
Multiverse is a game-changer: The low-voltage power-distribution system enhances the look and performance of track lighting via its sleek design, which conceals dual circuitry and is both adaptable and effortlessly mountable. juniperdesign.com NOV.23
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LAUNCH PARTNERS // MIX
CRAFTMADE
WILLIAMS-SONOMA, INC. B2B
Reserve’s angular, midcentury-inflected form— available in numerous sizes, formats, and white or black powder-coating—gets just the right dose of sparkle courtesy of satin-brass hardware. craftmade.com
Kirkwood from West Elm conveys modern flair via its low-maintenance plinth base and divided back; the latest addition to the maker’s contract-grade banquette program, it’s made to order in multiple configurations and any upholstery. wsib2b.com
TUUCI
DANAO
Spanning up to 24 feet, the expansive Ocean Master Mega Max parasol, crafted of premium marinegrade components, is reinforced to withstand wind gusts up to 75 miles per hour. tuuci.com
Designed by Ramón Esteve, Hudson is a collection of sophisticated, masculine seating and tables for alfresco spaces that highlights unexpected materials: Italian strapping, contoured aluminum, and luxe all-weather faux leather. danaoliving.com
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KNOLL TEXTILES Doily by Nick Cave knolltextiles.com
NOV.23
INTERIORDESIGN LAUNCH
LC3
MANNINGTON COMMERCIAL Natural Optimist 4mm lvt u . s . made offsets 105% of cradle - to gate embodied carbon no transition strips to carpet needed
manningtoncommercial.com
NOV.23
INTERIORDESIGN LAUNCH
LC4
L I ST E N N OW
Discover podcasts shaping the design industry S U R R O U N D P O D C A S T S .C O M
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Unite with the most influential minds in interior design for an evening that ignites inspiration and fosters connections. 2023 INDUCTEES Joshua Aidlin & David Darling Aidlin Darling Design Carlos M. Martínez Flórez Gensler Suzanne Tick Suzanne Tick Inc. ICON AWARD
David Rockwell Rockwell Group
December 6, 2023 The Glasshouse, NYC
The Iconic British House By Dominic Bradbury New York and London: Thames & Hudson, $65 320 pages, 550 color illustrations
books 204
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edited by Wilson Barlow
RICHARD POWERS
The U.K. has some 2.7 million houses. Here are 50 of them deemed worthy of the designation “iconic,” dating from the early 20th century to today. The survey is the latest from prolific author Dominic Bradbury that explores impactful residential arch itecture, following earlier volumes on interiors and American homes. This one, like the others, is illus trated through photography by Richard Powers, who was allowed access to houses many of which had never been seen by the public. With literally millennia of projects to explore—the oldest standing British house dates to the Neolithic era—the book narrows its scope to those built since 1900, beginning with an example in Surrey by Sir Edwin Landseer Lutyens and presented chrono logically from there. One from the mid-century is the Dr Rogers House, a vibrant, steel-framed pavilion the late Richard Rogers built for his parents in 1969 in Wimbledon that ended up being a prototype of sorts for his career-changing Pompidou Centre in Paris. Jetting ahead to the 21st century, we land on a hangarinspired home on a Scottish airfield that Richard Murphy Architects completed in 2019. Three years prior, in Wales, Interior Design Hall of Fame member John Pawson conceived the serenely monastic Life House, a rentable retreat commissioned by Living Architecture, the nonprofit founded by author Alain de Botton, who also wrote this book’s introduction.
DESIGNERS IN SPECIAL FEATURES Morris Adjmi Architects (“Domestic Bliss,” page 164), ma.com. Ash Staging (“Domestic Bliss,” page 134), ashstaging.com. Fronton Architecture (“Of a Certain Age,” page 164), fronton.be. Hickok Cole (“Domestic Bliss,” page 164), hickokcole.com. JG Neukomm Architecture (“Domestic Bliss,” page 164), jgnarch.com. Lorcan O’Herlihy Architects (“Domestic Bliss,” page 164), loharchitects.com. Pembrooke & Ives (“Domestic Bliss,” page 164), pembrookeandives.com.
c o n ta c t s Interior Design (ISSN 0020-5508), November 2023, Vol. 94, No. 10. Interior Design is published 12 times per year, monthly except combined issues in July/August and December/ January with seasonal issues for Spring and Fall by the SANDOW Design Group, LLC, 3651 FAU Boulevard, Boca Raton, FL 33431. Periodicals postage paid at Boca Raton, FL, and additional mailing offices. POSTMASTER: Send all UAA to CFS; NON-POSTAL AND MILITARY FACILITIES: Send address corrections to Interior Design, PO Box 808, Lincolnshire, IL 60069-0808. Subscription department: (800) 900-0804 or email: interiordesign@ omeda.com. Subscriptions: 1 year: $69.95 USA, $99.99 in Canada and Mexico, $199.99 in all other countries. Copyright © 2023 by SANDOW Design Group, LLC. All rights re served. Printed in the USA. Material in this publication may not be reproduced in any form without permission from the publisher. Interior Design is not responsible for the return of any unsolicited manuscripts or photographs.
Studio Libeskind (“Domestic Bliss,” page 164), libeskind.com. Ten Architects (“Of a Certain Age,” page 134), tenarchitects.be. Vida Design (“Domestic Bliss,” page 164), vida-design.com.
PHOTOGRAPHERS IN FEATURES Fernando Guerra (“Home on the Range,” page 124), FG+SG Architectural Photography, ultimasreportagens.com. Eric Laignel Photography (“Read All About It,” page 114), ericlaignel.com. Ruth Maria Murphy (“Stopping the Show,” page 156), Living Inside, ruthmaria.com. Nacho Uribe Salazar (“Pet Project,” page 148), nachouribefotografo.com. Pablo Veiga (“The Line of Beauty,” page 104), Photofoyer, pabloveiga.com.
DESIGNER IN CREATIVE VOICES Fernando Laposse (“Serious Fun,” page 35), fernandolaposse.com.
DESIGNERS IN HOMES Estudio Karina Kreth (“Center Stage,” page 51), karinakreth.com. Messana O’Rorke (“The Art of Reinvention,” page 45), messanaororke.com. Studio Piet Boon (“Looking Ahead,” page 71), pietboon.com.
PHOTOGRAPHERS IN HOMES David Mitchell (“The Art of Reinvention,” page 45), davidmitchellphoto.com. Celeste Najt (“Center Stage,” page 51), Najt Lix Studio, najtlixstudio.com.
DESIGNER IN CENTERFOLD Paloma Cañizares Office (“Material Metamorphosis,” page 99), palomacanizares.com.
ERIC LAIGNEL
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a quiet place A few hundred miles west of Buenos Aires, Córdoba is a bustling Argentine metropolis of nearly 2 million residents. It’s there that discotecas play music late into the night and architect Pablo Dellatorre operates his namesake studio, which, over the last decade, has completed several large-scale projects for commercial and residential clients. A recent undertaking of his, however, is smaller and far from any urban buzz—with Dellatorre himself as the client. Like many urbanites, Dellatorre dreamt of a peaceful personal sanctuary— “a creative refuge where I could immerse myself in the rituals of solitude,” he says. He found it in a 2-acre plot in the Calamuchita Valley amid the woodsy foothills of the Sierras Chicas mountains, about an hour from the city, where he built a simple A-frame cabin, its dark facade of rauli, a native and locally sourced wood, “blending into the forest.” Inside, the cozy 400 square feet are equally all natural. In the kitchen, for instance, floor and walls are planks of recycled Virapitá, a South American pine, benches are raw solid timber, and a pendant fixture has been crafted of plant trimmings from the property. An outbuilding of sorts is similar. Dellatorre wrapped painted sheet metal in sticks and twigs to form a bird’s nest of a shelter. If he’s not in there meditating, he can be found around the campfire, sitting alone in contemplation. —Wilson Barlow
i n t e r vention
GONZALO VIRAMONTE
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