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OBJEKT International celebrates in 2021 its 30th anniversary on top of the world of interior design. After OBJEKT©International previously received the overall award for Best Interior Design Magazine in Hollywood, Los Angeles, an international jury has awarded the Digital edition of OBJEKT©International with the golden award: this within one year of its launch.

Founder and editor-in-chief: Hans Fonk Editor-in-chief: Izabel Fonk Corporate head office: Raadhuislaan 22-B NL-2451 AV Leimuiden - Netherlands t:+31 172 509 843 info@objekt-international.com www.objekt-international.com Honorary editor in chief USA and Canada: Alexander Sasha Josipovicz, Studio Pyramid Inc. 1232 Yonge Street, Toronto, ON, M4V 1E4 sasha@studiopyramid.com

This is a remarkable achievement in a time where the world is confronted with a tsunami of digital publications and presentations.

Head Office Berlin, Germany Unique Company Group Oberwallstraße 14 D-10117 Berlin, Germany OBJEKT International ASIA/CHINA Cora Feng 冯辉 Xi Tang Art Center. No 2. Xi Ba He Road, Chaoyang district, 100028 Beijing, China

The digital edition of OBJEKT©International is more than just an interior magazine. It goes steps beyond of the Instagram ready and marketing driven interiors where, according to the designers, indoor and outdoor seamlessly intertwine. The archipelago of look-a-like-kitchen islands is staggering, as is the use of off whites, gray and other safe non-colors.

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Contributing photographers: Mattia Balsamini, Anthony Barcelo, Nicolo Bressan, Roger Davies, Rebecca Fanuele, Tian Fangfang, Gianni Franchellucci, Claude Gassian, Laurian Ghinitoiu, Alaia Fonk, Hans Fonk, Roland Halbe, Alec Kugler, Matthew Millman, Helmut Newton, Auguste Perret, Luciano Romano, Alex Shoots Buildings, Schranimage, Peter Tahl, Alessandro Wang, Zhang Qinquan, Jacky Zhang,. Graphics: Hans Fonk Studio Art directors: Hans Fonk, Alaïa Fonk Video productions: Alaïa Fonk Illustrations: Eveline Lieuwma-Puijk

photo: Alaïa Fonk

OBJEKT©International is focusing on more characteristic and authentic creations where fashion design adds a playful and a not-as-heavy element. That is where its uniqueness comes in: a uniqueness that has driven us for thirty years.

Contributing writers: Izabel Fonk, Nicole Henriquez, Sasha Josipovicz, Susan Grant Lewin, Milosh Pavlovic, Ruud van der Neut, Lorenza Dalla Pozza, Robyn Prince, Raphaëlle de Stanislas, Dirk Wilms, Rene Wilms, Mercedez Zampoli.

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INTERIOR DESIGN ARCHITECTURE ARTS, ANTIQUES GARDENS, YACHTS

Honorary ambassadors OBJEKT International OBJEKT USA-CANADA George Beylerian Eric Booth Martyn Lawrence Bullard Tony Chi Massimo Iosa Ghini Jacopo Etro Marva Griffin Wilshire Ralf Ohletz von Plettenburg Glenn Pushelberg George Yabu Rene Wilms INTERNATIONAL DIGITAL PUBLICATION BY HANS FONK PUBLICATIONS COVER : BUBBLEGUM GIRL 2 BY KIMI SIMONSSON

WHAT’S UP FOREWORD

ZIFEI WANG

LIGHT BETWEEN THE ROCK

YOUTHQUAKE

WILLO PERRON

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FREEDOM TO MOVE

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COCONUTS SENSATION

MAGICIAN BAR BEIJING

SEAPOWER

RENE DEKKER - COLOR IS KING

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LA MAMOUNIA MARRAKESH

SOFTLY AS IN THE LOUISIANA SUNRISE

COMMODORE PERRY ESTATE

SINGLE IN BANGKOK

DUBAI BY THE POOL MAXIME JACQUET

ZUIFA INFO TOWN ANDRÉ STAFFELBACH

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PHOTO: HANS FONK

UNIQUE EXPERIENCES Selected Retreats for Family & Friends

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ZIFEI WANG Zifei Wang is a fast rising star in the international fashion universe. She is an independent designer based in the Xi Tang Museum next to the Beijing headquarters of OBJEKT ASIA. She got her Master Degree from University of St Andrews in 2011 and her Master Degree from Central Saint Martins in 2013. She was recently contracted as the designer of the China Silk Corporation. In cooperation with them, she designed the Ecosophy collection to create the impression of an innovative Chinese style: a starting and transformation point for traditional Chinese style. Wang: “The structured should be deconstructed into new aesthetics.” Ecosophy presented during the Wuhan Fashion Week, represented an ode to the city of Wuhan after the recent pandemic. Zifei Wang was interested in fashion from a very young age. She recalls: “I started to get interested in fashion when I was very young. In primary school time, I was always drawing fashion sketches when others were focused on study. When I decided to change my career from finance to fashion, I went to Central Saint Martins in London, England. It was the right place to change my way of thinking: from the inside out. Fashion for me is a way of expressing an individual opinion about life and society. I totally agree that if intelligent or charming persons pay attention to their dressing style, they can give others more information about their personality, culture background, personal opinion and life experience: or even an invisible story that hasn't been expressed.”

Above: fashion designer Zifei Wang. Left: creations from the Ecosophy collection 2021 designed in cooperation with the China SilkOBJEKT Corporation. 7

DUTCH BONSAI #15 photo artworks by

Hans Fonk

photo printed on canvas. Painted with ancient Chinese pigments and tempera, 133 x 77 cm. sales info: izabel@objekt-international.com

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Previous pages and above: La Grintosa villa on the Italian island of Sardinia designed by architect Stefanie Stera and enlightened on the outside and inside by Davide Groppi - Spazio Esperienze Milano.

Sculptural volumes in conversation with nature, in a succession of corners, yards and terraces: La Grintosa villa situated at the seaside of Porto Cervo on the Italian island of Sardinia. It was designed by architect Stefanie Stera and enlightened on the outside and inside by Davide Groppi. Special feature is the suspended tree trunk collected on the beach and transformed into a light ornament. Light design is always one of the most critical parts of an architectural project. It requires the involvement of specialists from the beginning of the process specially as indoor and outdoor lighting have to work together. “At La Grintosa villa created outdoors lights with

the same poetic and coherence as we used inside the home,” according to Groppi. “ We have always imagined bringing light outdoors with the same poetic, we use inside. We like to think that, seeing the final project, a coherent thought and truth are recognizable. Artificial light is not only vision, but also aesthetics, knowledge through the senses. For us, light is not only technique, but first of all meaning.” The form uses five paradigms for the use of light outdoors. The light from windows - This is the simplest way of using light outdoors, as the light that comes from inside can sometimes perfectly illuminate the outside of the house. The doorstep light - This is a symbolic use of

light, to say hello and goodbye to people on the doorstep in a beautiful light. The light of pathways - This is the idea of light as a tool for guiding people along a path or emphasizing the hierarchies of spaces and functions. The light as depth - This is the possibility to use light to create a three-dimensional vision of space, for example by placing a light beneath a tree in the background. The light of an encounter - For example, meeting around a table on a May evening, with a beautiful, delicate light, is fantastic. Outdoor spaces have no ceiling, they have only the starry sky, and that is why, there are solutions with rechargeable batteries. In this case Groppi used its Luce Fuori outdoor

lighting, lamps: simple weightless, emotional and inventive. To created the project architect Stefanie Stera had to play with the rugged terrain, the countless rocks and the wild inlet, characteristic elements of the Sardinian landscape. The project was built in line with the initial project of Porto Cervo, begun in the sixties by the Aga Khan with the Costa Smeralda consortium. The house was designed to inscribe itself in its whole setting and that can be inhabited in any season: to be an architectural promenade in harmony and continuity with nature, where different worlds meet and cross, one complementing the other.

Left: ‘My Hope’ by Dutch fashion designer Bas Kosters. Hope is the starting point for a series of works around fashion, textile and visual art in which the designer explores, illuminates and shapes the term ‘hope’. “My Hope collection comes from a strong need to produce a graphical collection with a message. Starting with an interest in supermarket aesthetic I started working on it.”’ Photo: Marc Deurloo. Right: The Champagne Suite, 2015 from the series ‘The Honeymoon” directed by the London-based artist Juno Calypso. She used the pinktinted, heart-shaped bathtub of an American love motel to explore world domination envisioned by a single woman.

YOUTHQUAKE The Desire for Eternal Youth

Kunsthal Rotterdam started off 2021 with the multimedia exhibition ‘Youthquake. The Desire for Eternal Youth’. The exhibition revealed the strong influence youthfulness has on our image culture, at the hand of garments, photographs and videos.

The fashion world provides the possibilities for being ageless or at least for appearing to be ageless. The desire to remain forever young is a theme that is also disseminated widely through marketing strategies and the (social) media. Multidisciplinary fashion house Maison the Faux designed the exhibition. OBJEKT

"Youthquake": adult children and youthful seniors at the Rotterdam Kunsthal with the mythical fountain of eternal youth. In an audiovisual show, historical mini-me's, runways with teenage models and senior birds of paradise followed each other, in sequence with flapper dresses and miniskirts from the rebellious youth cultures of the 1920s and 1960s. Video and photography visualized contemporary marketing strategies that are inspired by the principle that ‘youth sells’. Fashion is the domain par excellence that offers the opportunity to be timeless, or at least to appear. Fashion designers, celebrities and aging style icons play with it in their looks. Various themes showed, how fashion, marketing and (social) media have become captivated by young people in the past century. Before 1900 children were wearing the same clothes as adults. For the well-to-do, these miniature adults were a showcase of their prosperity. But even now, parents showcase their success with their kids' looks and superstars like Beyoncé pose with adorable copies of themselves on the red carpet. Creations by Dior and Gucci demonstrated this modern "mini-me" phenomenon. Fashion reflects the zeitgeist: emerging emancipation, class equality and increased leisure activities heralded the era of the Garçonne in the 1920s: women wear flowing sequin dresses and boyish hairstyles; a young generation rebelling against their parents. In the 1960s, the youth rebelled again against the prevailing norms of older generations. The arrival of mass media created a strong youth culture. Mini dresses by Mary Quant and jumpsuits with psychedelic prints made a good example. The 1990s was the era of supermodels like Kate Moss and Naomi Campbell. Teenagers dominated in campaigns and on the catwalks. Increasingly younger and super-slim models appeared in front of the camera. In the next decade, this new ideal image started to tilt and cracks appeared in the highly compelling image formation. In the exhibition, work by photographers such as Ari Seth Cohen from New York and Harmen Meinsma from Rotterdam, put older models and their advanced style in the spotlight. The exhibition shined a light on the Granny Look, which is currently embraced by a young generation, as well as on fashion designers such as Walter van Beirendonck and Bas Kosters who used the children's world as a source of inspiration in their collections. Mini-Me by Kim Kardashian and North West, 2016. photo: James Devaney / GC Images.

Julika Rudelius' 2006 film "Forever" showed how American people in their sixties continued to strive for a young body through cosmetic surgery. Juno Calypso's photo series zoomed in on what people were willing to do to look younger: from corrective underwear to masks and fillers. In the final section of the exhibition, the visitor was introduced to the eternal teenager Iris Apfel. This 99-year-old world-famous style icon thinks, lives and dresses young, but with her unique style offers a positive counterweight to the adoration of the youth. Or as she said: “I would like to be remembered as the world’s oldest living teenager.”

Iris Apfel (née Barrel; born August 29, 1921) is an American businesswoman, interior designer, and fashion icon. As a young woman, Apfel worked for Women's Wear Daily and for interior designer Elinor Johnson. She also was an assistant to illustrator Robert Goodman. In 1950 later, Iris and her husband launched the textile firm Old World Weavers and ran it until they retired in 1992. From 1950 to 1992, Iris Apfel took part in several design restoration projects, including work at the White House for nine presidents: Truman, Eisenhower, Kennedy, Johnson, Nixon, Ford, Carter, Reagan, and Clinton. September 2005, The Costume Institute at the Metropolitan Museum of Art in New York premiered an enormous successful exhibition about Iris Apfel's style entitled Rara Avis (Rare Bird).The Museum of Lifestyle & Fashion History in Boynton Beach, Florida, has a dedicated gallery of Apfel's clothes, accessories, and furnishings. Photo: Luìs Monteiro.

Willo Perron. phto: Sam Mueller

“I love everything every aspect of my work. Live performance, interiors, graphic design typography. I think my studio reflects who I am. Live performances have to be interesting in the moment. They deal with things that are in the Zeitgeist. They don’t have to last. The only limits are the persons you create the show with and the budget. When you architectural things they have to last. You have to be more conscious that it is aging well and that is it not too trendy.” Willo Perron from his Los Angeles commenting on the question if he had any professional preferences. He is known for creating spectacular stage shows for Drake, Kanye West, Jay Z, Rihanna, Florence and the Machine. Kanye West hired him to create the Yeezy offices in Calabasas. He designed offices and retail stores, shot music videos for St Vincent. Won a Grammy for her ‘Masseducation’ album design. Created the stage for the Rihanna's Savage x Fenty show. “I like everything. I like hyper classical things and utilitarian modernism for its practicality. If it just lasts and it's great.” He founded his multi-disciplinary studio Willo Perron & Associates in Los Angeles specialized in live events, print design, interior space, video, campaign, strategy and creative. He works on interior projects like Adidas’s Los Angeles office and stores for Los Angelesbased lifestyle brand Stüssy, album artwork, creative campaigns and brand design. “I love film directors who do everything, like Xavier Dolan. They make the costumes, write the scripts, do the editing. That’s real world-building.”

He’s a pragmatist who speaks of design in terms of problem solving. On the other hand he sees the creation of an idea as something mystical, involving dreams and the subconscious. A French-Canadian from Montreal, he is the son of a jazz pianist and a psychologist, he dropped out of school and taught himself graphic design and video production. He explored the Montreal hip-hop scene with a record store and a Canadian music label. He designed retail stores worldwide for American Apparel. Leaving for Los Angeles marked a new stage in his stormy career. In a comment on the design hype of the moment he said: “For young people it looks cool to join the design world. But everybody that is there for a longer period of time would agree that is about to do things that are a little simpler and more understated. Play the longer run. It is important that we make things that last, and that are well produced.”

“We have to be conscious with materials. Hate the word sustainable but I mean; not creating just trendy objects. Trend is kind of negative word in this for me. People buy too many things that are easy disposable. We have to make the consumer more conscious: in every department of design. Make things that people care about and cherish for a long time.”

Above: Willo Perron designed the interiors for the Aritzia stores. This is a Canadian women's fashion brand founded in Vancouver, British Columbia by Brian Hill in 1984. They operate several luxury stores in Canada and the United States. Below that: the interiors he designed for Stussy Osaka.

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Willo Perron created the stage for the Rihanna's Savage x Fenty show 22 OBJEKT

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Left: Chrissa Amuah en above Tosin Oshinowo. They created the Freedom to Move inspired by luxury car maker Lexus and in coordination with Design Miami/. Photos Spark Creative. Center: Freedom to Move creations by Tosin Oshinowo and Chrissa Amuah, with on the left a Pioneer Futures headpiece and beside that a Ògún headpiece. Below that: Egaro headpieces. Photos: Mark Cocksedge.

Tosin Oshinowo, an architect and designer based in Nigeria created with British-Ghanaian textiles designer Chrissa Amuah the Move for Freedom concept inspired by car manufacturer Lexus’ craft techniques and technology. In coordination with Design Miami the conceptual project explored a universal language of protection, reflecting on the desire for freedom and movement through craftsmanship, cultural cues, and a reflection on global history. Tosin Oshinowo and Chrissa Amuah: “When Lexus first approached us to work on a conceptual project to explore the potential for design in the summer of 2020, we were immediately drawn to the unique changes the year had brought, and how the global pandemic has prompted everyone to consider and evaluate notions of protection, movement, comfort, and communication. We were so energized by Lexus’s prompt to create space for a design thought experiment: to explore the experiences that we as a collective humanity recently have faced in order to find inspiration and new possibilities. Our intend was to use the design to make a bold statement towards a new human existence.” Based in Lagos, Oshinowo is known for her socially responsive approach to architecture and urbanism and her exploration into the African identity in the modern context. Amuah, a BritishGhanaian textiles designer, draws inspiration from her Ghanaian heritage, through the Adinkra symbols of West Africa and a passion to enhance the power of design with proverbial meaning. Both have led significant creative careers and been recognized internationally. Their collaboration responded to current restrictions on individual movements caused by the global pandemic by producing design objects that will iterate on the evolution of ergonomics and elegance during this time. They focued on the human head as a universal focal point in times of war and celebrations: protection during war or adornment in times of peace. “Working together in Lagos, Nigeria, Africa's, we took this region as a starting point. Thinking about Africa as the birthplace of mankind. From there we took cues from Japan’s principles of Omotenashi (exceptional hospitality) and Takumi (expert craftsmanship), which are also at the core of the Lexus ethos. In keeping with the values of Lexus, the design was intended to be elegant, highly crafted, functional and luxurious. It required careful consideration for every little part to create both ornamentation and function. We were inspired by elements in the Lexus design history: sometimes we need to look to the past to find solutions for our present and our future.” Tosin Oshinowo and Chrissa Amuah created three headpieces with two iterations of each, titled Egaro, Pioneer Futures, and Ògún. Egaro took its name from the site at Termit in eastern Niger, where archeological evidence confirmed that Africa had independently invented its own iron technology 5,000 years ago. The stencil design running across the headpieces acts as a face shield, offering added protection. The pattern etched onto the visor is called Breathe, which is inspired by the pulmonary veins of the lungs. It also follows an African fractal rhythm. Pioneer Futures refers to the age of enlightenment, where mankind has sought to explore the unknown. A hand-embroidered pattern references African fractals that make up mathematical connotations. These African sequencing designs are also seen in cornrow hair designs, which we emulated in the pattern using the West African technique called Tinko embroidery . Ògún is the traditional Yorùbá god of war, metal and technology. This design looked at the history of the Benin Kingdom, its influence on the Yorùbá people and contribution to modern civilization. They’re known for their advanced form of casting bronze sculptures that date back to 1200 BC. We utilized the same ancient techniques, working with a fifth generation bronze caster in Benin.

Ògún headpiece.

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Egaro headpiece.

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coconuts sensation

Design Miami

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Bubblegum Girl 2 by Kimi Simonsson at Jason Jacques Gallery.

The central Design Miami/Podium exhibition was housed across the historic building’s four floors, which surround ‘Elastika’, the architectural intervention by late architect Zaha Hadid and commissioned by Dacra president and Design Miami/ founder Craig Robins. In the foreground Rocking Unicorn by Daniel Jackson, Moderne Gallery. From the ceiling the Five-Leaf Chair by George Nelson & Associates/ Ronals Backman and Ray Wilkes, R & Company. photos: Kris Tamburello

Despite all cancelations of international art and design fairs, Design Miami/ 2020 managed to organized its yearly event by returning temporary to its original home in the Miami Design District. It also marked the first virtual edition of the fair with over 240 pieces to bay via Design Miami/ Shop. The event welcomed eleven international galleries and three unique Curio presentations as well as exciting partner content and satellite exhibitions. The Moore Building exhibition marked a return to the same venue that launched the fair in 2005, this time bolstered by the dynamic surroundings of the architecturally-led Miami Design District, throughout which Design Miami/’s programming was extended. The central Design Miami/Podium exhibition was housed across the historic building’s four floors, which surround ‘Elastika’, the striking architectural intervention by late architect Zaha Hadid and commissioned by Dacra president and Design Miami/ founder Craig Robins. Craig Robins: “Despite the circumstances of 2020, it’s with pride that we welcomed Design Miami/Podium to where it all began. The Miami Design District has grown and evolved since the first edition of the fair and 2020 acts as the perfect backdrop to an indoor/outdoor staging of the world’s greatest collectible design.” Design Miami/Podium took on a theme entitled America(s). Overseen by Curatorial Director Aric Chen, the timely exhibition called into question the meaning and understanding of America and its identity through the juxtaposition of important works of design and craft. Chen, the Chicago-born, Shanghai-based curator worked with Design Miami/ galleries to select the works, while inviting independent studios and makers as well. The result was a provocative survey of design history inextricably linked by provenance while at odds in meaning. Aric Chen: “Historically, America, whether referring to the United States or the wider region that includes it, has meant many things to many people. More recently, notions of ‘America’ have been questioned, challenged, and revised in ways that suggest we are at a critical turning point for what America means, not just to Americans but the world at large. The exhibition is not about defining ‘American design’ per se, but rather aims to examine ‘America’ as an idea, ideal and work-in-progress: one that offers multiple narratives, histories, interpretations, and futures,” Broad in scope, and including both American and non-American designers, the exhibition included Shaker objects and early 19th-century Navajo textiles, alongside objects loaned from The Wolfsonian-FIU museum, to works by 20th century artists.

These pages: above: Camptosaur and Allosaur skeletons presented by Jason Jacques Gallery and Granada Gallery.

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Below: Todd Merrill Studio presentation featured works by several artists including Alex Roskin, Enda Scott, Markus Haase and Gregoire Scalabre. Below that: Palmea Wall Unit by Khaled El Mays at House of Today, presented by R&Company. Right-hand page: Wishbone by J.B. Blunk at the Jason Jacques Gallery.

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Mercado Moderno with creations by Jorge Zalszupin. Located in Lapa, Rio de Janeiro, Mercado Moderno is dedicated to Brazilian design. Its main specialties are vintage design from the 1950s to 1980s, including original pieces by Sérgio Rodrigues, Joaquim Tenreiro, and José Zanine Caldas, as well as Brazilian contemporary design and art. Right-hand page: Todd Merrill 38 OBJEKT presented Mark Fish’ ribbon-like weightless furniture.

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In God We Trust chair by Wendell Caste, Courtesy Friedman Benda. Closed Form Ceramics by Toshiko Takaezu, Modern Gallery.

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Medieval Magician's House

It is called Magic Bar and is located in Beijing China. It conceived as an immersive theater. Designed by GB Space, it is divided into indoor living areas creating a medieval magcian’s house with an atmosphere, completely different from the outside world. The scenes in the space comprise the corridor scenes on the facade, the dinning scenes at the entrance, the living room scenes at the bar area and the study room scenes at the performance area. The designers Wenyu Gao, Yang Bai and Yuan Gao came up with a reflection installation at each scene. In the restaurant, study room and corridor scene they created infinite extension effects by using mirrors and the one-way mirror. The scenes in these installations strengthen the function of each space and also enhance the atmosphere of the magic world.

The magic effect starts at the entrance designed with double doors. One door is the real entrance, and the other is the corridor scene installation with infinite extension effect. Inside there is a combined dinning room, living room scene and bar area. Unlike a traditional bar, the magic bar is a platform for performances. The installation of the library scene is filled with books and magic tools of a magician. The study room scene consists of a fireplace, a wine storage area. The ceiling and floor of the spaces were designed according to the scenes. The space is extremely dim with the exception of the magic performance area at the bar.

This page: the first 44Alloy super yacht. Its totally new concept was developed by the Sanlorenzo team with studio Zuccon International Project, with the personal contribution of Bernardo Zuccon. They also designed the interiors in coordination with Martina Zuccon. Bottom left: the owners salon.

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SEA POWER

The world of nautical design is a creative, exciting and versatile and in a continuous evolution, capable of generating unexpected ideas striving for the highest quality of life on board. This was also the idea behind the new Sanlorenzo 44Alloy super yacht, a 44,5 meter long fast displacement model, entirely in aluminum. The yacht’s concept is totally new. It was developed by the Sanlorenzo team. They were relying on the creativity of the studio Zuccon International Project, with the personal contribution of Bernardo Zuccon, for the design of the external lines and the definition of the concept. This resulted in a unique layout on the market for yachts of this stature. The interior design of the first 44Alloy has been designed by Zuccon International Project, with the refined taste and choices of Martina Zuccon. The second yacht has interiors by the Florence-based architect Michele Bonan, while the third unit will bear the signature of the French architecture firm Liaigre, reflecting the flexibility, eclecticism and internationalism of the Sanlorenzo shipyard. The owner’s cabin, the conceptual fulcrum of the project, is conceived as a private apartment of 145 square meters divided into three levels, with indoor and outdoor zones, in a solution never seen before on a super yacht of this size. Beside of that there are spaces for the owner as well as guests, such as the large beach club that opens on three sides, providing direct connection to the sea, while the foredeck, with its open area, offers multiple possibilities of use. The quest quarters cater 10 persons and the crew quarters 9 persons. The 44Alloy is propelled by two engines that allow a maximum speed of 22 knots.

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These pages: the owner suite of the first Sanlorenzo 44Alloy super yacht designed by Zuccon International Project, with the refined taste and choices of Martina Zuccon.

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It was early 2018 when René Dekker was invited by Anderson Orr Architects to make a presentation to the client for the interior of his new and modern farmhouse in Oxfordshire, England. He was looking for a designer with a fresh approach, to spearhead the interior design for his new home in the Cotswolds. The brief for the design was to provide an interior that was classical within a contemporary idiom. The client was looking for an injection of color within the scheme but with an overall neutral and fresh composition. Within this brief, René Dekker, René Dekker Design London England, designed the floors, walls and ceilings, designed and developed the joinery, as well as the bathrooms including the finishes and sanitary. He chose the colors and finishes and specified the ironmongery and the lighting. The designer selected and specified furniture, including the design of bespoke items, and fabrics, mirrors, decorative lighting, rugs and window treatment and assisted in the selection and purchase of artworks and accessories. Rene Dekker: “This modern farm house in Oxfordshire now is a modern take on a Georgian farm house where the basement level is a huge dedicated entertainment space with 18-seat cinema, games area, bar and cigar wine room. Ground floor is made up of principle rooms and a grand staircase showcasing a 9-meter chandelier we had made in Cape Town. The first and second floors are bedrooms. The client wanted lots of color, which is unusual but I think his bold approach has made for a pretty exciting space.” The shell and core work was already underway when he was engaged. Although there were detailed structural drawings available for the main contractor, he had a lot of catching up to do to in terms of interior fit out work. Dekker: “The design process could not have been more perfect for us; a great budget and a client willing to explore out of the ordinary ideas and schemes that would be infused with color. The client never wavered in his ultimate vision and it is this reason that the finished design is so remarkable, a perfect synergy between client and designer.” The house has a triple volume entrance hall with a large lantern skylight and the full 9m drop is an organic looking chandelier in silver and gold in the form of a magical tree from Willowlamp in Cape Town. The ‘light sculpture’ had to be visually exciting from all floors and not just from below. As the walls in this space go from the ground all the way to the top floor, it was key when choosing the wall covering to achieve both a neutral palette with interesting texture. It found in the form of a pleated linen from Tissage Mahieu France, which would give the space a warm and inviting feel to it. The scheme was completed with a hall table from Kifu Paris and a consul and mirror from John Richard. The designer: “There were only a few rooms where the client had given us any tear sheets and the dining room was one of them. He was looking for a dark dramatic space where he could entertain his guests. We first designed the wall paneling in a traditional style of recessed fielded panels and then added an exotic paper from Arté, in black and gold. The floor here was again a traditional basket weave but with a modern grey tone to it with silver block inserts.” “We completed the look with a silver pearlized paper from Phillip Jeffries on the ceiling. Color came in the form of purple and gold in fabrics from Sahco. Furniture came from the Sofa & Chair co, John Richards and a bespoke 12 seat dining table from The Interiors House. Lighting is by Officina Luce and Heathfield and the artwork is a limited edition print by photographer Dan Bannino called Kates Hollywood Diet.” The living room scheme was all about neutrals and pattern and here the client gave René a free hand in the design. A specially designed curved sofa avoided a stiff or formal layout here. Made up in 4 different fabrics, it is strewn with cushions in all sizes. Fabrics from Zimmer Rohde, Larsen and Altfield. The arm chair is by Munna Design and the two main arm chairs at the fire place and the gold coffee tables are by The Sofa & Chair. The serpentine design consul and occasional table are both from Kifu Paris, the ubiquitous A Modern Grand Tour standard lamp and a bespoke wool and silk rug are from Gravity Flooring. Wall coverings are by Pierre Frey and curtains by Sahco. The rear section of the house became a much more contemporary feel to it, higher ceilings with no cornicing and large glass windows and sliding doors give the best views of the rolling Cotswold hills. The client was very clear about the function of this area as it was the main hub of the house and linked it with the garden and the pool. Here he wanted color and pattern in abundance. The client also gave the designer a tear sheet of a paneled room at Aynhoe Park which he wanted to emulate in the Study. Here again we recreated traditional paneling using a combination of polished iddleback sycamore in the frame and panels and rough oak for the details (to match the floor).

photos: James Balston.

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To complement the ‘collectors’ study look and to add to the exotic feel, we used flocked leopard wall paper from Ralph Lauren in the bookshelf, Today Interiors geometric pattern wall paper on the ceiling and ordered a fabulous textile-dermy trophy lion from Carola Van Dyke. Bespoke furniture here included a leather wrapped desk with brass detailing, a meeting table from The Interiors House and chairs from The Sofa & Chair co. Window treatment by Today Interiors, upholstery by Pollock at Altfield and lighting by Arteriors. The feature wall in the Snug, a flamingo pattern in greens, pinks and blues from Arté, set the tone for the entire space. A large banquette was made using a combination of teal velvet and linen upholstery and this was complemented by a bespoke joinery unit using a mixture of vellum and plain color lacquer. The funky foot stools are by Munna Design. Separating the Snug from the Dining space Dekker designed a two panel sliding screen, providing some privacy when required without interrupting the flow. The informal dining space includes a large 12 seat dining table from The Interiors House and multi-colored dining chairs from Munna Design. The chandelier came in the form of the Bollé from Giopatto and Coombes, a ‘bubbly’ arrangement suspended from rose gold tubes (to match the rose gold base of the table). Finally René Dekker provided the design intent for the kitchen, using a combination of Confusion marble and doors made up from several components including a premade ripple board, fiddle back sycamore, dark stained walnut veneer in a chevron design and rose gold detailing. The lower ground floor was dedicated as a entertainment space and was given a different feel to the rest of the house. A back stair case leads to the atmosphere of a dis-used underground station and a NY city loft. Bookshelfs at the bottom of the stairs are filled with old records, cassette tapes and videos as well as Cine 8 film projector. Just off the lobby is the guest WC where we used a combination of peacock blue mosaic and gold glitter grout with brutalist sanitary ware from Antonio Lupi and a matching stainless steel WC and urinal from a manufacturer in the Czech Republic who supplies prisons! The underground area’s grungy look was achieved by a grey cement style polished plaster to the walls and floors laid in a heavily distressed dark oak. In the bar area the ceiling was vaulted. Brick tiles were added to give that authentic look. The area consists of relaxation space with a giant serpentine sofa, little cocktail tables and old fashioned arcade games. Gold mesh curtains were hang. The Sofa & Chair co and Global Views provide furniture and the pendants are from Moooi. Fabrics are from Today Interiors, Ashley Wilde, Kobe, Aramni Home and Veral de Beval. The bar area has a small round bar which doubles up as a DJ booth and pendants from Rothschild & Bickers. The piece de resistance is the bespoke feature light above the joinery. The games area has a modern pool table from Sir William Bentley and plush brass bar stools from Duquesa E Malvada. Just off the games area is the main wine storage room. The jewel in the crown is the Cinema: a symphony of red with large sofas and wing chairs in velvet and leather from Woodbrooke. Each bedroom on the first floor was given its own identity and character. In the master bedroom, a false curved ceiling was created and soft recessed lighting was installed. The headboard wall was curved almost cocooning the bed and focusing the view out onto the countryside. The master suite had to be enchanting yet striking so we opted for a color scheme of cream, mint, soft pink, gold and lavender and tried to incorporate as many luxurious finishes as possible. The ceiling is covered in a gold fabric, the walls were applied with pearlized paint and the feature headboard is hung in a print called the Secret Garden by Modern Love for Tektura. The en suite bathroom incorporates bold elements such as the purple onyx and gold bath, gold leaf wall covering from Muraspec on the ceiling as well as the 2.3m Flight light sculpture by Sharon Marston. Brassware is by Waterworks. Guest suite one has a color based scheme. The ‘feather’ design wall covering was the first sample we found, on which the entire scheme was based. Added to this he included sea foam and peach with hints of rose gold. Fabrics from Ashley Wilde, Altfield, Romo and Sahco. Lights from Porta Romana, tables from Andrew Martin and peacock stool from The Sofa & Chair co. En suite brassware from waterworks, lights by Kelley Wearstler from Visual Comfort. Guest suite two was based on a Japanese theme, while the scheme in Guest suite three is a modern take on an African theme.

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Rumble in La Mamounia

In 2020 one of the grand old ladies of the hotel world, La Mamounia in Marrakesh, Morocco was renovated by Patrick Jouin and Sanji Manku, Studio Jouin Manku. On the picture the public spaces after renovation. Top left: the famous garden of the hotel. Below the entrance of La Mamounia in its glory days. photos: Alan Keohane.

Hotel La Mamounia in Marrakech, Morocco, became in the beginning of last century a magnet for adventurous, artists and celebrities alike. The hotel and the city developed into one of the places to been seen in the world for an illustrious crowd of rich and famous that travelled and partied in style. It was a place with history, it was mysterious and an exotic and easy. It was a favorite place of Winston Churchill who called it Paris of the Sahara. He liked to spend his annual holiday at La Mamounia. Scenes of ‘The Man Who Knew Too Much’ by Hitchcock were shot here. Originally La Mamounia was a garden in the hearth of city of Marrakech, backed by the ramparts of the old town belonging to the Alawite Sultan Sidi Mohammed ben Abdallah and his wife Lala Fatima. In the 18th century he designed the gardens for his son Prince Al Mamoun and offers them as a wedding gift. The Mamounia Pavillon was the first building in the garden. Built in the nineteen’s century it was known as the Palace of La Mamounia, but was destroyed around 1922. It was at that time that the idea of a Grand Hotel took shape. Albert Laprade signed some initial plans for the project, followed by a second designed by Robert Hare. Both designs turned out to be unsuccessful. It was in 1923 that architects Prost and E. Marchisio started the hotel early designs with fifty rooms on one level for the prime contractor, the National Railways Office. In 1925, the hotel decorated with a sober, modern décor opened. Jacques Majorelle decorated the salon. It occupied the central building with its unique Wing Koutoubia. Marrakech has always been a destination for fashion and design lovers, both for inspiration and for spectacular photo shoots and film productions, much thanks to the beautiful weather and great light all year round.

Yves Saint Laurent came to Marrakech in the early 1960s and immediately fell under the spell of the city with its magical Medina and exotic charm. Together with his partner Pierre Bergé, he bought and renovated several homes in Marrakech and following in their foot steps the creative crowd and jet-setters of that time started to discover the city too. The star architect Bill Willis designed stunning homes for many of them, here on the edge of the desert. The Villa Oasis was one of the homes belonging to Yves Saint Laurent and Pierre Bergé in Marrakech. The Villa Oasis was one of the homes belonging to Yves Saint Laurent and Pierre Bergé in Marrakech. The landmark property is connected to the Majorelle Garden. Both properties are the original creation of French painter Jacques Majorelle (1886-1962) who dedicated his life to create these enchanting gardens and houses. Villa Oasis became the couple’s private home and they put their own mark on this iconic house with the help of architect Bill Willis, interior designer Jacques Grange and garden designer Madison Cox. This was the time that La Moamounia was the center of all rumble. On the initiative of King Hassan II, a first renovation of La Mamounia was carried out in 1977 by the Moroccan architect Lazrak Aziz and French designer Jean-Louis Chollet. In 1991 Alberto Pinto undertook a new renovation, but the hotel as it was, closed in 2002. The furniture, chairs, tables, lamps, clothes, and even horse-drawn carriages were auctioned. However, like a phoenix, it rose from its ashes and was revived. In 2020 Patrick Jouin and Sanji Manku, Studio Jouin Manku carried out the renovation by re-interpret the old school charm of the former La Mamounia. They took care of the hotel’s public spaces with the know-how of Cassina Custom Interiors.

These pages: the entrance hall of La Mamounia.

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softly as in the louisiana sunrise

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Maison de la Luz from Atelier Ace in New Orleans, Louisiana, is a new luxury guesthouse designed in collaboration by the architects EskewDumezRipple and interior design firm Studio Shamshiri. The design team transformed the legacy six-story, 55,464-square-foot former City Hall into a sophisticated destination. Located in the warehouse district near Lafayette Square, the 1906 building was originally designed by Allison Owen of Diboll and Owen Architects in the Italianate style, typical for turn-of-the-century buildings in New Orleans. Inspired by the building’s history, the designers breathe new life and purpose into the building. The restored monumental entry portico covered by an ornamental iron and glass canopy defines the entry into the building. The original historic grand stair was preserved and continues to function as the primary entry to the building. A new, bespoke concierge desk welcomes then guests. Along with a variety of original lighting fixtures and historic windows, colorful marble floors, and French wallpaper.

The furniture was especially curated fort the place and includes skirted armchairs, copper-topped tables, and elaborate Roman mosaic tile baths. The design team with light designer Sean O’ Connor maintained a variety of original lighting fixtures.

Photos: Stephen Kent Johnson

Throughout the project, local artists and artisans made unique artworks.

The project included meticulously restoring key historic elements, modernization of building systems, and upgrades to the building’s storm water management system (designed in collaboration with Spackman Mossop Michaels) to meet the City of New Orleans’s requirements. The hotel offers 67 guest rooms, a private guest lounge and dining room, plus support spaces. Each guest room is set back from the shared hallway by an interior vestibule.

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Above: the Perry Estate in Austin, Texas. It was the residence of Commodore Edgar and Lutie Perry, designed by architect Henry Bowers Thompson and built between 1917 and 1928. Recently it was restored into it former glory to serve as a luxury resort. Right: the entrance hall. Photos: Douglas Friedman.

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The Commodore Perry Estate It was originally the home of Commodore Edgar and Lutie Perry, designed by architect Henry Bowers Thompson and built between 1917 and 1928. Inspired by the owners’ extensive European travels, a series of formal gardens and a large Italian styled mansion and carriage house were built along Waller Creek. A stone wall enclosed the entire compound. The 10-acre estate was and is an oasis in the middle of Austin, Texas. The Italian Renaissance Revival mansion is surrounded by terraces, parterres and fountains, and listed on the National Register of Historic Places. Inside, intricately carved wood and plaster molding, hand-wrought ironwork, and limestone details were combined with Mexican-style tile work for an overall ornate effect. Perry sold the estate in 1944, declaring that the mansion was, “A great place to throw a party, but too big to live in.” Now it got a new life as a luxury resort with the authentic charm. OBJEKT

Above: detail of the entrance hall. Beside that: the Living Room furnished with Chesterfield sofas.The interior of the Perry estate was designed by Ken Fulk, interior designer.

The estate’s current owners teamed with Auberge Resorts to transform the venerable estate, while reimagining the property through a modern interpretation of its residential past. Their objective: relaxed European elegance with true gracious Texas hospitality. The redesign, which involved renovations and new constructions, was a collaboration between architects Clayton Korte and Moule & Polyzoides, interior designer Ken Fulk Inc., and Ten Eyck Landscape Architects. The design team returned the historic components of the property to their former

glory and built a new restaurant to serve as a backdrop to the historic gardens, bringing together all the necessary elements for a new destination resort and private club, The Commodore Perry Estate. The mansion is the centerpiece of the property. This building has an elevated, residential atmosphere as though arriving at the stately home of an old family friend. Working closely with the historic landmark commission, Clayton Korte led the effort to preserve the 10,542-square-foot mansion’s historic significance with modern interventions. Throughout the property, every space has

been furnished with a mix of custom and heirloom vintage pieces . The entry features the estate’s original curving wrought-iron staircase, with a new hand-painted ceiling fresco overhead. The second floor of the mansion is reserved exclusively for hotel guests. The five bedrooms on the second floor from the Perry’s original residence have been transformed into hotel suites as a nod to its original inhabitants. Edgar Perry’s Suite, with its safari-inspired play of patterns, reflects a love of world travel and high culture, while Lutie Perry’s Suite presents a softer side in a palette of pink velvet, faux fur and muted leopard carpet. The redesigned en suite baths were clad in

ceramic tile inspired by the residence’s existing Deco era bathrooms. Downstairs, the entrance leads to the main hall with a loggia, a terrace and the gardens. Other rooms downstairs in the mansion function as they historically would have. Across from the mansion, next to the original carriage house is a newly built three-story inn with guest rooms and terrace suites surrounding a central courtyard. The building, designed by Moule & Polyzoides, features a colonnade suited to the history of the compound. Inside, the guest rooms, Fulk’s design provides an elevated hotel experience.

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Above: the entrance features the estate’s original curving wrought-iron staircase, with a new hand-painted ceiling fresco overhead. Right: the Mr and Mrs Perry Suite at the Mansion. Throughout the estate the space has been furnished with a mix of custom and heirloom vintage pieces for an atmosphere that feels collected over time. OBJEKT

Custom millwork built-ins, rounded plaster archways, furnishings based on Italianate and Spanish Revival antiques, and bathrooms tiled in a classic star-and-cross pattern were all chosen to inspire visitors. The vintage rugs and framed artworks were carefully sourced by the design team. The historic two-story Carriage House was updated and turned into a multipurpose facility, featuring a fitness center on the main floor and Auberge offices on the second floor. The estate grounds, including the legacy swimming pool, were re-designed by Ten Eyck Landscape Architects. They added

agricultural gardens and a network of paths, new and renovated gardens, courtyards, outdoor dining spaces, modernized streetscapes. They also took care of the restoration of Waller Creek as it flows through the property. The estate’s restaurant, Lutie’s, announces its old-fashioned hospitality within a refined garden setting. Designed by Clayton Korte, the new structure provides guests with vistas overlooking the historic gardens. “Designed not to call attention to itself and to be cloaked entirely in ivy, the restaurant is meant to be a backdrop to the garden and the events held within,” noted Paul Clayton, founding partner at Clayton Korte.

Throughout the estate, the collection of vintage rugs and framed artworks were carefully sourced by the design team. Far right: detail of the library. Beside that: the lounge of the Perry Mansion. Above: the oval book-lined library is set up for reading or quiet conversation with overstuffed chairs and a game table. Below: the Hal Thompson suite and the bathroom of La Verne Suite with a more romantic approach.

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One of the suites in the newly built three-story inn of the Perry Estate surrounding a central courtyard. Custom millwork built-ins, rounded plaster archways, furnishings based on Italianate and Spanish Revival antiques. The vintage rugs and framed artworks were sourced by the design team.

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single in bangkok

Located next to Bangkok’s luxurious St Regis hotel Design Intervention Studio designed a luxury penthouse with stellar views of the city skyline. The residential design was recently awarded as the Best Apartment Design & Best Bathroom Design (Thailand), by the International Property Awards 2020. Founded by Nikki Hunt, Design Intervention is a multidisciplinary well known for its customized design projects crafted to the client’s needs and dreams. The owner of this luxury penthouse property with a 270-degree views of the city skyline is a single guy in his 30s. He had the dream of having a refined bachelor pad with all the trappings of a modern-day, luxury Hollywood set. He asked Nikki Hunt to realize his dream. Hunt: “The client wanted a unique and bespoke home. He didn’t want to walk in and see items that he had seen in other homes, so much of what we included was specially designed for him. ” “For the apartment’s color palette we featured mostly earthy tones, paired with subtle use of blue in giving the feeling that the penthouse is floating among the clouds. We turned to texture and layers to add warmth and atmosphere. Every space in the home became statement-making pieces. Bespoke design is certainly a hallmark of what we do. With international brand names so easily available, originality has become the new luxury, and bespoke furnishings can give a unique signature to a home.”

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Many of the furnishing pieces, including the sofas in the living room, the dining chairs, as well as the console in the entryway, are custom-made and created by Design Intervention and other brands such as Essential Home. Essential Home sees this style of interior as a stylish sanctuary from the stresses of life. “In interior design, it’s all about respect for history, bringing together the iconic character and elegance of the space with practical luxury. The Paris fun and magic style represents the our idea of anti-décor: It has to look like you’ve done it yourself like a true French creation.”

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This private Dubai residence represents the vision of Alessia Genova, the young Italian architect newly appointed Managing Partner of Tihany Design (the first one in 42 years of the studio's history). In designing the project she worked closely with celebrated local architect Khalid Al Najjar, developing interiors that both reflected and extended the philosophy of the exterior architecture. The three-story villa is contemporary and refined with a handcrafted, bespoke quality. Each room features a balanced use of natural materials, hand chosen art and a curated selection of furniture and accessories. The open courtyards of the residence repeat key materials used inside, creating a sense of harmony with the outdoors.

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Tihany Design is known for creating bespoke interiors at some of the most iconic and luxury properties around the world, including The Beverly Hills Hotel, Four Seasons DIFC in Dubai, Belmond Hotel Cipriani in Venice, The Breakers Palm Beach, and many signature restaurants for celebrity chefs including Thomas Keller and Daniel Boulud. They designed the latest Mandarin Oriental hotel of Saudi Arabia that will be ready late 2021! It has also become involved within the cruise industry, working extensively with Carnival brands including Seabourn and Cunard.

Founded in 1978 the firm is led by its founder Adam Tihany along with his first-ever partner, Alessia Genova. She began her career at Tihany Design in 2007, and after rising to a senior designer position, held a pivotal leadership role for over ten years, culminating with her appointment as Studio Director in 2017. In early 2020 Alessia Genova was named Managing Partner, signifying a new chapter in the firm’s history.

The Dubai project reflects the vision of Alessia Genova. At the ground level, the sleek infinity pool and central courtyard make up the heart of the property, with the interior façade of the villa surrounding on three sides.

The courtyard’s neutral travertine floors continue into the living room. A horizontally segmented wood wall inspired by the dimensions of the villa’s three floors, provides the division between the kitchen and dining room. 90 OBJEKT

In the kitchen, a brown marble island doubles as an art object against the feature red-mirrored wall. The ground level also includes a private gym, office and massage room. Throughout the interiors, strategically placed bold colors and special materials like oxidized Corten add elements of architectural sophistication, while hidden storage spaces and displayed art pieces play to the linear flow of the architecture. Upstairs, the master bedroom overlooks the courtyard and pool below. A custom red gum accent wall plays against the wood floors and quartz colored area rug. His and her walk-in closets flank the elongated master bath, featuring a custom engraved limestone wall. Also on this level are the terrace, family room and four additional bedrooms located across the gallery corridor.

At the lower level, the eight-seat home theater is reminiscent of a luxury space shuttle. Its polished, curving walls provide the ultimate surround sound experience. The theater chairs, designed by Adam Tihany and produced by Poltrona Frau, are known as ‘The Stanley’ after the designer’s favorite director Stanley Kubrick. Outside of the theater is the villa’s Majlis, clad in black absolute marble and accented by soft, muted furnishings. By comparison, the sculptural courtyard furniture stands against a neutral travertine, creating a yin and yang between the two spaces. The curving outdoor staircase allows for access back to the ground floor. The villa’s 5-car garage and staff quarters are also located on this level.

photos: Eric Laignel

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These pages: all living spaces at the villa in Dubai are focused on the pool. Furniture by B&B Italia, Casamilano, Cassina, Christian Liaigre, 14 Mariani, Minotti, Paola Lenti, Poliform, Poltrona Frau, Porro, Colber and De Castelli. Lighting by Artemide Inc, Diesel with Foscarini and Flos. Fabrics by C&C Milano, Casamance, Jim Thompson and Rubelli. Carpets by Loloey and accessories by Hermes, Bernardaud, L&B London, Homer Design and Armagaan.

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The Townhouse is located in the heart of Hancock Park in Los Angeles, considered as the true old Hollywood, Los Angeles. The famous interior designer Maxime Jacquet designed one of the apartments to be the model house for the four others.

Maxime on the project: “We tried to create an atmosphere that was elegant and chic by using a very monochromatic color palette. We put a lot of attention into using pieces of furniture that are mid century and jazz them up with great classic furniture design pieces.”

He continued: “I also wanted to add a touch of the unexpected by using a slide in the office instead of a chair to make each room fun. The power of staging and ensign was to create an out of the box environment: to create an idea for potential buyers of a wow factor when they walk into the apartment. The atmosphere that would let them fall in love with the space and make them eager to buy.”

“Keep in mind that those houses cost millions of dollars so to seduce the client you really need to blow them away. I think the art that we used is always very powerful. I was also able to use some art pieces that I designed in collaboration with Mira Aer, a Belgium company. The art really brings up the light and adds color to the space. Used touches of red by using china from Hermes to make the dining room look modern but yet classic. By using the emerald green color in the guest bedroom really makes each room look so different but yet they all are in the same spirit. It was a straight away success. All the houses were sold out of staging this one single townhouse” according to the designer.

And about his joy for the staging he said: “I' m able to create a vision right away. That is always the best interpretation of a space. It gives people the need to have more. Premier Stagers, the company where I am the head design, is the number one company in California for luxury staging. We have a reputation for how fast we are able to sell the house I stage because I understand how people want to live and what will be appealing in their eyes.”

Previous pages: Maxime Jacquet. On these and following pages interior shots from the apartment in Old Hollywood designed and staged by Maxime Jacquet. Photos: Anthony Barcelo Head interior designer: Maxime Jacquet Staging Company: Premier Stagers USA

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Wang Wei from

The Beijing based architecture and interior design studio aoe, designed this ShuiFa Info Town Property Exhibition Center, 20 km away from the city center of Jinan, China. The designers were inspired by a verse by the famous poet Wang Wei, Tang period. photos: Jianquan Wu.

m ‘Mountain Dwelling in Autumn’

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Above: the ShuiFa Info Town Property Exhibition Center is located in the Changqing Economic Development Zone, 20 kilometers away from the city center of Jinan. The area has not yet been developed on a large scale. The surrounding environment is a messy mix of high-voltage line towers dotting weed-strewn farmland. Right: the interior of the building is a continuation of the exterior, with the perforated plating elements. A large, four-story atrium serves as a sandbox area and becomes the focal point of the entire space. Natural light comes in from the skylight that is surrounded by perforated plates, forming a space imbued with a sense of ritual.

The architectural design of the project was inspired by Wang Wei's verse from Mountain Dwelling in Autumn: “Rain passes in the pristine mountain, refreshing autumn evening. Moon shines among the pine, clear spring flows on stones”. The Beijing based architecture and interior design studio ‘aoe’ created this ShuiFa Info Town Property Exhibition Center, located in the Changqing Economic Development Zone, 20 km away from the city center of Jinan, China. The four volumes of the structure, refer to a stream of spring water flowing from the cracks in the rocks. The building’s main functions are hosting residential sales expos, property expos, and offices. In order to eliminate the visual impact of the messy surrounding environment, geometrical hills were designed to surround a square, which slowly rises as people enter the site. Mountains, water, and marble are fused together in this undeveloped wilderness. Upon entering the building, visitors are drawn from the wilderness into a paradise. The building is enveloped within a perforated plating, forming a relatively enclosed space. The curtain wall sections are slanted, nestled, and interlaced inside. The gap between the sections naturally forms the entrance of the building. The interior of the building is obscured by the white perforated plating, and as night falls, light shines through the perforated plates to make the whole building glow. To reflect the reputation of Jinan as the City of Springs, a large area of cascading water was created along the main avenue, with the water falling from 4-meter-high stone steps. The main entrance on the second floor is concealed behind the cascading water and can be reached via a bridge. On the exterior part of this bridge is cascading water and on the inside part is a tranquil pool centered around a pine tree.

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Art became an essential part in the design of André Staffelbach and his design team for the Cedar Springs project. On the left a colorful work by Sarah Crowner (American, b. 1974)“Sliced Red and Blue (New Weed)”, 2017Acrylic on canvas, sewn and beside that a work by Garth Weiser (American, b. 1979) “Looks like someone left something on at the restaurant below our aptmt – our aptmt looking like it’s okwoken up @ 5by fire alarms and smoke but interesting moment of grabbing what’s important just in case- which is (drumroll) wedding rings, bicycle, Amy's ghi, laptop, 2013.” Oil on canvas.

photos: Nick Merrick

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Below: one of the center spaces with in the middle “Function V”, 2009, Steel and pompom by Rebecca Warren (British, b. 1965) In the office a work by Park Seo-Bo (Korean, b. 1931) “Ecriture No. 141122”, 2014 Mixed Media with Korean Hanji paper on Canvas. Right hand page: the stainless steel ‘Moon2011by Not Vital (Swiss, b. 1948) and behind that a work by Michael Heizer (American, b. 1944) “Untitled (after “Levitated Mass”, 1982)”, 1985. Polyvinyl on canvas. On the right a work by Ha Chong-Hyun (Korean, b. 1935) “Conjunction 92-64”, 1992. Oil on Hemp Cloth.

The three story brick building was built around the 1930’s as a small hospital and was recently artistically renovated an innovative residential/condominium complex. It is located at the crossroads of Uptown and Downtown Dallas, Texas, a stone throw away from the Perot Museum, Arts District, Klyde Warren Park, and other Dallas. When John Eagle acquired the condo adjacent to his existing space in the building, André Staffelbach, FIIDA and his team came in to do the interior architecture and design of the new John Eagle Space. The original brick portion of the building was erected in the early 30’s. A concrete part was added in 1941 and the structure became its L-shape. The structure had many previous users, including a water works and a large airconditioning supply company. The structure was vacant for approximately ten years until Boots Reeder bought it 1996 and converted it to 12 condos. He renovated the building and took it back to its shell . Boots did the shell and the support infrastructure and sold each unit as shell. Owners could do his their thing, which resulted in every unit having its own style and image and personality. The property is now a combined office and residential complex.

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The redesigned John Eagle spaces include an entry foyer, restrooms, galley kitchens, executive offices, conference rooms and gallery spaces that feature state of the art lighting, high tech A/V systems and advanced security. According toe André Staffelbach is the interior an architectural composite of balance and details. “Our work demonstrates a subtle hierarchy of materials. It is a modernist statement achieved with the use of space, form and light. It is both complex and simple and evokes a quiet sense of wellbeing. It is a space that transcends time. That is evident in the general office space that features an original wood formed concrete wall, enhanced by special lighting to emphasize its texture. Walls were fitted at key locations with museum quality art installation tracks to facilitate a rotating art collection.” Secured by a glass entry door, the foyer was deliberately designed to be a focal point for artwork, flowers, sculpture and furnishings. The office space is entered through a 5-foot solid, milled walnut sliced ‘rain curtain’ door. Light filled spaces harmonize modern aesthetics and amenities with the original industrial architectural elements. The interior renovation achieved the balance between high quality executive workspaces and the scale and detail of an intimate and elegant residence. And while modern and contemporary in design, the concrete evokes memories of the past. Corridors and open spaces celebrate the concrete structure. Solid walls and frameless glass doors and room fronts were sized and designed to balance transparency and connectivity for focused work and meetings. The executive offices were appointed with hand knotted Tibetan carpets made with Tibetan wool and Chinese silk and chinois silk wall coverings from Switzerland. Motorized draperies and shades extend along the entire width of the outside windows. The building fenestration was replaced with new, solar efficient glazing panels. Balconies were remodeled and clad with new porcelain tiles. The central conference room is accented by an original brick wall and features a quartz clad credenza with integrated refrigerator drawers and waste recycling units. A white stained ash wall at the end of the room is detailed with moving panels that lead to an additional meeting/storage area. The break room and ancillary kitchen galleys were designed in a light and modern palette to reinforce the interior vocabulary. The whole interior is illuminated with the latest technological lighting. Many different types of LED fixtures and lighting techniques were included. The light is designed to be both controlled and dramatic.

Corridors and open spaces celebrate the concrete structure. Solid walls and frameless glass doors and room fronts were sized and designed to balance transparency and connectivity for focused work and meetings. It is an essay in detail. And while modern and contemporary in design, the concrete reflects memories of the architectural past. Overleaf: the industrial doors of one of the elevators.

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www.objekt-international.com One of Hans Fonk’s main achievements is OBJEKT©International, the authoritative and bespoke title for the upscale urban modernist with a passion for interiors, art & antiques, modern design and outstanding architecture. Thanks to the general concept, unexpected topics, the selection of designers, and quality of the photos, OBJEKT©International has gained the highest authority in its field. The magazine was first published end of 1991. OBJEKT©International is distributed in over 80 countries worldwide. OBJEKT©Asia is produced for China and surrounding countries.

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UNIQUE EXPERIENCES Selected Retreats for Family & Friends

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equality for all gende

N.5 was an exhibition project created by Manuel Fernández and photographer Omar Ayyashi in Madrid, Spain, for the Fashion Art Institute. Its primary goal was to defend all genders' rights and empower all women and girls. Master of light and artist Grimanesa Amorós presented Precious Nipples, worn by the famous actress Juana Acosta. All dresses were designed by Manuel Fernández and presented by actresses such as Belén Rueda, Paz Vega, Juana Acosta, Anna Castillo, Cayetana Guillén Cuervo. The presentation took place in a very special location: the Real Jardín Botánico de Madrid, an 8 hectares botanical garden in Madrid (Spain), next to the Prado Museum.

Above: Grimanesa Amorós in front of her creation ‘Argentum’ in the Bronx Museum of the Arts, New York City. She created for the N5 exhibition in the Real Jardin Botanico, Madrid,‘Precious Nipples’, a dress worn by renowned actress Juana Acosta. For the event Grimanesa collaborated with fashion designer Manuel Fernandez and photographer Omar Ayyashi.

The garden was founded on October 1755, by King Ferdinand VI on the banks of the Manzanares River. It contained more than 2,000 plants collected by José Query Martínez, botanist and surgeon.

ers