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THE URBAN EXPLORERS’ GUIDE TO STREET ART, ARCHITECTURE & MORE

THE STYLE MAGAZINE FOR YOUR HOME FEBRUARY 2021 £5.20

Welcome to the future FLEXIBLE ROOMS that do it all, GREEN SPACES for everyone and why the SUBURBS ARE SEXY

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DESIGNS YOU’LL NEED IN 2021 & BEYOND

HOME REFRESH

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HOW TO PLANT A FOREST ON YOUR DOORSTEP

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Soothing interiors that define the mood of the moment

February 2021 NOW

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15 News All the latest launches and the names to watch 22 Laura Jackson on… Our columnist shares the best places in Europe to find antiques and why she longs to continue the hunt

24 Design hero Enzo Mari, the political radicalist who created charming objects for children

26 The Minotti way We talk to Roberto Minotti about his father’s legacy, and the company’s new design direction

28 My cultural life British actor Andrea Riseborough 30 Gardens See snowdrops on a tour of Beth Chatto’s garden, plus outside lighting and an illustrated guide to urban plants

32 Pockets of wildness It’s time to go native – why we should all be planting a mini-forest in our gardens

35 Architecture News on the latest innovative projects 37 Ask an architect We meet London-based Phil Coffey 39 Kitchens & bathrooms Baths go modular, plus space-saving hot taps and a covetable store cupboard

40 Technology Become a Samsung art sleuth and say it with a Philippe Starck smart ring

42 At home with Design tastemakers and Canadian twins Byron and Dexter Peart

STYLE

Welcome to the future

49 News A focus on the fabrics, paints and wallcoverings for your next project

53 Colour pioneer Maxfield Parrish, the American artist who mastered the blues

54 The palette Reach for the sky and use

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Parrish’s rich shades to transform your space

56 Decorator index London duo No.12 create interiors with a calm sophistication

58 Responsible fabrics Meet the brands

71 Are you ready for 2021

taking a sustainable approach to textiles

60 Carefully considered Fill your home with future heirlooms and pieces to treasure

66 Penthouse living Enter the world of ELLE Decoration through our first interior design project in London’s Covent Garden

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and beyond? We share expert opinion on everything from the design of our homes to the rise of suburbia, and introduce our edit of tomorrow-ready buys

PICTURES: MAXIME BROUILLET, OLI SMITH, LISA COHEN, ARIADNA & BIANCA BUFI, BEN WELLS, GETTY IMAGES

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HOMES

90 Carving a calm future The striking, curved exterior of this monumental Melbourne home conceals a suprisingly serene interior

104 Good vibes only Le Corbusier’s famous ‘Les Couleurs’ palette provided the inspiration for a joyful abode in Paris

116 A new renaissance In this apartment in Rome’s stunning Palazzo Sacchetti, 18th-century decoration meets modern design

124 Rested development The owners of a London Victorian terrace have created a calming, clutter-free interior

134 Increase the contrast A bold monochrome palette is the defining feature of this former schoolhouse in Amsterdam

144 Playing house Character and fun abound in this Basel coach house, which has been transformed by its innovative architect owner

Finally

Escape

12 Subscriptions Never miss an issue of ELLE Decoration with this great offer

157 Urban exploration Mindful winter walks, plus how to supercharge your stroll

164 Painting the town The muralists leading a public art revolution

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168 Stockists Where to buy 178 Treasured British designer Daniel Schofield on the beloved buy that has become part of a lockdown ritual

The covers Newsstand A sweeping sculptural staircase plays a starring role in the spectacular concrete and glass home in Melbourne – shown in full from p90.

Photography by Lisa Cohen

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Subscribers Enjoy this artful detail of the open-plan interior from an alternative view

FEBRUARY 2021 ELLEDECORATION.CO.UK 7

From the Editor

I

was a child of the Eighties and one of my favourite films, then and now, is the classic Back To The Future, which sees a time-travelling teenager trapped in 1955 and trying to find a way back to the present day. After the year that was 2020, the fantastical sci-fi plot resonates with me more than ever. It’s been 12 months where we’ve all felt equally imprisoned in what has seemed to be some sort of alternate dimension. The idea of battling to get back to normality feels painfully familiar.

Of course, as much as we may be hankering after what our lives used to be pre-Covid, the reality is that the way we live has changed irrevocably. So, while we’re looking back at what went before, as we burst enthusiastically into a shiny new year, it’s vitally important to also think of the future and explore the idea of change.

Nowhere is this more apparent than in our homes. No longer just sanctuaries, we have come to inhabit them 24/7. They have become our everything: office, gym, restaurant, pub, school… our worlds have shrunk to the confines of our four walls. This means we’re now looking at where we live in a whole new light.

While the new year always brings with it a sense of reflection and reassessment, in 2021 this feeling is greater than ever before. That’s why we’ve dedicated this issue to all things ‘future’. There’s an array of houses from around the world, all showing the great variety of what living in the here and now means, and insight on how our homes and the way we live will change going forward from a carefully curated selection of design and architecture experts. It may sound strange, but – you read it here first – we’re all soon going to be planting urban forests and upping sticks to the suburbs!

In true ELLE Decoration style, we’ve also put together an edit of forward-looking furniture, accessories and more to invest in, all linked to the big ideas and themes, which are set to shape tomorrow.

Plus, as travel plans are still scuppered, for the moment at least, we reveal how you can explore nearby urban environments, finding golden gems among the grit and learning new things along the way.

So, as you lean into 2021, I hope you make like my hero Marty McFly and look both back to the past and towards the future… In my opinion, it’s the best (and only) way forward. Here’s to a year like no other, but this time for all the right reasons.

‘While we’re looking back at what went BEFORE, it’s VITALLY important to also think of the FUTURE and explore the idea of CHANGE’

PICTURE: BEN ANDERS

Editor-in-Chief

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House of Hearst, 30 Panton Street, London SW1Y 4AJ EDITO R- IN - CHIEF BEN SPRIGGS Creative Director Philippe Blanchin

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Collector’s CHOICE New online gallery Select Works specialises in affordable, limited-edition artworks from a hand-picked roster of primarily UK-based artists.

Their work spans ceramics, prints, painting and sculpture, with new pieces added to the site each month via viewing events where one-of-a-kind works are released each day at 8am over the course of a week (February’s event will take place from the 3rd). Names to watch include ceramicist Bilgin Bernard (aka The Clay Assemblage), whose hand-built forms (below) explore the idea of spatial boundaries. ‘Earth In Isolation No 14’, £170; ‘Earth In Isolation No 15’, £400; ‘La Piscine’ by Ines TahiriAlaoui (on the wall), from £250 (select-works.com).

Edited by K ATE WORTHINGTON

ECO DECO

HOME GROWN Launched at 2020’s Design Nation exhibition as part of Decorex, the ‘Prism’ collection by Scottish designer-maker Angus Ross scooped the award for Best Sustainable Product. Crafted in Ross’s Perthshire workshop from local ash and oak, it takes its name from the sliced and steam-bent triangular arches that sweep around the frame of each piece, adding strength to the structure as well as creating a refined silhouette. The range includes a chair, shelving unit, side table and a stool with a hand-twisted English rush seat.

From £900 for a table (angusross.co.uk).

BRIGHT FUTURE

PICTURES: YESHEN VENEMA, ANDY STAGG

Admirers of Yinka Ilori’s uplifting public artworks can now bring a piece of his positivity home with the launch of his debut accessories collection. A celebration of Ilori’s British-Nigerian heritage, the range includes tableware, kitchen textiles, rugs and cushions emblazoned with the artist’s signature bold patterns and kaleidoscopic colour palette.

There’s as much focus on craft and quality as on aesthetics, with pieces produced by specialist makers in Portugal, Poland, Nepal and the UK to ensure each design spreads joy long into the future. From £32 for a mug (shop.yinkailori.com).

NOW

5 MINUTES WITH…

TEJ CHAUHAN We talked to the British industrial designer known for his playful, futuristic aesthetic about his work and recent collaboration with Swiss watchmaker Rado

PICTURES: DANIEL SCHALHA, STUDIO1, OLI SMIT

How would you describe your approach? We call it ‘emotive industrial design’. We try to use form, colour and materials to elicit joy. It’s specifically designed to engage people, and to invite interaction.

Which design best sums up your studio’s work? Difficult question to answer! The ‘Colombo Two’ telephone, designed in 2008 for SGW, is a good example of a design that brings together our core values – emotion, function, connection and accessibility. It really helped to define my path in design; to create objects that make a connection with as many people as possible, and to make them feel good.

What was your starting point for the ‘True Square’ project? Rado’s combination of high-tech material innovation with traditional craftsmanship was fascinating and inspiring – I wanted to find a way to express this contrast. Creatively, I was inspired by enduring futurist visions from popular culture – Stanley Kubrick, Syd Mead, Herb Lubalin… many of my references are over 50 years old but still feel fresh to me. The timelessness itself is an inspiration. It has the feel of a traditional watch, but with a contemporary slant.

Tell us about the choice of colour and materials…

I wanted to highlight the watch’s high-tech ceramic body, so we chose the matt finish for the case to emphasise its feel, and the colour to draw the eye. The strap is made of small leather pillows, emulating watch links but soft and tactile – it’s designed to make you want to try it on, and also showcases the traditional craft that goes into Rado timepieces.

What were the main challenges? We are used to working at different scales, including very small – within fractional increments of a millimetre – but here we were working with microns. For example, we had to change our original design of the watch hands because of the thicknesses of different paint pigments, and also had to adapt some of our surfacing techniques. I learnt a lot about luxury watchmaking traditions and processes. £1,640 (rado.com/en_gb).

Best case scenario Globe-Trotter and British designer Bella Freud have teamed up to create a series of leather-trimmed trunks designed to store treasured items, marking the luxury luggage brand’s first foray into homeware. Globe-Trotter’s signature chrome-edged vulcanised fibreboard has been emblazoned with Freud’s idiosyncratic artworks and slogans, and are a natural extension of her growing home accessories line. Available in three sizes.

From £495 (bellafreud.com; globe-trotter.com).

OUT OF THIS EARTH

Comprised of circular tops that appear to hover in space, the double-tiered design of Bontempi Casa’s ‘Planet’ side tables deliver enough space to display decorative objects and keep essentials close at hand. Conceived by Solido Studio, tops are available in glossy or matt glass and marble, while legs come in a spectrum of lacquered metal finishes. From £970, Go Modern (gomodern.co.uk).

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BEST IN SHOW From beds to bowls, wares for our furry companions are becoming increasingly cool. Here’s our pick of some of the most stylish new designs With huge swathes of the population working from home last year, it’s no surprise that many took the opportunity to welcome a fourlegged friend to the family – visits to the RSPCA’s puppy-fostering pages rose by 650 per cent over lockdown – resulting in an unexpected boom for the pet industry. Although designer accessories are nothing new, there’s a noticeable influx of products that sit at the intersection between the pet and interiors phenomena stirred up by coronavirus, aimed squarely at those who want their animal apparatus to look at home alongside Farrow & Ball paint and Eames chairs.

One of the boldest new launches comes courtesy of Manchesterbased brand Hik9, which has teamed up with Studio Rhonda to create a series of seven striking beds that feature graphic prints, punchy colours and sleek lines: ‘I wanted to make the product a desirable item of furniture for the home, rather than just a dog bed. Each product is really individual in its cut and design, you could even hang it on the wall as a piece of artwork in your home if you wanted to,’ explains Studio Rhonda founder Rhonda Drakeford.

Alessi has also introduced several novelties to its pet lines; the ‘Acino’ dog-waste bag dispenser, more akin to jewellery or sculpture in sleek stainless steel, the playful ‘Ciao’ lead and the futuristic-looking ‘Tacaban’ bed for cats and dogs, which is designed to make pets feel protected and hidden while still being able to keep a beady eye on their human companions. Meanwhile, dog-bed specialist Charley Chau launched its ‘Bliss Bolster Bed’ over lockdown, a design that’s made from upholstery-grade material and is designed to be as robust and comfortable as any sofa. Its elegant design has removable covers, the idea being owners can switch up the look just as you might do with bedding. Feeding time is just as well catered for, thanks to Kintails’ earthy ceramic bowls and treat jars, a collaboration with Kana, whose sought-after ceramics grace the tables of restaurants and stylish abodes alike. Pets have never had it so good.

Above, from top ‘I Am Happy Because Everyone Loves Me’ Louis Wain cat bowl, £28 (cheshireandwain.com). ‘Ciao’ dog lead by Miriam Mirri for Alessi, £32 (alessi.com). ‘Bliss Bolster Bed’ in ‘Jade’, from £225, Charley Chau (charleychau.com) Below from top left Kintails x Kana large ceramic dog bowl in ‘Sea Breeze’, £48 (kintails.com).

‘Tacaban’ pet bed by Michel Boucquillon for Alessi, £174 (alessi.com). ‘The Tsar Caviar’ cat collar, £55 (cheshireandwain.com).

HiK9 + Studio Rhonda dog bed, from £70 (hik9.com)

NOW

C H E C K M AT E S If The Queen’s Gambit didn’t convince you of the style credentials of chess, FontanaArte’s latest limited-edition reissue surely will. Created by Milanese artist Bobo Piccoli in 1968, the ‘Re’ and ‘Regina’ lamps are inspired by the game’s king and queen pieces. Their soft, ethereal glow can be controlled via a dimmer.

From approx £1,570 (fontanaarte.com).

ECO DECO

PAT ON THE BACK ‘Morphs’ is a family of five cubical objects made from a bio-based composite derived from cow dung. A collaboration between Netherlands-based Studio Lindey Cafsia + Studio Carbon, the series harnesses the potential of a cheap, plentiful raw material. No glaze is added, so the (odour-free) material can be reused. From £64 (adorno.design).

H A U T E H E A D S - U P Luxury homeware brands are finally embracing e-commerce. Italian firm Molteni & C

has just launched its first shoppable platform in the US, due to be rolled out in the UK this year (shop.molteni.it).

Meanwhile, Matthew Williamson's homeware products are now available via a new e-commerce site, meaning everything from wallpapers to stationery is available at the click of a mouse (matthewwilliamson.com).

NAME TO KNOW

METTE SCHELDE The Danish architect and designer has collaborated with Fritz Hansen on the ‘Stub’ side table, first exhibited at the 2019 London Design Festival ( fritzhansen.com) What’s your design approach? I work quite experimentally but always from a starting point of function. Some of my projects will remain experimental while other objects are made for production, and to do both is essential for my work in order to explore and experience design in all its forms.

I strive to integrate the values of quality, functionality, choice of materials and craftsmanship in my pieces.

Tell us about the ‘Stub’… The table is inspired by a wooden ‘stump’ – ‘stub’ is Danish for stump. I wanted the assemblage between the glass top and wooden base to generate a functional, even tabletop with a light expression. It required several experiments to master the joining of materials without any glue or visible fixings. The glass and base are cut at a 45-degree angle so they lock into position smoothly – this is what makes it strong.

What does good design mean to you? A good design has the optimal balance of function, material and form. It will last long into the future – both physically and aesthetically.

What are you working on next? An experimental lighting installation for an international exhibition, and then an architecture project – a summer cabin. metteschelde.com

‘Stub’ side table by Mette Schelde for Fritz Hansen, from £507 (fritzhansen.com)

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Pieces such as Ikea’s ‘Lisabo’ desk will be included in the BuyBack scheme (ikea.com)

REBOOTING RETAIL As the recent demise of Arcadia Group and other stragglers of its ilk have shown, retail is undergoing an evolution. All signs seem to suggest that outmoded linear models of consumption and throwaway culture are dying while flexible, sustainable and customer-first frameworks are on the rise. One of the most ambitious initiatives is Ikea’s recently launched BuyBack scheme. Part of its strategy to become a fully circular and climate-positive business by 2030, customers can sell back selected furniture in exchange for a refund card (with no expiry date) to spend in store.

The pieces will go back on sale in the brand’s BuyBack area or online. The move recognises the customer’s need for flexibility, but also the fact that the company has been criticised for fostering the notion of ‘disposable’ furniture (ikea.com).

Even more pioneering is Italian brand Supernovas’s Streaming programme. By signing up, customers can buy the new ‘Afterlife’ collection of recycled plastic crates and benches designed by Dutch studio Odd Matter in monthly instalments of £15.

They can keep their ‘streamed’ products for as long as they want – even for just three months, for a total cost of £45, or forever (payments stop when the product’s total cost has been reached). Supernovas’s concept aims to ‘enable dynamic living’ so customers feel free to buy in the knowledge that pieces can be swapped and recycled should their needs change (supernovas.world).

IN THE SADDLE

A lesson in considered design, Meridiani has coaxed two chairs from the same slender frame. The ‘Teresina’ chair’s solid-oak structure can play host to either ‘soft’ (padded) or ‘kuoio’ seats, the latter (pictured) having a saddle-like feel, with a leather canvas bound to the frame to form a suspended seat. From £2,448 (meridiani.it).

‘Afterlife’ crates by Odd Matter, from £360 (supernovas.world)

POTS OF STYLE One of the latest artists to join online art dealer Partnership Editions’ books is Madrid-based Laura Vargas Llanas. Under the pseudonym Kanica, her practice revolves around craft techniques.

The terracotta ‘Amphora’ series is a collaboration with a maker in southern Spain, whose blank vessels become a canvas for Kanica’s vibrant designs. From £90 (partnershipeditions.com).

NOW

BRAND TO KNOW

ACERBIS The Italian stalwart is embarking on an exciting new era, thanks to a creative shake-up and a judicious delve into the brand’s past

Clockwise from above Francesco Meda and David Lopez Quincoces with the ‘Storet’ drawers; ‘Menhir’ console table, £4,852; ‘Life’ sofa, from £14,396; ‘Menhir’ coffee tables, from £2,525; ‘Sheraton’ sideboard, from £6,359; ‘Storet’ chest of drawers in ‘Walnut’, £4,427, all Acerbis at Aram Store (aram.co.uk)

PICTURES: ALBERTO STRADA

‘Acerbis has a great history – the brand has marked many milestones in the Italian design scene,’ says Francesco Meda, who along with David Lopez Quincoces, was appointed creative director of the family-run furniture firm last year. They’ve certainly taken on a legacy. Founded in 1870 and now in its fourth generation, it’s one of just a handful of firms to have exhibited at Milan’s Salone del Mobile from the very beginning, presenting new designs at every edition. After being acquired by MDF Italia in 2019, the brand celebrated 150 years in 2020 with the unveiling of the new creative director duo’s debut collection. Appropriately enough, they had turned to the archive, resurfacing forgotten gems by a roll call of Italy’s most trailblazing designers — among them Vico Magistretti, Nanda Vigo, Gianfranco Frattini and Mario Bellini.

‘When we started to look at the archive, we realised that there were some really beautiful pieces, never launched but with an extremely contemporary aesthetic as well as great commercial potential,’ Meda explains, pointing to pieces such as Nana Vigo’s 1994 ‘Storet’ storage pieces, particular favourites of his, with their seductive combination of glossy lacquer and fine cabinetry.

‘We were fascinated by Acerbis’ golden years, when innovative mechanisms and lacquering processes were a fundamental part of the company’s DNA.’ Subsequently, these signature elements play a starring role in the collection, which highlights designs dating from the mid 70s to the late 90s – some of them shockingly ahead of their time. Although pieces were left largely unchanged, a few tweaks were required to bring the collection together and up to date, says Quincoces: ‘We’ve reinvigorated the originals by giving them more contemporary proportions and a gritty colour palette inspired by vintage cars of the 70s.’

Other showstoppers include Gianfranco Frattini’s ‘Maestro’, a table with an intricately cut-out base and central bridge, which recalls traditional Japanese architecture and Roberto Monsani’s louche 1974 ‘Life’ sofa, a low-slung modular marvel so daring for its day that Monsani never saw it in serial production.

With their tenure off to a stellar start, the partnership has proved to be an inspired move on Acerbis’ part: ‘We trust each other and work very well together, thanks to our two different approaches,’ explains Quincoces, whose architectural background complements Meda’s product-first focus. Looking ahead, the duo have plans to continue delving into the back catalogue, while adding some originals of their own: ‘In order to continue the brand’s avantgarde vision, it’s necessary to introduce projects not only from us, but other new designers,’ says Quincoces. Going by the evidence so far, it seems that Acerbis may well be about to enter a second golden age (acerbisdesign.com).

FEBRUARY 2021 ELLEDECORATION.CO.UK 21

NOW Brussels’ famous f lea market at Place du Jeu de Balle

L AUR A JACKSON ON…

The thrill of the antiques hunt This month, the writer, presenter, podcaster and entertaining guru discusses the joy of tracking down a vintage gem and longs for a time when she can go on her next sourcing expedition in Europe I love a good furniture-sourcing trip, but there hasn’t been much of that lately – the odd visit to the antiques market at Kempton hasn’t quite scratched my itchy feet. During lockdown, I have purchased a few items online – an outdoor marble-topped table from Ebay, a cabinet from Margate via Facebook Marketplace and a new sofa from Caravane – but, for me, there is nothing quite like ‘the search’. The thrill of haggling direct at source and getting a bargain.

Last year, I went on one of the best furniture-finding trips of my life, taking my family (including newborn child!) to Belgium and the Netherlands. I was looking for furniture for the house: namely a very large kitchen cabinet in which to store my ever-growing glassware collection. I knew through interiors-obsessed friends that there were more wholesale furniture stores in Brussels, so I decided to don my Inspector Clouseau hat and investigate. A few places had Instagram accounts, so I direct-messaged them to see if they had other recommendations in their area. After checking

A carefully curated display at Christiaensen & Christiaensen in Antwerp

Antique shutters and doors at Dutch emporium Empire

on opening days and times, I began to establish a shopping route.

Our first stop was Empire, in Best, just north of the Dutch city of Eindhoven. This gigantic warehouse stocks incredible pieces, from butcher’s blocks and marble fireplaces to vintage children’s cars and old restaurant lights. It specialises, however, in shutters sourced from Egypt and has an entire room of them. We found two amazing cabinets for the kitchen, which we had shipped back to London.

Mission essentially accomplished, we then headed to Antwerp to visit a beautiful store called Christiaensen & Christiaensen, enticed by its curated mix of antiques and new rattan pieces. Another favourite was lighting shop, ’t Glashuys, that has some lovely ceiling and wall lights made from milk glass – the kind of lights that seem to be everywhere in the US, but are usually nowhere to be seen in Europe.

Our final destination was Brussels, a city that excels as a source of mid-century furniture. Some designer items come with a high price tag – like the iconic armchair by Czech designer Jindrich Halabala I spotted – but there’s some great, inexpensive shopping to be done, too. The best destinations for hunting down gems are dotted along two streets: Rue Haute and Rue Blaes, with a daily flea market just off the latter at Place du Jeu de Balle. We spent hours in Via Antica, which has three floors packed with goodies. I came away with a travertine coffee table that now sits, pride of place, in my living room.

It’s on trips like this that you discover the things you’ll love the most – items that hold memories of how and where you found them, and the deals you pulled off to get them. I’m hoping this year that we’ll all be able to go on furniture-finding adventures. There’s a buzz like no other that comes from tracking down the perfect piece for your home.

See Stockists page for details of all stores mentioned 22 ELLEDECORATION.CO.UK FEBRUARY 2021

PICTURES: STEPHANIE SIAN-SMITH, NICHOLAS SMET, ALAMY

‘THERE IS NOTHING QUITE LIKE THE THRILL OF HAGGLING DIRECT AT SOURCE AND GETTING A BARGAIN’

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ENZO MARI The Italian designer who combined political radicalism with a love of playfulness and functionality

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Above ‘Uno, La Mela’ and ‘Due, La Pera’ silkscreen prints, £120 each, Enzo Mari for Danese Milano (danesemilano.com)

MARI BELIEVED THAT DESIGN SHOULD COMMUNICATE KNOWLEDGE TO ORDINARY PEOPLE From above left ‘Bambù’ vases, from £240; ‘Formosa’ and ‘Timor’ calendars, from £110; ‘16 Animali’, £307, and ‘Putrella’ centrepiece, £557, all Enzo Mari for Danese Milano (danesemilano.com); ‘Seggiolina Pop’ children’s chair, from approx £54, Enzo Mari for Magis (magisdesign.com); ‘Lezioni’ vases, from approx £65, Enzo Mari for Corsi Design (corsidesign.it)

WORDS: AMY BRADFORD

Enzo Mari (1932-2020), who died last October aged 88, was once described by architect Stefano Boeri as ‘a constellation’. Artist, furniture maker, graphic designer, architect and polemicist, the Italian was at once cerebral, uncompromisingly moral and playful. Many of his most famous creations are timelessly charming objects for children.

Mari was born in Novara, near Milan, and studied art at the Accademia di Brera in the early 1950s. He soon became fascinated by industrial design and sustainability. One of his earliest works was the ‘Putrella’ table centrepiece (1958), made from a length of repurposed industrial iron. It epitomised his lifelong philosophy that design should be both mindful of material resources, and affordable to all. An ardent communist, Mari was scathing about the modern design industry, which he regarded as obsessed with profit, celebrity and frivolity over substance (he denounced its starrier personalities as ‘publicity whores’). Instead, he believed that in order to be worthwhile, design should communicate knowledge to ordinary people. Functionality, longevity and a respect for everyday human needs were always at the forefront of his mind.

The ‘Putrella’ collection marked the beginning of Mari’s lifelong collaboration with Danese Milano, which still produces many of his works.

Among them are the ‘16 Animali’ and ‘16 Pesci’ wooden puzzles (1967) and simple silkscreen prints depicting apples and pears (1963), which are as enchanting to adults as they are to children. A subtle approach to sustainability is evident in the ‘Formosa’ (1963) and ‘Timor’ (1967) perpetual calendars, and the elegant ‘Paros’ marble vases (1964), which are limited to just 100 pieces per year.

Mari also undertook thoughtful projects with other manufacturers. His ‘Seggiolina Pop’ polypropylene children’s chair for Magis (2004) weighs just 850g – it’s robust, but light enough for kids to carry independently. And in 2011, he created tableware in colourful, eco-friendly resin for Corsi Design. It’s made to order, minimising waste and making each piece unique.

For Mari at his most radical, though, look to his 1974 manual Autoprogettazione?, published

by Corraini Edizioni. It contains instructions for making basic, customisable wooden furniture; Mari’s way of rejecting mass production and giving people the ability to build furniture as they needed it. In 2014, Mari permitted ethical craft project CUCULA to sell the designs, which were made by refugees learning new skills.

Mari is currently the subject of a retrospective at the Triennale Milano (until 18 April). It may be the last for a while, as he donated his archive to the city of Milan on condition that it remain sealed for 40 years. The reason? His sceptical view of modern commercialism, and his hope that future generations might see his work through more enlightened eyes. Nevertheless, his designs remain available to everyone – and they’re pure joy. triennale.org

The

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MINOTTI

From left Roberto Minotti , Renato Minotti and art director Rodolfo Dordoni

Synonymous with sleek Italian style and quality for more than 70 years, the family-run brand’s latest chapter has a truly global outlook ‘I love the architects and designers of the 1950s,’ says Roberto Minotti. ‘Richard Neutra, Alvar Aalto… they were interested in serving the people, in innovation rather than fantasy.

You think about an Eames chair, and it’s comfortable and useable, as well as being beautiful. It’s not design for design’s sake.’

The elegant 60-year-old is talking to me from the company headquarters in Meda, a town north of Milan, where his family

has been making furniture under the Minotti name since 1948. ‘My father, Alberto, started the company here just after the Second World War,’ says Roberto. ‘He came from Meda. My mother, Ileana, was from Milan. At first it was all about classical wooden furniture and traditional sofas, then by the 1960s he had moved into much more contemporary design, and by the 1970s, it became really modern. But my father

always believed in form and function, as well as good looks, just as we do today.’

Now, more than 70 years on, Minotti is synonymous with some of the sleekest and most sartorially sophisticated furniture to come out of Italy. ‘A lot of it is about truth to materials,’ says Hamish Brown, the co-founder of 1508, a London-based interior design company that specialises in high-end residential and hospitality projects. ‘Minotti

PICTURES: COURTESY OF MINOTTI

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never does that maximalist, over-designed thing. It relies on very clean lines, a clear use of textiles and finishes, and the purity of the piece to tell the story.’

2020 was, of course, a tough year all round for the furniture industry, though Minotti seems to have ridden that wave with its own kind of elegance. ‘We couldn’t do the Salone, so we created a professional television studio in our HQ and made a film to launch the 2020 collection instead,’ explains Roberto.

Key new pieces, including the ‘Torii’ range by Nendo and Marcio Kogan’s ‘Daiki’ seating, are some of that production’s stars.

‘I feel that we still have a lot of energy, and also the market for furniture is good right now,’ says Roberto. ‘Since lockdown, people have been really interested in changing and improving their homes. More than cars or travel, it’s what people are currently investing in. And they are thinking more long-term. Minotti is not a cheap, but it’s excellent quality. It’s something to hold on to for many years.’

Roberto and his older brother, Renato, took over the reigns at Minotti rather sooner than they had expected. Roberto was just 30 in 1991, and Renato 35, when their father died unexpectedly. ‘It was a very bad moment,’ Roberto tells me, ‘but we decided to take up the challenge.’ In 1998, they introduced an art director, Rodolfo Dordoni, who has been an integral figure at the firm ever since. He is a master of the Milanese sensibility; there’s something of the sexy 1970s about his effortlessly streamlined sofas, subtly curved cushions and smoky glass tables.

‘What’s important about Rodolfo is that he is also an interior designer and understands how the pieces work in a space,’ says Roberto, himself an architecture graduate, having studied at Milan’s famous Politecnico.

Dordoni, who has described his own work as ‘rational, sometimes conservative and sensual’, has created some of Minotti’s most iconic pieces. There is the ‘Andersen’ seating system, now 10 years old – the sofa skims the floor with low-slung grace; the ‘Van Dyck’ table from 2004, with its three distinctive crisscross legs, and the ‘Aston’ family of seating from 2014, which has seductive, but decidedly retro, curved seat backs. One of his original series – the chunky ‘Suitcase’, which typifies the deep, square chair of the 1990s – was updated in 2019. Good designs, it seems, can go on forever.

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‘I FEEL I’M TRAVELLING THE WORLD THROUGH OUR DESIGNS’ 2020

Nonetheless, in 2017 – a year ahead of the company’s 70th anniversary – the Minotti brothers decided it was time to approach new design talent from diverse cultural backgrounds to interpret the brand’s Italian DNA . First, they invited the Parisian designer Christophe Delcourt to bring his more decorative point of view. ‘I liked his creativity,’ says Roberto. ‘His work has real charm.’

Delcourt, in defiance of Minotti’s world of straight lines, created sofas that seemed to have been carved out of a circle, and which were presented at 2019’s Salone, where even the stand itself was rounded. The latest collection is testament to the brand’s far-reaching ethos. Nendo, which first collaborated with Minotti in 2018, has created the ‘Torii’ series, that represents the torii entrance gate to Japanese Shinto shrines.

Roberto Minotti had also visited Marcio Kogan in São Paulo a few years before. ‘I was a big fan of his work,’ he says of the Brazilian architect, who went on to start his association with the company with his 2018 ‘Quadrado’ system of outdoor modular seating, updated in 2019 with new pieces, and followed up with 2020’s ‘Daiki’ chair, ‘Linha’ and ‘Boteco’ series.

The Copenhagen-based duo GamFratesi also contributed to the last two collections. ‘We wanted to bring the essence of Scandinavian design to Minotti,’ they say, of their ‘Fynn’ series. ‘We worked very hard on the armrest, it was the centre of the project for us,’ they continue, referring to the exquisite upward curve of the chair’s polished wooden arm.

‘I stopped travelling last February,’ says Roberto. ‘But although I haven’t left Italy for months, I feel I’m travelling the world through our designs.’ Indeed, through the inimitable Minotti world of design.

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From top ‘Hamilton’ seating system, £8,645; ‘Andersen’ seating system, £9,152; ‘Aston’ lounge chair, £3,598; ‘Van Dyck’ outdoor table, £8,471 , all by Rodolfo Dordoni; ‘Daiki’ chair

by Marcio Kogan, £5,803; ‘Fynn’ armchair by GamFratesi, £4,865; ‘Connery’ seating system

by Rodolfo Dordoni, £13,835; ‘Torii’ bergère armchair with matching pouf by Nendo, £5,600, all Minotti (minottilondon.com)

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An arbiter of taste tells us what they’re reading, listening to and more 7

British actor Andrea Riseborough is one of our most chameleonic talents. After graduating from RADA, she made waves with her BAFTA-nominated turn as the former prime minister in television film Margaret Thatcher: The Long Walk To Finchley – roles followed in everything from Best Picture Oscar-winner Birdman to Black Mirror. She’s taken on heady horror in Mandy and brilliantly biting political satire in The Death Of Stalin. Her latest leading role is in Luxor – in her words, ‘a portrait of the fallout of conflict in the Middle East, and a story of healing’. Directed by Zeina Durra, it’s available to watch on demand from 4 January (modernfilms.com/luxor).

At the moment, I’m listening to Oscar Peterson Plays Duke Ellington and Howlin’ Wolf’s Moanin’ In The Moonlight. I’m in Butte, Montana (8) shooting Please Baby Please by Amanda Kramer, which is set in a surreal representation of what might have been the 50s beatnik community in New York. These are some sounds Suze, the character I play, might move to with a glass of cheap red wine.

The record that makes me instantly happy? Ain’t Got No, I Got Life by Nina Simone (3).

My guilty pleasures include anything featuring Peter Falk, no matter the quality. If pressed to do it (in a life or death situation), I feel I might be able to recite most episodes of Columbo (7).

The books that have influenced me the most include James Baldwin’s novels and essays, for their honesty, their integrity and their unrivalled eloquence. I read Joan Didion’s Year Of Magical 28 ELLEDECORATION.CO.UK FEBRUARY 2021

Thinking – amongst others – as a study of grief while preparing for the play A Brief History Of Helen Of Troy at London’s Soho Theatre (4). It celebrated the fine line between reality and illusion.

At the moment I’m reading Intercourse by Andrea Dworkin (2).

I have just played Dworkin in My Name is Andrea with Pratibha Parmar directing. Once I started at the beginning of her feminist canon I found myself unable to stop.

Some of my favourite words are from Spike Milligan: ‘Said Hamlet to Ophelia, I’ll draw a sketch of thee. What kind of pencil shall I use? 2B or not 2B?’ My most-loved art museum is the Museo Del Prado in Madrid, and my favourite work within is Hieronymus Bosch’s The Garden Of Earthly Delights (1). In my mid-teens I had one of those £1 picture books – from Woolworths, I think – which contained written elements of his life and images of his work. To see the Earthly Delights in person was an experience I’ll never forget. It was the first art gallery I visited outside of the UK – I was 18, and with my first ‘proper’ boyfriend from Newcastle.

The last exhibition I saw was From The Douanier Rousseau To Séraphine: The Great Naïve Masters at Paris’ Musée Maillol (6). It was a revelation. Intimate and not heavily advertised, I felt I’d stumbled upon a gem not to be missed.

My top podcast tip is Dirty Diana (5). Shana Feste and Demi Moore are the driving forces behind this episodic delight, which is somewhat of an oddity in that it’s a study of female sexuality, by women.

INTERVIEW: CAT OLLEY PICTURES: JAMIE MCCARTHY/GETTY IMAGES, ALAMY, GETTY IMAGES, CULTURESPACES/SOPHIE LLOYD

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GARDENS / U R B A N PA R A D I S E Created in collaboration with the Royal Botanical Gardens, Kew, The Botanical City reveals the secrets and surprises of our often overlooked urban plants – from dandelions, which can be used to make car tyres, to valerian, once used to treat shellshock.

Divided into five sections: Eat; Make; Grow; Kill and Heal, it’s beautifully written, with botanical illustrations faithfully reproduced from Kew’s 18thcentury tome Flora Londinensis (Hoxton Mini Press; £25).

WHITE OUT Beth Chatto’s garden in Essex is best known for its gravel plantings (pictured), but the woodland area is just as stunning and, from January to April, carpeted in delicate snowdrops. On 27 February, from 11am-12pm, garden director and galanthophile David Ward will lead a tour around the gardens, filling you in on the history of this fascinating flower, the different varieties, and how to plant and divide them. You can then stock up at the on-site nursery. £20 (bethchatto.co.uk).

CUT BACK GRASSES A satisfying job, simply cut deciduous grasses left standing over winter to the base before new green shoots appear.

CHIT POTATO TUBERS If you’re planning on growing your own spuds, now is the time to chit them. Place your seed potatoes on a tray with the eyes uppermost and keep in a cool, frost-free spot with moderate light.

Once shoots are about 5cm long they are ready for planting out.

PRUNE LATEFLOWERING CLEMATIS Clematis that flower from summer to late autumn, such as ‘Etoile Violette’ and ‘Jackmanii’, should be pruned now by cutting back each stem to a strong pair of buds 20-30cm from the ground.

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THE LIGHT FANTASTIC Pooky’s new range of outdoor lighting is perfect for security, as well as helping you make better use of your space. Founder Rohan Blacker shares his tips…

Functionality first: Think about where you need outdoor lighting. It could be to light up a doorway, keyhole, a wobbly step or a dark corner.

Create a mood: Lighting your entrance immediately makes it more welcoming. Similarly, lighting a patio or balcony makes it seem more appealing, and so more likely to be used, especially in winter.

Choose carefully: Directional lights allow you to illuminate a feature or architectural plant. Wall lights with multiple light sources throw a gentle, warming wash of light, while regularly spaced downlighters add an ambient glow to high-usage areas such as paths.

Call the professionals: If you don’t have outside wiring, then winter is a good time to install cable runs as most plants are dormant. We advise using a qualified electrician to ensure the wiring is appropriately insulated. Once done, adding lights is a doddle.

Clockwise from above left ‘Bantham’ wall light in ‘Aged Brass’, £64; ‘Thurlestone’ wall light in ‘Aged Brass’, £67; ‘Crail’ exterior wall light in ‘Blackened Brass’, £187, all Pooky (pooky.com)

WORDS: NATASHA GOODFELLOW PICTURE: SALLY CHANDLER

GARDEN JOBS TO DO THIS MONTH

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A new trend is emerging that could see our back gardens transformed into mini forests – and eco-activist Elise van Middelem is leading the way Words NATASHA GOODFELLOW lllustration HENRY M CCAUSLAND

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ince Isabella Tree’s lyrical 2018 book Wilding (Picador, £9.99), the subject of rewilding has become mainstream – even featuring as a storyline on The Archers. In its purest form, it involves minimal intervention, bar the reintroduction of native predators and large herbivores (in Britain that’s potentially wolves, bears and wild boar, but more likely heritage-breed pigs, ponies and beavers), to restore natural ecosystems and stimulate biodiversity. The results, meanwhile, are landscapes that are healthier and more resilient to the impacts of climate change.

By necessity, it requires a large-scale approach (you need around 120 acres if you want to graze wild boar), but ideas are now starting to filter down on how those of us who don’t own land can also get involved. In 2019, furniture designer Sebastian Cox and his wife Brogan launched a manifesto, Modern Life From Wilder Land, setting out how they believed a nature-first approach could still support, and indeed stimulate, a thriving economy. Last year, a number of books were published, including Wild Your Garden by Jim and Joel Ashton (DK, £14.99) and Rewild Your Garden by Frances Tophill (Quercus, £15), offering advice for the domestic gardener.

Now, Elise van Middelem, founder of SUGi, a platform that wants to connect people everywhere to nature and biodiversity, has come up with another way – the ‘pocket forest’– which allows anyone to turn a corner of their garden into a flourishing woodland alive with birds and insect life. Using the renowned Miyawaki method (created by the Japanese master botanist), SUGi’s forest-makers assess your site and soil before planting it with ultra-dense layers of native species that require no chemicals and are designed to be maintenancefree in just a couple of years.

As Elise points out, the benefits are considerable. ‘Native trees attract huge numbers of insects and pollinators,’ she says. ‘They act as oxygen tanks and carbon sinks; they capture air pollution, reduce air temperature and absorb storm water run-off, and, of course, they make us feel good, too. Who doesn’t feel better after a walk in the woods?’

The planting technique promotes rapid growth, something particularly important in some urban areas, where biodiversity levels are virtually non-existent – London plane trees, so commonly planted in our cities, support almost no wildlife at all, whereas an oak tree can host nearly 300 different species of insects alone.

‘It’s about more than just planting trees,’ says Elise. ‘It’s about forming self-sustaining ecosystems and we need to act now.’

Prices start at £375 for 3 square metres. sugiproject.com

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ARCHITECTURE / PA S S I N G C L O U D S Jonathan Tuckey Design has created an extraordinary show space in the London home of husband-and-wife artists Rob and Nick Carter. At the rear, a stairwell has been transformed into a two-level gallery.

The designers call it Paddington Pantheon since, like the Roman temple’s historic oculus, it offers a view to the heavens – this time in the form of a contemporary skylight ( jonathantuckey.com).

GETTING CREATIVE In the green landscapes of the Cotswolds, a Dutch-style agricultural barn has become a seven-bedroom countryside retreat. Designed by London studio Turner Works, DUT18 features a black corrugated steel skin, spacious open-plan interiors and huge windows facing onto wildflower meadows and fields. The project was spearheaded by Laura Routledge and David Johnston, founders of creative agency Accept & Proceed. More than just a family holiday home, they conceived the building as a destination for wellness retreats and creative workshops, allowing different groups to escape city distractions and reconnect with nature (dut18.com; turner.works).

WORDS: AMY FREARSON PICTURES: FRENCH AND TYE, JAMES BRITTAIN, JIM STEPHENSON, GESTALTEN

N U R T U R I N G TA L E N T Brighton is now home to a co-working space with a difference. Plus X Brighton is a workplace for budding designers, inventors and entrepreneurs, so, as well as offices, it lists a host of exciting facilities. There’s a wet laboratory, where local innovator and James Dyson Award-winner Lucy Hughes has been developing her biodegradable alternative to single-use plastic. There’s also a ‘3D printing farm’, a heavy-duty maker space, webcasting studios and a materials library. To top it all off, the building, designed by architects Studio Egret West, is one of the most sustainable office developments in the UK. It looks set to become a nesting ground for a whole new generation of talent (plusx. space; studioegretwest.com).

The timber REVOLUTION Wooden buildings are the future, proclaims a new book by publisher Gestalten. Out Of The Woods explores the vast potential of this age-old material. It spotlights the architects leading the movement and offers practical tips for those looking to start their own timber experiments (Gestalten, £35).

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ARCHITECTURE

ASK AN ARCHITECT

PHIL COFFEY

WORDS: AMY FREARSON PICTURES: HANNAH CORLETT, TIM SOAR

We speak to the founder of London-based Coffey Architects on what makes a good home, his favourite projects and the launch of his new off-shoot company What made you decide to set up sister firm Coffey/Homes? We found the Coffey Architects website scared off certain clients. Mixing small and large projects had its difficulties in the office, too, so we’ve now restructured the team. It’s allowed us to provide a better service for our clients.

Do homes require a different skill set to other architectural projects? I’d like to think there’s not any difference but there really is. The bigger Some of Coffey’s favourite projects, from the project gets, the more it becomes about top: ‘Modern Detached’ has a serrated brick spreadsheets and junctions, and less about materials. exterior; the light-filled living area of ‘Hidden But when you’re doing something small, there are House’; Japanese-style sliding screens feature more opportunities to craft things. You’re making in ‘Apartment Block’; sea views are the focus of something rather than just putting things together. the new-build in Woolacombe Bay I like the idea of making, which is why I think it’s helpful for young architects to start off doing residential projects, so they don’t just become spreadsheet architects.

What makes a good home, in your opinion? It should have a lot of light and be suited to its inhabitants’ way of life. That doesn’t mean it has to be particular to them. A home should suggest the way you might live without being too prescriptive.

What do you do if you think there is a better solution than what the client is asking for? There’s a difference between architects who follow what the client says and architects who tell the client what to do. We’re more towards telling the client what to do, but we still listen. Because what’s the point in employing an architect if you’re just going to tell them what to do? So we’re very careful about who we work with. It’s not because we’re pompous or picky, it’s just that we know what we can do.

Having designed your own home, what lessons did you learn?

You recognise that it’s not just about the aesthetic. You have to be able to build it, afford the mortgage and add value to the property. ‘A GOOD HOME SHOULD HAVE A It’s a balance. To do that, you have to understand the dimensions.

LOT OF LIGHT AND BE SUITED TO When I designed my house on Whistler Street in London, I made the balustrade out of wire. The reason was that a normal handrail is ITS INHABITANTS’ WAY OF LIFE’ 100mm, but on the turn it’s 300. By changing the balustrade, I changed the width of the stair, which turned the bedroom upstairs from a single into a double. That change was probably worth about £50,000.

What projects are you most proud of ? ‘Modern Side Extension’ [for a London terrace] is probably the smallest project we’ve ever done, but one of my favourites. The client was out of the country when we did it – I think I only met her twice – but she wanted the project completed for when she came back. After we finished she told us ‘this has changed my life’. I also love ‘Hidden House’ [a one-storey dwelling in a London conservation area]; it has this transcendental quality that is just incredibly beautiful.

Tell us about your current work. We’re building a house in Woolacombe Bay in Devon. It’s on an old quarry, with amazing views towards the headland. It’s basically a white wall, upon which sits quite a normal-looking roof. Inside, parts are completely black, with timber joinery, the horizontal view and a zenith light (a light source from above) makes it honestly like a spaceship has landed – it’s going to be amazing. coffeyhomes.com; coffeyarchitects.com FEBRUARY 2021 ELLEDECORATION.CO.UK 37

KITCHENS & BATHROOMS /

HOT BUY Available in ‘Luxe Silver’, ‘Matt Black’ and ‘Satin Gold’, Dowsing & Reynold’s ‘Monroe’ hot water tap delivers instant filtered hot water through its swan-neck swivel spout. Its sleek design and compact water tank make it suitable for small kitchens, while the adjustable temperature control supplies water between 45-98°C – ideal for hot drinks, cooking and cleaning. £499.99, Dowsing & Reynolds (dowsingandreynolds.com).

CUPBOARD LOVE Rearranged and reinvented to cater to a multitude of purposes, our homes have had to become more flexible of late. Cox & Cox’s timely new collection of freestanding furniture allows for kitchens to grow and flex as needs change. Made from pine, the ‘Mette’ larder cabinet has six soft-close drawers and storage inside each door for quick access to ingredients. £2,295, Cox & Cox (coxandcox.co.uk).

WORDS: KATE WORTHINGTON

CLEAN SLATE

D O V E TA L E Florentine company Devon & Devon has teamed up with architecture and design firm Gensler to bring a new modular concept to bathtub design. The ‘Dove’ features three elements – two tub inserts, a universal shell and a plinth – that can be used to create different styles for a more bespoke look. The result is a balance between the classic and contemporary, including a playful take on traditional claw feet (above left) or a gold marble plinth (right). From approx £8,727, Devon & Devon (devon-devon.com).

‘Carácter’ is Marazzi’s first collection of ceramic floor and wall surfaces that uses the brand’s new ‘Puro’ antibacterial technology. Developed to eliminate up to 99.9 per cent of bacteria, the additives that prevent germ proliferation are incorporated into the product before the firing process, providing constant antibacterial action.

Easy to clean and anti-slip, the tiles are also eco-friendly, as they’re made with more than 40 per cent recycled material. Price on request, Marazzi (marazzitile.co.uk).

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TECHNOLOGY /

SOUND IN THE ROUND The elegant void at the centre of the ‘Pantheone I’ speaker by Pantheone Audio finds inspiration in the architecture of Rome’s ancient Pantheon, with its oculus that opens to the sky. This sculptural homage doesn’t just highlight the design’s sleek curves, but also improves the quality of the lossless audio (sound in its purest form) that it produces. Plus, with Alexa functionality built-in, it’s ready for the future as well as being influenced by the past. £2,399 (pantheoneaudio.com).

CASE STUDY ‘Design,’ says Swedish creative Jesper Ståhl, ‘is the art of joining opposites: technology and sensitivity, analysis and intuition.’ This is the ethos behind the look of his new iPhone cases for accessories brand Nudient. Incredibly thin and stylishly discreet, they come in an on-trend range of subtle colours, from ‘Dusty Pink’ to ‘Saffron Yellow’. £25.90 (nudient.co.uk).

BECOME A TV DETECTIVE At least six significant works of art were stolen during last year’s lockdown alone. Now, though, Samsung and art crime specialist Dr Noah Charney are giving you the opportunity to help track these, and others, down. The ‘Missing Masterpieces’ exhibition is available to view for free in HD on Samsung ‘Frame’ TVs and the Samsung website until 10 February, and features works such as Cézanne’s View of Auvers-sur-Oise (below). They are, says Nathan Sheffield, Samsung’s European head of visual display, ‘the most beautiful wanted posters ever seen’ (samsung.com/uk).

Prolific French designer Philippe Starck is making wearable tech smaller and more personal. The ‘Aeklys’ smart ring by iCare Technologies can make bank payments, act as a travel card and unique business card, with more uses to follow soon. It never needs to be charged and is serious about data, with GDPR compliant privacy, plus anti-theft and antifraud software. £249 (icaretechnologies.com).

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WORDS: CLARE SARTIN

ONE RING TO RULE THEM ALL

for living well Byron (left) and Dexter Peart, co-founders of the eco-design site Goodee, stand in front of Habitat 67, the brutalist landmark building where they each have an apartment

Design tastemakers and twins Byron and Dexter Peart both call the iconic Montreal apartment block Habitat 67 home. Now, they say, its emphasis on community and green space has never felt more relevant Words STEPHEN HEYMAN Photography MAXIME BROUILLET Styling MICHAEL GODMER

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t has been more than a decade since Byron and Dexter Peart – identical twins and dapper darlings of the Canadian design scene – bought apartments in the Montreal housing complex Habitat 67. In that time, they have watched the brutalist building morph from a point of reference for architecture aficionados into something like a national treasure.

Designed by Moshe Safdie, who at the time was a 24-year-old architecture student at McGill University, Habitat 67 was built as a pavilion at the Expo 1967 World’s Fair.

A residential prototype for the megalopolis of the future, it broke the traditional apartment building into floating cubes interspersed with shafts of open space or elevated patios filled with herb gardens and fruit trees. The idea was to give city dwellers some of the airiness and greenery of a detached house. ‘For everyone a garden,’ as Safdie put it. While popular among students of architecture, the building failed to usher in a new style of urban dwelling. Now, though, its ethos seems to chime with a collective yearning for a new kind of city living brought on by pandemic-thwarting lockdowns.

For Dexter, its appeal is more than that, though. ‘When something is a half-century old and people are still taking pictures of it every morning while you’re having your coffee, it reminds you about the enduring potential of design done well,’ he says.

Byron’s living room The Antonio Citteriodesigned ‘George’ sectional sofa is from B&B Italia, while the chair is the ‘Cesca’ by Marcel Breuer for Knoll. A ‘Potence’ wall light by Jean Prouvé for Vitra stretches across the gallery wall, which includes works by André Monet and Guillaume Klootier. The rug is by Bauhaus master Gunta Stölzl, an archive of whose designs can be found at Christopher Farr

Byron’s dining room The vintage table is surrounded by Charles and Ray Eames’ ‘LCM’ chairs for Herman Miller.

The ‘PH5’ pendant light is by Poul Henningsen for Louis Poulsen and the gold tray on the table is by Skagerak. The artworks are by David Uzochukwu (left) and Richard Serra Right Byron sourced replacement original features such as the kitchen cabinetry and mirrored walls

‘That challenges us so that everything we create has to meet that crazy standard.’

The brothers grew up in a Jamaican immigrant family in suburban Ottawa. They popped up on the fashion world’s radar in 2000, when they opened a tiny shop in Old Montreal, Want Stil, that became the first place in Canada to import many Swedish and Japanese designers. Next came their own line of luxury bags and accessories, Want Les Essentiels de La Vie. Yet even as Want achieved new heights, the duo felt a strong desire to give back. ‘ We wanted to create ladders of opportunity,’ explains Dexter. ‘Maybe it’s because we’re twins and we’ve always been super-collaborative, but we felt that in the future the big trend would not be competition but cooperation.’ And as black entrepreneurs, they knew from experience that too few openings exist for people of colour.

In 2017, they sold Want and, two years later, launched Goodee, a tightly curated online marketplace for homewares handpicked by the brothers as much for their social and environmental value as for their beauty. The inventory runs the gamut from a straw bicycle basket handwoven at a cooperative in Ghana to stylish children’s furniture upcycled from discarded plastic toys by the Antwerp-based company

AT H O M E W I T H

Right and above Byron and husband Stefan enjoy one of Habitat 67’s many outdoor patios and courtyards Byron’s bedroom Tekla bedding and a throw by Teixidors top the Ikea bed, while the dresser and nightstands are by USM. The ‘Heath’ chair is by Yabu Pushelberg for Linteloo and a ‘Taccia’ table lamp by Achille and Pier Giacomo Castiglioni for Flos sits on the sideboard

ecoBirdy. Meanwhile, the brothers’ own apartments at Habitat 67 have, in some ways, become liveable laboratories for thoughtful, sustainable design.

Inside Byron’s apartment, which he shares with his fashion-executive husband, Stefan Weisgerber, and a Beaglier puppy named Hugo, Goodee pillows – a collaboration between the brand and the Ethical Fashion Initiative – share space with iconic pieces of furniture. Many of the Bauhaus-style items in the apartment were sourced from dealers in Stefan’s native Germany.

Perfectionists and students of design history, he and Byron have gone out of their way to restore the original elements of Safdie’s interiors, from the kitchen cabinetry to the glass shelving and mirrored walls.

While Byron’s place feels more like a gallery, Dexter’s home – which he shares with his wife, Maria Varvarikos, the founder of publicity firm Zoï Agency – is casual by comparison, full of souvenirs from vacations to India and Zakynthos, the Greek island where Maria’s family is from. It is also enlivened by the presence of the couple’s two daughters – Kaya, 10, and Sierra, seven ±

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Dexter’s living room He, Maria and the girls sit on a red ‘Hockney’ sofa by Claesson Koivisto Rune for David Design; the coffee table is from the same collection. Above hangs a ‘Light Shade Shade’ by Jurgen Bey for Moooi

Dexter’s dining room A ‘Light Extending’ table

by Matthew Hilton for De La Espada and Ton chairs, with cushions covered in Svenskt Tenn’s ‘Celotocaulis’ fabric by Josef Frank, create a light, bright space for family meals. The pendant light above is by Roll & Hill, while the ‘Oculus’ armchair is by Hans J Wegner for Carl Hansen & Søn Dexter’s kitchen Slick and family-orientated, this bespoke space, with its large island, is more contemporary in feel

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AT H O M E W I T H

– who love everything about life at Habitat 67. When they ’re not playing in the apartment’s plant-filled solarium, which Dexter says doubles as an ‘arts and craftsslash-slime playroom,’ Kaya enjoys strolling around the complex’s pyramid-shaped fountains. Meanwhile, her sister Sierra likes riding her scooter across the second-floor plaza or stargazing on the building’s rooftop.

Byron and Dexter have always had an affinity with Safdie’s vision for the future of city living, but the community of Habitat 67 – with its open-air corridors and private outdoor spaces – has seemed even more like a precious safe haven since the coronavirus outbreak. As the brothers gathered their families each week for a socially distanced glass of wine or quiet meal, they counted their blessings. ‘In this new reality, people are understanding what we’ve always known as twins: how important it is to be close to loved ones,’ says Byron.

In this respect, the mission of their new company – ‘good people doing good things’ – feels very of the moment. As Byron puts it: ‘I think Want was really about being out in the world. Goodee is about coming home.’ goodeeworld.com

IN THIS NEW REALITY, PEOPLE ARE UNDERSTANDING WHAT WE’VE ALWAYS KNOWN AS TWINS: HOW IMPORTANT IT IS TO BE CLOSE TO LOVED ONES

Solarium (above) This sunny spot overlooks Montreal’s main port. The vintage chairs have cushions covered in Svenskt Tenn’s ‘Textile Window’ fabric by Josef Frank Dexter’s bedroom The bed, designed by Atelier Moderno, is dressed in Ralph Lauren bedding and topped with a blanket and pillow by Viso Project. The bedside tables are vintage designs by George Nelson for Herman Miller and the large artwork is by Alejandro Pasquale See Stockists page for details

Alpine retreats, seafront villas, reimagined ruins and more – answer the call of the countryside with the brand-new issue

ON SALE NOW O R D E R Y O U R C O P Y O N L I N E AT E L L E D E C O R AT I O N . C O . U K / S P E C I A L S O R P U R C H A S E AT Y O U R L O C A L W H S M I T H S T O R E

ST YLE D E C O R AT I N G

/ M AT E R I A L S / I N T E R I O R D E S I G N / I D E A S

Edited by KIER A BUCKLEY-JONES

PICTURE: 3OBJECTIVES

‘SUSULU’ FABRIC BY BLACK EDITION This attention-grabbing woven jacquard in a kaleidoscope of colours is taken from Black Edition’s recent ‘Zafaro’ collection. The unusual feathered surface has been created by leaving large, loose threads of yarn when the piece is woven, which are subsequently cut to create rows of circular fringing. These will ripple as the fabric moves, making it perfect for curtains – or use it to give your cushions a textural refresh.

‘Susulu’ fabric in ‘Multi’, £151 per metre, Black Edition (blackedition.com)

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PAPER CUT

In her new collection of rugs and wall hangings entitled ‘Paper and Stone’, Deirdre Dyson explores the possibilities of both materials. The rugs look to paper for inspiration, with ‘Fold Out’ reminiscent of paper chains and ‘Unfolded’ based on seven shades of folded paper. Two other patterns – ‘Note Paper’ and ‘Offcut’ – are designed to look as if they were made on a cutting-mat surface, while ‘Love Letter’ plays with symbols of hugs and kisses. The three wall hangings, meanwhile, are inspired by the attributes of stone. All pieces are made bespoke in Nepal in socially distanced conditions. From £1,380 per square metre (deirdredyson.com).

PRINTS CHARMING New book Marimekko: The Art of Printmaking (Thomas and Hudson, £50) celebrates 70 years of the Finnish textile brand’s bold, iconic prints. Launched in 1951, Marimekko – or ‘Mari’s dress’ – first brought a breath of fresh air to womenswear with its abstract dresses in vibrant colours, before becoming the lifestyle brand we all know and love today (marimekko.com).

From top ‘Note Paper’ wall hanging; ‘Off Cuts’ rug, both from £1,080 per sq m, Deirdre Dyson (deirdredyson.com)

Fabric house Villa Nova, known for its distinctive weaves and wallpapers, has made its first foray into trimmings and tie-backs. From knitted braids, tufts and bobbles to embroidered borders, large fringing and tassel tie-backs, they all complement the eclectic brand’s latest fabric and wallpaper collection ‘Still Life’ – so you can mix and match to your heart’s content.

From far left Textured fringe in ‘Chrome’, £32 per m; abstract border in ‘Shingle’, £44 per m; chevron braid in ‘Pearl’, £25 per m; rope tie-back in ‘Travertine’, £52; tassel tie-back in ‘Chrome’,£44; key tassel in ‘Chrome’, £8; corded border in ‘Chrome’, £44 per m; corded border in ‘Pearl’, £44 per m; chevron braid in ‘Chrome’, £25 per m, all Villa Nova (villanova.co.uk)

WORDS: KIERA BUCKLEY-JONES

All the trimmings

STYLE

BRING IN T H E C AVA L RY Wallpaper designer Annika Reed’s latest pattern ‘Red Coat’ was envisioned during last year’s first lockdown – prompted by a Staffordshire Flatback figure on her mantelpiece.

This print, she muses, ‘embodies dreams of exploring and encourages stories, tall tales and quests’. Wallpaper in ‘Stone’ (pictured) or ‘Tapestry’, £165 for a 10m roll (annikareed.com).

PAT T E R N P E O P L E

Claire de Quénetain

THE NEW MOOD Grey has dominated the walls of the nation’s homes for over a decade, but recently there’s been a move towards more earthy neutrals – exemplified by ‘Stone’, a new colour card from Little Greene. Featuring 36 warm tones, it includes several inspired by National Trust properties, with pigments of architectural elements, tapestries, paints and even sections of stone recorded and recreated.

Pictured is ‘Rolling Fog-Dark’ on the top half of the wall and ‘Arras’ below. Available in all paint finishes, a portion of sales goes to National Trust conservation. £47 for 2.5 litres of Absolute Matt Emulsion ( littlegreene.com).

Who is she? A French surface designer, whose stylised patterns have graced home furnishings at Heal’s, Anthropologie and Swoon Editions. She has also produced a mural for interior designer Laura Gonzalez at La Gare restaurant in Paris, collaborated with embroidery artist Lora Avedian and, most recently, her prints have appeared on a set of pyjamas for Bonsoir of London.

Where did she study? Claire trained in visual arts at Ecal in Switzerland before completing her masters in printed textiles at the Royal College of Art. What’s her style? Her fluid illustrative aesthetic is comparable to the work of painter Raoul Dufy and textile designers Collier Campbell.

What next? Her hand-painted bedside tables are available at Sister, interior designer Sophie Ashby’s web shop, and she’s creating dress patterns for Daydress, as well as a mural and painted desk for private clients. Her fabrics are soon to appear in rooms at The Connaught and Claridge’s.

From top Claire with ‘Le Feuillage’; ‘Le Bouquet’ fabric, from £57 per m (clairedequenetain.com)

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STYLE

COLOUR PIONEER

MAXFIELD PARRISH

WORDS: KASSIA ST CLAIR PICTURES: BRIDGEMAN IMAGES/MAXFIELD PARRISH/MAXFIELD PARRISH FAMILY, LLC/VAGA AT ARS, NY AND DACS, LONDON 2020, ALAMY STOCK PHOTO

The popular American painter celebrated for his escapist paintings of celestial blue skies

‘No matter what art critics may think,’ penned a Time magazine writer in February 1936, ‘art dealers know that, as far as the sale of expensive reproductions is concerned, the three most popular artists in the world are Van Gogh, Cézanne and Maxfield Parrish.’ If anything, the reporter may have understated the case.

Parrish was born in Philadelphia in 1870 into an artistic family that nurtured his talent. By the time he went to art school he was making a living producing illustrations for magazines, and it wasn’t long before he moved on to illustrating calendars, creating prints with a mass-market appeal. He was proudly commercial, calling himself ‘a businessman with a brush’. And business boomed. By 1910, aged 40, he was making $100,000 annually. Daybreak (1922; pictured), a dreamy landscape bisected by two classical pillars, became the most popular print of the 20th century, outselling Warhol’s Campbells’ soup cans and Picasso’s Les Demoiselles d’Avignon. At one point a copy hung in one in four American homes.

Part of his appeal was escapism. Much of his work reimagined an Arcadia, a soothing, bucolic idyll populated by muses: playground of the god Pan. But Parrish was also a masterful colourist.

‘PARRISH’S BLUES BECAME HIS SIGNATURE AND ACQUIRED A CULTURAL POWER OF THEIR OWN’

The 1936 Time article quoted a member of the Chicago Institute of Art as saying that Parrish had no imitators because ‘it is just too darned hard work to imitate him’. Each painting began as a monochrome of blue, ‘right from the tube, not mixed with white or anything’, as Parrish would later explain, naming the shades: ‘Ultramarine or the Monastral blues or cobalt for distance and the skies.’ Once the base was complete, he described it as looking ‘for all the world like a blue dinner plate’. He would then painstakingly apply layer upon layer of transparent glazes and varnish until he achieved a work with the vivid luminosity of petrol splashed on asphalt.

Parrish’s blues – all curiously warm, ranging from pale plumbago to the ink of an Aegean dusk – became his signature and acquired a cultural power all of their own. F Scott Fitzgerald, in a short story published two years before Daybreak was painted, referenced this special hue. ‘A deep creamy blue, the colour of a Maxfield Parrish moonlight – a blue that seemed to press close upon the [window] pane.’ He may never have won over the art critics, but his blues insinuated themselves into the popular imagination. They are the blues of happy dreams.

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ETHEREAL BLUES

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Take inspiration from Parrish’s transcendent dawn skies, layering soothing shades of blue, from pale to punchy cobalt, filtered with gentle highlights of watery green

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COMPILED BY: KIERA BUCKLEY-JONES PICTURE: 3OBJECTIVES

1 ‘Chinese Toile’ wallpaper, £100 per 10m roll, Cole & Son (cole-and-son.com) 2 ‘A Contre-Jour’ oriental twill in ‘ Col.003 Blu Alba’, £255 per m, Dedar (dedar.com) 3 ‘Conway’ fabric in ‘Cobalt’, £64 per m, Designers Guild (designersguild.com) 4 ‘Sublime’ wallpaper

by Giardini Wallcoverings, £240 per m, Jason D’Souza (jasondsouza.co.uk) 5 ‘Oxford Horizon’ degradé fabric in ‘Deep Blue’, £230 per m, Dedar (dedar.com) 6 ‘Vespa’ weave fabric in ‘Gitano’ by Luciano Marcato for Casal, £98 per m, Houlès (houles.com) 7 ‘Flybird’ cotton fabric in ‘Sky’, £104 per m, Fabricut at Christian Lee (christianleefabrics. com) 8 ‘Temko’ semi-sheer fabric, £135 per m, Osborne & Little (osborneandlittle.com) 9 ‘Shindo Horizon’ jacquard, £192 per m, Pierre Frey (pierrefrey.com) 10 ‘Riso’ weave fabric in ‘Marino’ by Luciano Marcato for Casal, £96 per m, Houlès (houles.com) 11 ‘Bazaar’ ceramic gloss tile in ‘Colonial Blue’, £51.98 for a pack of 57, Ca’ Pietra (capietra.com) 12 ‘Blue Frost’ mosaic tile from the ‘Radiance’ collection, £229.95 per sq m, Original Style (originalstyle.com) 13 ‘Almora’ carpet in ‘Jade’, £165 per sq m, Jacaranda (jacarandacarpets.com) 14 ‘Surf’ weave, £49 per m, Osborne & Little (osborneandlittle.com) 15 ‘Veronese’ velvet border in ‘Petrol Blue’ by Roger Thomas, £120 per m, Samuel & Sons (samuelandsons.com) 16 ‘Nereid’ reversible weave fabric, £270 per m, Sophie Coryndon for Soane (soane.com) 17 ‘Altec’ fabric in ‘Indigo’, £28 per m, Clarke & Clarke (stylelibrary.com) 18 ‘Twinkle Twinkle’ wallcovering by Christopher Corr, £56.50 per 10m roll, Villa Nova (villanova.co.uk)

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Our edit of the most dreamy blues

‘Lie-In’, £40 for 2.5 litres, Coat (coatpaints.com)

‘Barbados Blue’, £78 for 2.5 litres, Pure & Original (pure-original.com)

‘Garter Blue’, £49.50 for 2.5 litres, Edward Bulmer Natural Paint (edwardbulmerpaint.co.uk)

‘Blue’s Blue’, £50 for 2.5 litres, Paint & Paper Library (paintandpaperlibrary.com)

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‘Moon Shadow’, £47 for 2.5 litres, Little Greene (littlegreene.com)

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‘Ultra Marine Blue’, £47.95 for 2.5 litres, Farrow & Ball (farrow-ball.com)

16 ‘Flanders Blue’, £37 for 2.5 litres, Craig & Rose (craigandrose.com)

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D E C O R AT O R I N D E X

NO.12 Who are they? No.12 was founded in 2015 by Katie Earl and Emma Bradley, who met while working at leading design studio 1508 London.

Both are experienced in luxury real-estate projects, but shared an ambition to create something different within that sphere: interiors that, they say, are ‘considered, refined and responsive to the client , context and location’. Reflecting that desire for originality, they chose a gender-neutral name for their studio and set out to capitalise on their particular strengths: Emma is a trained furniture designer with a passion for rare vintage pieces, while Katie is an interior architect who’s highly skilled at space planning.

What’s their style? Understated and modern, with the focus on a colour palette of warm neutrals Katie Earl (right) and Emma Bradley and opulent materials (marble, brass and rich woods are recurring themes in their designs).

‘Although our aesthetic is wholly contemporary, we maintain a respect for the classics,’ says Katie. ‘We enjoy looking back to many different designers and movements, especially those that resonate with our style, such as mid-century architects Carlo Scarpa, Oscar Niemeyer and Louis Kahn, and artist Barbara Hepworth.’ References to art, fashion and emerging design styles inject a youthful freshness into their projects, which always exude calm sophistication.

What are their recent projects? The project that launched their careers was Gasholders London in King’s Cross, a symbol of the area’s regeneration. They worked with architects WilkinsonEyre on the communal areas of the residential buildings housed within the grade II-listed, cast-iron gasholder frames. Their design for one

of the apartments incorporated latticework window screens, brass lighting, cream furnishings and warm woods, with decorative details echoing the circular shape of the architecture. ‘It was an opportunity not just to make our mark, but to show respect for a structure that already had a long life,’ says Katie. They created an equally thoughtful interior for female members’ club AllBright’s Bloomsbury outpost, taking inspiration from the style of the Bloomsbury Group to revamp the Georgian townhouse. The duo have also completed a number of elegant penthouses, including one in Knightsbridge. ‘We used luxury materials such as deep, plush velvets, specialist veneers, buttery suedes and lesser-known marbles, creating pieces with consistent details that felt like a family,’ explains Emma.

What are they currently working on? The renovation of a five-bedroom Victorian family home in Ireland, including an ultra-modern rear extension. ‘Every element, from the finishes, furniture and fabrics to the custom-designed crockery, is hand curated,’ says Emma. Also on the horizon is the conversion of a Georgian townhouse in St John’s Wood into seven unique apartments and two duplexes, for which they have been appointed lead architects. ‘Our ambition is to challenge the cookie-cutter approach to prime, multi-unit residential schemes,’ Katie explains.

They say: ‘Our vision for No.12 is to be unlike our competitors, with an aesthetic that is holistic and transcends trends. We believe in homes that can be celebrated for their effortless style – spaces that can be lived in.’ no12studio.com

WORDS: AMY BRADFORD PICTURE: CHRIS RICHARDS-WHITE

The London duo who use opulent materials and muted colours to create a feel of calm sophistication

STYLE

Opposite The dining area of a penthouse apartment in Kensington From top Interiors at women-only private members’ club AllBright were inspired by the Bloomsbury Group; the bedroom of a show apartment in Camden; a decadent double-height bathroom in a penthouse in St John’s Wood; polished brass adds shine to this study in a Knightsbridge apartment

THE LITTLE BLACK BOOK Every project has its own unique list of suppliers and craftspeople. Part of making it special is finding the right mix ANTIQUES

‘OUR AMBITION IS TO CHALLENGE THE COOKIECUTTER APPROACH TO MULTI-UNIT SCHEMES’

Alfies Antique Market is north London’s hidden gem for lovers of vintage design classics. It houses a plethora of dealers that unearth rare finds from Scandinavia, Italy and further afield. Whether you’re hunting for a specific item or seeking inspiration for a project, you’ll be spoilt for choice here. alfiesantiques.com CRAFT

EXPERT ADVICE Katie and Emma’s tips on how to decorate for a refined and classic look 1 Plain but polished fabrics, such as velvets in rich tones, create a sophisticated, timeless effect.

‘Rich’ is different from ‘bright’ and suggests a strong depth of colour – think burgundy or bronze. We steer away from pattern and very bright colours; for us, these are highlights which are successful when introduced via artwork.

2 As we are a female duo, people are always surprised that our interiors lean to the masculine side, but it’s something we love to embrace.

The muted colours that dominate our designs allow a space to be elegant in a way that feels natural and lasting.

3 Playing with scale is something we love to do.

You can create focus in a space by making unusual choices. One example might be an oversized lamp – at least one-metre tall – on a console table. Or draw the eye by framing tiny vintage postcards and hanging them on a large wall. This technique can make a room feel more special and shows thought and personality.

4 Lighting can make or break a space, and with residential projects, light temperature is key to creating the ideal mood. We always use 2700K light bulbs in our designs. These diffuse a warm, white light that softens the feel of a room and delivers the perfect ambience from day to night.

Kensington gallery Willer, owned by Rebecca Willer, is our crown jewel for dressing any project.

It has everything from limited-edition sculptures by artist Lynn Chadwick to contemporary crockery.

When you need something extra special to bring a room alive, this is the place to come. willer.co.uk LIGHTING

Kaia in Marylebone is our new go-to for statement lighting – we can’t get enough of its sleek, modern designs in glass, marble, nickel and brass. kaialighting.com DESIGN-ART

The Invisible Collection is an online platform where you can find the most beautiful handcrafted pieces by contemporary interior designers such as Pierre Yovanovitch. It also offers a virtual styling service to help you find the perfect items for your home. theinvisiblecollection.com

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Responsible FABRICS The environmental impact of fast fashion is well documented, but what about textile waste in the interiors industry? We look at how brands are embracing a sustainable approach

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ast year, Designers Guild won an ELLE Decoration British Design Award for its ‘Lisbon’ fabric, made using textile waste from the fashion industry. In fact, the firm has been leading the vanguard for responsible textiles for a while now. Not only that, but its water-based paint is made using virtually no VOCs (volatile organic compounds), single-use plastic has been removed from its offices and stores, and it has introduced a fleet of electric vehicles. Every month the company also donates to the World Land Trust’s ‘Buy an Acre’ programme to protect habitat for wildlife around the world. Designers Guild is not alone in its endeavours, so here we acknowledge other brands making moves in the right direction…

CIRCULAR LIFE

Sunbrella’s extremely versatile ‘Heritage’ fabric can be used for upholstery, curtains and cushions – both indoors and out. Made from ‘Renaissance’ yarn, which contains 50 per cent recycled Sunbrella fibre and virgin fibre – the latter is added to ensure the fabric is suitable for outside use. The fabric is then dyed en masse to save water. Moreover, through its ‘Recycle my Sunbrella’ campaign, the company has prevented textiles ending up in landfill by asking its customers to return them, and it is also a sponsor of Sea Cleaners, which removes rubbish from the ocean. From £65 per metre (sunbrella.com).

BOTTLED UP Osborne & Little has launched ‘Ocean’, a plain woven fabric with a soft finish that is suitable for both curtains and upholstery. Constructed from filament yarn generated from recycled plastic bottles, it’s available in 33 colours, from cool neutrals to blues, greens and pretty pinks. Ten per cent of profits from the sale of the fabric go to the One Ocean Foundation to help protect our seas. £55 per metre (osborneandlittle.com).

WORDS: KIERA BUCKLEY-JONES

GRAND REGENERATION

Kinnasand’s ‘Monotypes’ collection features textiles made from wool, hemp, lyocell and recycled polyester so they can be continually recycled.

As creative director Isa Glink explains: ‘For each individual product, we focused on specifically reducing the impact related to the choice of fibres, such as reducing waste, dyes or water.’ The company can trace the origins of each fabric, with its wool sourced from farmers who use a mulesing-free technique (a kinder way to remove wool) and polyester constructed from yarn made from recycled bottles. Future plans include ditching man-made fibres and working solely with renewable sources like hemp and wool.

More drastically, Kinnasand plans to reduce new product launches by half.

There is also an ongoing experiment to find a second life for discontinued samples, including donating to schools. From £85 per metre (kinnasand.dk).

STYLE

MIGHTY VINE A perennial vine indigenous to Northern Laos provides the raw material for the ‘Natural Fabric’ collection by Be Inthavong at Fameed Khalique. Growing naturally in abundance, the vine requires no agricultural input or pesticides so is a sustainable and eco-friendly crop. The company works in association with a local foundation to help preserve the land the vine grows on and the people who harvest it. The fabric is handwoven in a nearby village to provide employment to the local community. No dyes are added to the fabrics – it is the natural variations found in the vines that provide a contrast. It’s only when the threads are woven with other fibres that you get a more colourful option. From £360 per metre (fameedkhalique.com).

A LEAF OUT OF FASHION Off-cuts from the fashion industry and recycled knits from the public have been used to produce ‘Leaf’, a 100 per cent recycled wool fabric, by Kirkby Design. The discarded rags are sorted into colour groups, then shredded and spun into new fibres, producing a collection of 46 hues. This March, the brand is launching ‘Flow’, a fabric with yarn generated from recycled bottles. ‘Leaf’ from £63 per metre (kirkbydesign.com).

PURE DEDICATION One of the most impressive environmentally responsible fabric collections is Bernie de Le Cuona’s ‘Pure’, which is made from organic linen. Bernie was shocked to discover that only one per cent of linen produced is organic, and an even smaller portion of that goes to the interiors industry. There are only a couple of mills in Europe that are certified to GOTS (the Global Organic Textile Standard), which ensures the organic status of textiles, so she made the bold decision to buy the crop of several farms in Flanders to ensure the purity of the product. As she explains: ‘Each stage is traceable from the farmers whose fields lie fallow to be free of pesticides, to the spinners, weavers, washers and finishers right through to packaging. We began this journey a few years ago when we wanted to find the exact source of yarns but couldn’t.

I now personally know some of the farmers.’

The product hasn’t skimped on luxury – the six fabrics in her signature, usable neutral palette have the most beautiful quality. A second ‘Pure 2’ range is already in the pipeline.

From £144 per metre (delecuona.com).

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Curate your home with furniture, art and objects that really mean something to you. Artisan and future heirloom pieces that will be treasured for years to come Styling MARIE MONRAD GRAUNBØL/REVOLVER Photography ANDERS SCHØNNEMANN

On windowsill ‘Bottle’ ceramic vase, £272, File Under Pop x Elisa Ossino (fileunderpop.com).

Stone sculpture, price on application, New Works (newworks.dk). ‘EJ 150’ sofa by Gunnar Graversen, £4,155, Nyt i bo (nytibo.dk). Large cushion by Society, £472, Gubi (gubi.com). Small cushion, £47, A Petersen Collection & Craft (apetersen.dk).

‘Paperwood’ coffee table by Anderssen & Voll for Ariake, £1,025, Finnish Design Shop (finnishdesignshop.com) On coffee table Ceramic bowl, £35, Apato (apato.com.au). Wooden spoon, £11, Dansk (danskshop.com). Glass, £27, Verreries des Lumières at Gubi (gubi.com). Glass table lamp

by Matias Moellenbach, £450, Pamono (pamono. co.uk). Collage, on wall, by Sophie Klerk, £342, No 24 (no24.dk). Chair, price on application, Djernes & Bell (djernesbell.com)

From left ‘Drop Leaf’ table by Hvidt & Mølgaard, £1,070, & Tradition (andtradition.com). ‘Drill cylinder’ ceramic vase, £332, File Under Pop x Elisa Ossino (fileunderpop.com). Rug by Tisca, £1,310, Nyt i Bo (nytibo.dk). ‘Modul’ sofa by Chris Liljenberg Halstrøm, price on application, A Petersen (apetersen.dk). ‘Puffy’ cashmere cushion, £296; and ‘Flower Nepal’ cushion, £168, both Aiayu (aiayu.com). ‘Bon’ wooden tray, £84, Ferm Living (fermliving. com). Cup, £30, Blacksmith Ceramics (blacksmithceramics.dk). Glass by Studio 0405, £65, Studio x Viaduct (studiox.dk). ‘Pleat’ pitcher, £89, New Works (newworks.dk). Vintage standard floor lamp, approximately £941, Klassik (klassik.dk). ‘Paimio’ chair by Alvar Aalto for Artek, £2,928, Cimmermann (cimmermann.uk)

This page, from left ‘Compas Direction’ desk by Jean Prouvé for Vitra, £2,278, Paustian (paustian.com). For a similar vintage chair, try ‘Model 78’ rosewood dining chair

by Niels Moller, £9,500 for 8, Vinterior (vinterior.co) On desk Pink glass vase by Studio 0405, £414, Studio x Viaduct (studioxviaduct.com). Veined decanter by Verrerie Des Lumières, £84, Ambassade (ambassade-excellence.com).

Table lamp by Per Linnemann-Schmidt, £686, Klassik (klassik.dk). ‘Flow’ wine glass by Holmegaard, £26, Nordic Nest (nordicnest.com). Books, from a selection, Cinnober (cinnoberbookshop.dk). ‘Dovetail’ stool by Staffan Holm for Ariake, £378, Finnish Design Shop (finnishdesignshop.com). Death Valley Mountain 8 photograph by Jordan Sullivan, price on application, Les Gens Heureux (@les_gens_heureux) Opposite, from left ‘On Briks’ daybed by Ole Nielsen, £2,960, Nyt i bo (nytibo.dk). For similar sheepskin fabric to cover mattress, try ‘Sheepskin’ in ‘Natural’, £512.50 per m, Zinc Textile (zinctextile.com). Mohair blanket in ‘Camel’ by Mantas Ezcaray, £233, Beau Marché (beaumarche.dk).

‘Fabian’ cushion, £153, Aiayu (aiayu.com). ‘Collect’ linen cushion in ‘Sand’, £52, & Tradition (andtradition.com).

Untitled, 2017 silkscreen print, price on application, Mathias Malling Mortensen (mathiasmallingmortensen.com).

Vintage standard floor lamp, approximately £941, Klassik (klassik.dk). On floor ‘Section’ wooden bowl, £91, Form & Refine (formandrefine.com). ‘Jar’ by Tolne Ceramics, £767, Klassik (klassik.dk)

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‘Alma’ cabinet by Benjamin Ahearn for Nyt i bo, price on application, Bacd Studio (bacdstudio.com) On top of cabinet ‘Sepia Jug’ by Kinto, £32, Dansk (danskshop.com).

Paperweight by Helena Rohner, £65, Ferm Living (fermliving. com). ‘Tidelight’ lamp by Pierre Favresse, £213, Beau Marché (beaumarche.dk) Top shelf Glass carafe with drinking glass, £153; pink glass carafe, £118, both by R + D Lab at Stilleben (stilleben.dk). ‘Cornwall’ espresso cup, £17, Kirstie Van Noort (kirstievannoort.com). Vase by Ryuji Iwasaki, from a selection, Yonobi (itsyonobi.com) Bottom shelf ‘Side dish’ plates, £55 each, Society Limonta (societylimonta.com).

‘Butter Case’ wooden box by Antrei Hartikainen, £66, Stilleben (stilleben.dk). Books, from a selection, Cinnober (cinnoberbookshop.dk)

From left Framed artwork by Côme Clérino, price on application, Les Gens Heureux (@les_gens_heureux). ‘BM61’ cane chair by Børge Mogensen, £2,386, Fredericia (fredericia.com). ‘Drop Leaf’ dining table by Hvidt & Mølgaard, £4,149, & Tradition (andtradition.com) On table ‘Onda’ tea cup and saucer, £85, Society Limonta (societylimonta.com). Chinese teapot, £76, Sing Tehus (singtehus.dk). Wooden tray, £34, No 24 (no24.dk). Vase by Ryuji Iwasaki, £362, Yonobi (itsyonobi.com). Glass bottle, £38.80, Bitossi (bitossihome.it). ‘Gravity’ pendant by Space Copenhagen, £546, Gubi (gubi.com). Ceramic pot by Gregory Hamilton (on windowsill), from £683; ‘JH’ stool by Jørgen Høj (in front of table), £637; large floor vase by Eva Brandt (on wooden stool), £4,145.75, all Klassik (klassik.dk).

Wooden stool by Kristina Dam, £212, Nyt i bo (nytibo.dk). Rug by Hella Jongerius, £412 per sq m, Kvadrat (kvadrat.dk) See Stockists page for details FEBRUARY 2021 ELLEDECORATION.CO.UK 65

PENTHOUSE LIVING Ever wondered what it’s like to live the ELLE Decoration lifestyle?

Now, you can. The new luxury apartment at Chapter House in London’s Covent Garden is a vision of modern British design at its best Photography BEN ANDERS

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Exterior Chapter House Covent Garden has been given a new lease of life by architecture firm Apt and developers Londonewcastle Kitchen Designed by Molteni & C/Dada, this space is sleek and contemporary Portrait Editor-in-Chief Ben Spriggs in the penthouse’s study. Painted in Farrow & Ball’s ‘Bancha’ green, it features an ‘Yves’ desk and ‘Avery’ chair, both by Pinch, and ‘Croquet’ freestanding shelving by Michael Marriott for Very Good & Proper Living area A luxurious moss green velvet sofa from Sedilia’s ‘Sennen’ range sits alongside a ‘Mrs Lots’ side table by Julian Chichester and vintage floor lamp from AU Bespoke, which also sourced the vintage Italian marble coffee table. The ‘Cosmo’ sideboard by Fiona McDonald is topped by Ingo Maurer-designed lights from Béton Brut, while the art and sculptures were provided by MAH Gallery. Christopher Farr’s subtly patterned ‘Tread’ rug and walls painted in Farrow & Ball’s ‘Purbeck Stone’ complete the look

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the penthouse’s interior also displayed the very best of British talent and innovation.

For that, we looked to the designers, brands and artisans across the UK that have helped to define what has become known as the ‘ELLE Deco’ look. That special, individual blend of modern and vintage that succeeds in being both effortlessly cool and welcoming. We worked closely with creative consultant Laura Fulmine and the artists represented by her MAH Gallery, design archivist Béton Brut, plant specialist Conservatory Archives and the colour experts at paint company Farrow & Ball to turn these big ideas into reality.

And, if you want to experience for yourself what living in an ELLE Decoration vision of home is like, you can. The 185-squaremetre penthouse, and the labour of love that is its interior, is available to buy now. We couldn’t be more excited to see the ethos and ideas that we are passionate about leap off the page. We just hope when someone moves in, they get just as much joy from it.

For sales enquiries, call Londonewcastle (020 7534 1888) or CBRE (020 7240 2255); chapterhouse.london; londonewcastle.com

WORDS: CLARE SARTIN EXTERIOR PHOTOGRAPHY: APT (APT.LONDON), JACK HOBHOUSE

magine stepping inside the pages of ELLE Decoration and making yourself at home there. What would that space look like? How would it feel? These were the big questions Editor-in-Chief Ben Spriggs asked himself when, well over a year ago, renowned property developers Londonewcastle approached him with the exciting opportunity to bring the magazine’s aesthetic to life with a luxury penthouse like no other.

Located in the heart of London’s Covent Garden, surrounded by the bustle of theatres and the winding lanes that house the area’s independent shops and cafés, the ELLE Decoration penthouse sits like a crown atop Chapter House, the grand Victorian building, transformed by architecture firm Apt, that has become one of the most coveted residential addresses in the capital.

From the penthouse’s large terrace, London’s skyline stretches out before you – the London Eye even peeks over the nearby rooftops. With such an inspiring backdrop, it was important that

PENTHOUSE LIVING

Dining area A vintage ‘Il Colonnato’ table, designed by Mario Bellini for Cassina in the 1970s is paired with classic chairs by Afra and Tobia Scarpa for Molteni & C, all sourced by Béton Brut Staircase Descend to the two bedrooms and bathrooms below and you’ll notice the tactile leather that coats this winding bannister Terrace The penthouse’s contemporary outdoor space wraps around the property, offering stunning central London views Bedroom Bespoke curtains

by Nest Design, created using de Le Cuona fabric, complement the Society Limonta linen and Tielle Love Luxury bedding on the J Marshall by Vispring bed. The artworks and ceramics are from MAH See Stockists page for details

IN THE HEART OF COVENT GARDEN, CHAPTER HOUSE IS ONE OF LONDON’S MOST COVETED ADDRESSES

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ILLUSTRATION: PAOLO GALLINA

If this year taught us anything, it’s that predicting what may or may not happen in the future is rather foolhardy… That said, those in the design world have a stronger sense than most of what could come to pass, so we’ve turned to a selection of commentators and experts and asked them what’s on the cards when it comes to how (and even where) we live. Plus, to prepare your home, we present our edit of the key products for 2021 and beyond.

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WELCOME TO THE FUTURE

The humble abode has undergone unprecedented, rapid and radical reinvention over the last 12 months. As we take tentative steps back to some sort of normality, Caroline Roux asks, what’s next?

Illustration PAOLO GALLINA

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his time last year, not many of us would have thought about getting either a puppy or a Peloton bike, let alone both. But then it’s been that kind of year. It’s forced us back into our abodes, evaluating them like never before. We’ve acquired office chairs for home use, breadmakers and Netflix subscriptions in unprecedented numbers.

We’ve upgraded laptops and broadband. It will come as no surprise to hear that demand at John Lewis for outdoor heaters went up by 331 per cent at the end of last year, as we started to use gardens as social spaces even in winter. Or that sales of its £99 ‘Mix It’ dressing table, which doubles up as a desk, are up by 400 per cent.

Covid-19 has fast-tracked many things, apart from vaccine development, and among them is a dramatic reappraisal of our homes, not just as spaces for domestic life, but also for work and exercise. If we want to future-proof them, how best can this be done?

London-based architect Alison Brooks has been ahead of this curve for a while. At the 34-storey residential tower she started designing for IQL (the International Quarter London) in Stratford in 2018, the foyer has already been designated as a carefully planned, fully functioning co-working space – not an afterthought with some random tables and chairs. ‘People who live in towers are pretty trapped,’ she says. ‘And if residential buildings are now going to be where we are all day, then we need to make them more suitable for both living and working. They need to be places where you can invite people for meetings.’

Brooks showed even more foresight back in 2007, when designing homes at Newhall Be, a new development in Harlow. ‘Even then I wanted to reintroduce the idea of the home as the workplace,’ she says. As she points out, work has only been done out of the home for 150 years, as a result of the industrial revolution. We used to 72 ELLEDECORATION.CO.UK FEBRUARY 2021

live above the shop or the pigpen or underneath workshops which occupied the top of buildings to get maximum light. Mass commuting to offices only began after the first world war.

At Newhall Be, every house has a 7x7m study next to the front door. ‘You can look out to the street. You could even put a sign for your business in the window,’ says Brooks. ‘I wanted to reimagine the suburbs as economically dynamic and active.’

Well, she wasn’t wrong there. It’s looking very likely that, as people decline the daily commute, the suburbs will certainly change from being dormitory-only to daytime lively. And in that case, we will need to reconfigure so much of the interior.

Having lost rooms one by one – first the separate dining room, and then the separate kitchen, as all living space has been merged into one – new zoning will become increasingly important. It could be as simple as turning a sofa round to form a barrier, or introducing a shelving unit to create a defined space. ‘There will be a renewed interest in movable soft partitions,’ says Brooks, ‘with acoustic linings.

We’ve removed our carpets, curtains and any other sound-absorbing materials, and we live in interiors full of hard surfaces.’

Personally, what I’ll be looking to install as soon as I can is a bigger TV screen – something I never thought I’d say. It’s not about watching more films at home, I’m walking through art exhibitions and art fairs on screen, attending Zoom meetings, following exercise classes online… all of which would benefit from more screen space. The Samsung QLED, launched in 2020, is all but invisible – a life-changer, for now, but marking me out as a conventional Luddite. In the fairly near future, the screen will not exist, passing from VR and AR to, according to Sensulin CEO Mike Moradi’s report at the World Economic Forum, Light Field Displays which ‘project 4D images directly to the retina from a point of focus that could be as unobtrusive as a pair of sunglasses’.

It sounds like my big screen will be redundant very soon.

‘Most people’s ideas of the future are based on the present,’ says Jack Mama, one half, with Clive van Heerden, of vHM Design Futures, who consult for big technology companies on progressive solutions. ‘For example, this idea of the touchless world. It’s just a Band-Aid for what’s happening now. Or car companies, who show a four-seater sedan with the steering wheel removed and a family in the back playing cards.’

It’s worth listening to them. In 2010 – yes, 10 years ago – they published a project called The Microbial Home, which warned of the dangers of unbalancing our ecosystem so dramatically that benign bacteria becomes pathogenic. Since this has come to pass, let’s at least pay attention now. In a world that will soon be 75 per cent urbanised, their concept highlights a system where what we see as waste – sewage, effluent – is kept in the home and filtered, processed and recycled to create drastic improvements in emissions, using natural biological processes that are less energy-consuming and more efficient. This message, of course, is not new. But if any time is right to put it into action, that time is now.

WELCOME TO THE FUTURE

Could the era of inner-city living be at an end? Writer and commentator Eva Wiseman certainly thinks so. For her, the outskirts of town is where it’s at.

So if you want to get ahead, it’s time to move to the suburbs Illustration PAOLO GALLINA

f I stand very still by my kitchen window I swear I can hear it. The revving of hired van engines, the sighing of keys, the heaving of books into massive Ikea bags, the human orchestra of a generation moving down and out to the suburbs.

Last year saw millions of us questioning our life choices, from the decision to marry the stranger you’re now stuck with to the decision to paint your bedroom red. In the cold light of a pandemic, all our previous choices were exposed, as if the lights had come up in the club, revealing suspicious stains, spills and lots of ancient problems shoved roughly behind the speaker. Was it really the best use of your redundancy cheque to buy a single pair of shoes? Had it really been a good idea to move so far from your family? Is it right that you’re spending two-thirds of your monthly salary on a studio flat that smells of ham?

The answers, which many came to in the fifth or sixth month of staring sadly into the foggy mirror of themselves, having had their allotted daily walk, but still finding their feet tapping, were roundly negative. These reckonings, along with the fact of cities shutting their doors – offices, restaurants, museums, all closed – are leading people out to the suburbs, where I wait for them patiently, with the kettle on.

You see, I was first. I was the first person under 35 to move to the suburbs, you can check that. The first to crawl back into the belly from which I emerged, having spent so long, and so, so much money trying to escape. Where I was born, at the very top of London’s Northern Line, it smells of cut grass and hash. There is always a cat watching a dog watching a fried chicken box, and there is always an elderly neighbour putting their bins out. While the newcomers are migrating with grand ideas of ‘an outside space in which to grow a herb’, or ‘escaping the sound of a stranger’s tantrum’, or ‘seasons’, I, from my cold rock of wisdom, am here to explain to them the nuances, the small flakes of knowledge that come from being still mentally young in a place, as I saw it, designed for retirement.

Things like, the slow appreciation of sunlight hitting a wall at half past five. The intergenerational friendships that arrive when you take in a neighbour’s package. The hundred hellos you must say when popping out for milk. The big day you finally sign for your delivery of waterproof trousers.

It’s funny, I fought so hard against moving to the suburbs, in my mind a place where rebels went to die, that it took until last year’s lockdown for me to realise something. I’d stopped looking for an escape route. For the last five years, my secret hobby has been 74 ELLEDECORATION.CO.UK FEBRUARY 2021

scrolling Rightmove after my family has gone to sleep, just in case.

Just in case we’ve made a terrible mistake, and our life is waiting for us in a flat near Topshop. And now, now that I’ve spent so long inside, so long contemplating the deeply cultured backdrop to my online meetings, so long training my houseplants up and over the picture rail, so long injecting my domestic life with shots of decadence and glamour simply in order to get through the days, I realise that I have not just settled into the suburbs, but grown to relish them.

While working from home would have been impossible in my old life, where the bed was also dining table, sofa and desk, in the suburbs, where space is no longer at a premium (in fact, there’s so much of it, it becomes rather tiresome), I can hot-desk in my own house. In the morning when my brain is fresh, the kitchen is best, with its chorus of children clattering to school. For a meeting, it’s the Zoom room, formally my study but now curated to within an inch of its dusty life – no predictable bookshelves for me, oh no.

You want a meeting with me, you get me, you get my best jokes, and in the background, you get all the art my boyfriend finds too kitsch, broken or bad for the walls he shares. You get perfectly directed pink-tinted light. You get – though you may not see it – the aura of two quite dear scented candles. Then, after a stand-up lunch over the sink, because I’m not the Queen, I may choose to work either in the bed or the bath, the latter balancing a precarious laptop, the former a livid cat. Who would dare say that this is not the life?

When, this year, the rest of my generation catches up, taking two trains and a bus to do so, I look forward to watching similar evolutions.

Their directional hairdos growing out by spring. The toll of emotional terrorism that comes with hearing foxes mate at night. Their inevitable slide towards mid-tempo jazz. Welcome home, friends. The future’s bright, and casts shadows on the garden. The future is suburbia.

WELCOME TO THE FUTURE

After a year that has changed so much, what we want from our homes has shifted forever. RIBA chartered architect and author of ‘Happy by Design’ Ben Channon reveals how to plan for the new way of living Illustration PAOLO GALLINA

hen Covid-19 first started making headlines back in January 2020, few of us realised the immense impact it would have on our lives. Within a matter of days the pandemic changed our relationship with almost everything, from where we work to how we socialise and, perhaps most significantly, how we use our homes. Spending months inside forced us to use them in different ways and, for many of us, this exposed their flaws, too. A recent homeowner survey commissioned by the Royal Institute of British Architects (RIBA) revealed that eight out of 10 people wanted to make changes to the design of their property. So, how might this inform changes to our homes in the years and decades to come?

One of the first things the pandemic made us all acutely aware of was how comfortable (or not!) our homes are. In response to spending more time indoors, people are looking to improve their properties in a variety of ways: from reconfiguring existing spaces to creating new, separate ones, from bringing in more daylight to improving thermal comfort or soundproofing through added

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of space and encourage sociability – two things we have all been in desperate need of during lockdowns. Perhaps it is no surprise then, that in RIBA’s survey, more people actually expressed a desire to open their properties up than divide them further.

Being confined to our homes for much of last year has also made us aware of how important our gardens are. Shockingly, one in eight homes in the UK still have no private outdoor space, despite their important role as places for relaxation, play and interaction with nature. While shared amenity spaces in apartment buildings offer many of these benefits, they are no substitute for the privacy afforded by having your own outside area. We are already seeing a shift in perspectives from private gardens and balconies being a ‘nice to have’ in new homes to an absolute essential.

The pandemic has also led many property owners to reassess how self-sufficient they are. The first lockdown served as a reminder of how dependent we are on supermarket supply chains and large corporations, so don’t be surprised to see a move towards more self-sufficiency, from renewable energies like air source heat pumps

insulation. With working from home becoming more commonplace, many of us look set to spend much more time under our own roofs long-term – and this surely justifies investing in our own comfort.

The shift in attitude and behaviour towards flexible working looks set to have further implications, with 15 per cent of people surveyed

by RIBA wanting to enhance the design of their home to help them be more productive. Many of us have experienced the challenges of working and living in the same place, and psychologically that lack of separation has resulted in a number of issues, with many struggling to work and others finding it difficult to switch off. One result of this is that, moving forward, we should expect to see our homes become more adaptable, as they take on multiple identities. Whether that’s a spare room that serves as a study, gym and playroom, or a standalone office-cabin in the garden, I predict there will be more workspaces and greater flexibility integrated into the architecture of new builds.

It has even been suggested that in response to Covid-19, openplan living will soon be no more. During 2020, we saw a number of developer clients asking for a return to a more traditional ‘separate room’ approach as concerns grew over spreading infections within a single home. However, open-plan living can create a greater sense

to people growing their own vegetables and even keeping chickens.

Covid-19 has made us rethink sustainability in other ways, too. We have seen the rise of low-traffic neighbourhoods, which although contentious have signalled a move towards more eco-friendly modes of transport like cycling and walking. These are not only better for our physical fitness and for air pollution, but are starting to create more of a focus on ‘living local’, hopefully resulting in stronger communities.

Perhaps one of the most positive things to come out of such a challenging year has been a genuine shift in attitudes towards health and wellbeing in our homes. We have all discovered firsthand just how much our indoor spaces affect us physically and mentally, and we are now seeing people engaging with wellbeing in the design of their properties in a way that we never had previously. This is either through a deeper consideration of the emotional impact of design choices, or through the appointment of a specialist wellbeing consultancy or health-focused architecture practice. I hope that, despite all the challenges presented by the pandemic, we can embrace some of these positive lessons and work towards building a future where new homes will better suit our needs and support the health of generations to come. ekkist.co; architecture.com/find-an-architect

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THE FUTURE IS…

It’s time to cut out plastic and look to items that are eco-friendly and kinder to the environment. From sustainably sourced timber furniture produced by carbon-neutral companies to ethical, small production textiles and vintage pieces made from natural materials, it’s now easier than ever to make buying choices for a circular economy

‘May’ coffee table, £1,450, Tom Raffield (tomraffield.com)

‘Backless Portsmouth Bench’, £1,046; ‘Loop Shelf 980’, £357.60 each, all by Barber & Osgerby for Isokon (isokonplus.com)

‘Block + Stitch’ cushion, £80, Stitch by Stitch (stitchbystitch.uk)

BENJAMIN HUBERT F O U N D E R , L AY E R D E S I G N

‘Wodge’ modular sofa in ‘Pinky Peanut’ plush velvet, from £1,830, Loaf (loaf.com)

Not just because of the uncertainty that the virus has brought, but also because of the political climate, I think there’ll be a return to authenticity, honesty and things you can trust. We’ll see this via a rise in crafts and locally made, traceable design, but also spreading to the idea of data privacy – especially in the realm of the smart home.

WELCOME TO THE FUTURE

‘Ivory Duo’ timber in ‘Walnut & Cedar’, £324 per sq m, Foresso (foresso.co.uk)

‘Modern Farmhouse Occasional Chair’, £1,585, Another Country (anothercountry.com)

‘Pendean’ armoire, £2,575, Sebastian Cox (sebastiancox.co.uk)

SEAN SUTCLIFFE CO-FOUNDER, BENCHMARK

‘Cork’ round table, £4,500, Tom Dixon (tomdixon.net)

Vintage Beni Ouarain wool pile rug, price on request, Larusi (larusi.com)

For a lot of working people, the home had become something of a place of brief encounter. Postpandemic, we’ve all taken a fresh look at our indoor spaces and, in many cases, have found them wanting. I expect we’ll see more emphasis on comfort, design, and health – from thinking about the ergonomics of our furniture and the toxicity of what goes into the objects in our homes, to seeking refuge in nature. Either through a reevaluation of gardens or by surrounding ourselves with house plants and natural materials.

‘Rodan’ elliptical dining table, £16,860, Pinch (pinchdesign.com)

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THE FUTURE IS…

With a greater awareness of how our purchases can impact the environment, we are increasingly looking for one-off buys that are built to last. From mid-century favourites to future stars, investing in a classic design is a good way to ensure a piece will stand the test of time and be treasured for years to come

NORA FEHLBAUM CEO, VITRA

‘Mattia’ armchair

by Rodolfo Dordoni, £6,320, Minotti (minottilondon.com)

Maximising space and building in the ability for homes to perform different functions and needs will be a priority for the homes of the future. At the same time, design classics may become even more sought after. They come from a different time, will last for generations and, as such, convey a much needed sense of stability and permanence.

Limited-edition ‘Tulip’ tables in ‘Sequoia Brown’ by Eero Saarinen for Knoll, from £1, 650 for a side table, exclusive to The Conran Shop (conranshop.co.uk)

‘Jet 1’ trolley

by Carlo Ballabio, £2,131, Porada (porada.it)

‘Le Club’ chair

by Jean-Marie Massaud, £4,438, Poliform (poliform.it)

WELCOME TO THE FUTURE

‘String Pocket’ shelving in ‘Sage’ by String Furniture, from £126, Utility Design (utilitydesign.co.uk)

‘Type 75’ desk lamp

by Paul Smith, £199, Anglepoise (anglepoise.com)

‘Any Day’ console table by Christophe Pillet, £2,900, Flexform (flexform.it)

‘D.655.1’ sideboard

by Gio Ponti, from £8,997, Molteni & C (molteni.it)

‘Francis’ table with lazy Susan

by Giuseppe Bavuso, price on application, Rimadesio (rimadesio.it)

‘Long Island’ armchair

by Bontempi Casa, £1,700, Chaplins (chaplins.co.uk)

‘Cameo’ wallcovering in ‘Shibam’, £185 per 8.5m roll, Arte (arte-international.com)

‘53’ chair, from £5,049, House of Finn Juhl (finnjuhl.com)

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THE FUTURE IS…

Our homes have had to do more than ever before over the last year and with space often in short supply, furniture needs to offer versatility, comfort as well as great design. From stacking chairs to sleek storage, here is our selection of the best space-saving and multitasking buys

‘Clarine’ table lamp by Patrick Zulauf, £247, Ligne Roset (ligne-roset.com)

‘FK63 Bookcase System’, from £1,050, Carl Hansen & Søn (carlhansen.com)

MARIA SPEAKE CO-FOUNDER, RETROUVIUS

As we’ve discovered over the last year, open-plan living is not acoustically conducive to home working. But spaces need to remain interconnected, so we anticipate an interest in glazed doors and internal windows.

‘Scandia’ chairs in ‘Smoke’ by Busetti Garuti Redaelli, £411.50 each, Calligaris (calligaris.com)

‘Dase’ coffee table with lamp by Idelfonso Colombo for Mogg Design, £860, Go Modern (gomodern.co.uk)

WELCOME TO THE FUTURE

PAT R I C I A U R Q U I O L A ARCHITECT AND DESIGNER

‘Stone’ bed by Federico Peri for Baxter, £10,045, Silvera (silveraltd.co.uk)

‘Liagò’ sideboard in ‘Oak’

by Piero Lissoni, from £6,979, B&B Italia (bebitalia.com)

‘Turning Table’ in ‘Black Ash’

by Theresa Arns for Menu, £450, Skandium (skandium.com)

‘Blues’ sofa by Giuseppe Viganò, price on application, Turri (turri.it)

We are going to live in dynamic, flexible spaces, that change during the day, seasons and years. No square metre will be wasted.

‘Random 3C’ bookcases by Industriedesign Neuland for MDF Italia, from £1,232 each, Aram (aram.co.uk)

‘Tembo Category C’ lounge chair by Noergaard & Kechayas, approx £1,949, New Works (newworks.dk)

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THE FUTURE IS…

There’s nothing like a pandemic and repeated lockdowns to have most of us craving more fun and colour in our lives. Bring joy and a little eccentricity into your indoor space with these shapely and unashamedly bold designs – there’s barely a neutral hue in sight

‘Shuffle’ side table

by Mia Hamborg, £425, &Tradition (andtradition.com)

‘Euphoria’ rug, £1,418, and chaise longue upholstered in ‘Breakwater’ fabric in ‘Verdigris’, £223 per m, both from the ‘Villa del Sol’ collection, Perennials (perennialsfabrics.com)

LEE BROOM DESIGNER

Our homes are expressions of our personalities, and I think we will buy the best that we can, and every piece will have meaning and significance.

Objects with a narrative and designed with longevity in mind will take on a greater importance in our homes.

‘Jardin de Cézanne’ linen fabric from the ‘French Riviera’ collection, £140 per m, Misia (misia-paris.com)

‘Casa Margaret’ armchair, £4,400, Fendi Casa at Harrods (harrods.com)

WELCOME TO THE FUTURE

‘Bombom’ sofa by Joana Vasconcelos, £4,050, Roche Bobois (roche-bobois.com)

‘Little Lens Flair’ chandelier in ‘Brushed Brass’, £990, Lee Broom (leebroomstore.com)

J AY O S G E R B Y CO-FOUNDER, BARBER OSGERBY

Those, like us, who travel often for work, may be missing inspiration that comes from experiencing an array of cultures. As we continue to work from home more often, it may no longer be seen as the place for serene reflection but instead a source of inspiration. We may see this as the end of minimalism, a time to bring out the things hidden in cupboards and live alongside forgotten mementos and physical memories as a way to inspire creativity.

‘Midnight’ bar cabinet, from £25,000, Armani/Dada (armanidada.com)

‘Blushing Sloth’ cushion cover, £62, Moooi (moooi.com)

‘Argo’ chaise longue

by Paola Navone, from £2,820, Natuzzi (natuzzi.com)

‘Palm’ lamps by Marioni, from £675 for a table lamp, Artemest (artemest.com)

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THE FUTURE IS…

Even if your dining or kitchen table is your desk, it’s worth investing in an adjustable chair and task lamp that can be moved easily at the end of the day. If space isn’t an issue and you have your own study, we have some covetable kit to make you proud to take those Zoom calls

‘Grand Relax’ chair and ottoman

by Antonio Citterio for Vitra, from £7,790, Aram (aram.co.uk)

‘President Junior Desk’, from £1,800; ‘0414’ chair, from £1,440; ‘Syil’ shelving system, from £10,000, all Gallotti & Radice (gallottiradice.it)

‘Era Scrittoio’ writing desk by David Lopez Quincoces, £4,240, Living Divani (livingdivani.it)

‘Kaiser Idell’ table lamp in ‘Easy Grey and Brass’, £560, Fritz Hansen (fritzhansen.com)

‘Gazette’ wall-mounted organiser, £11,500, Hermès (hermes.com)

WELCOME TO THE FUTURE

‘Oblique’ desk lamp

by Vincent Van Duysen, from £305, Flos (flos.com)

‘Mecano’ shelving system, price on application, Diesel Living with Moroso (moroso.it)

‘Lucylle’ armchair

by Roberto Lazzeroni, from £2,500, Lema (lemamobili.com)

ED CARPENTER FOUNDER, VERY GOOD & PROPER

‘Noa’ sit-stand desk by Tom Parfitt, £1,495, Benchmark (benchmarkfurniture.com)

‘HD’ pedestal chair by John Tree, £329, Very Good & Proper (verygoodandproper.shop)

Even when Covid-19 seems like a distant memory, it’s safe to assume many of us will still be spending the majority of our time working at home. People have had to adapt their domestic set-up, such as the kitchen table or a bedroom, into an office that they work at during the day and transform again in the evening.

We have launched a new collection that explores the idea of furniture that welcomes both work and rest, with designs that can adapt easily between the two.

‘Orson’ desk in ‘Walnut’ by Matthew Hilton for De La Espada, £3,876; ‘Edit’ swivel chair in ‘Copenhagen Grey’ by Says Who, £499; ‘Saber’ LED desk lamp in ‘Gold’, £129, all Heal’s (heals.com)

For more of our experts’ insights on designing for the future, go to elledecoration.co.uk FEBRUARY 2021 ELLEDECORATION.CO.UK 87

HOMES MELBOURNE

/ PA R I S / R O M E / L O N D O N / A M S T E R D A M / B A S E L

PICTURES: LISA COHEN, CHRISTIAN SCHAULIN

Edited by CL ARE SARTIN

This month, we have turned our focus to the FUTURE of home. After a year that has changed so much about the way we live, what will that new TOMORROW look like? The truth is, it will be different for everyone, because now is the time to create a sanctuary that works perfectly for you.

For some, the NEXT CHA PTER of home will bring to mind cutting-edge architecture, like the sweeping form of one Melbourne new build (p90) designed to CA LM and SOOT THE, or a playfully renovated former coach house in Basel with geometric portholes (p144). For others, moving FORWA RD involves looking back to the beauty of the past. The designerowner of a bijou apartment in the historic Palazzo Sacchetti in Rome (p116) has done just that, uncovering an ornate ceiling deserving of MOD DER N appreciation.

In interiors stylist Hannah Bort’s London townhouse (p124), a NE EW BEG GINNIN NG warrants restful greys and dusty pink, while a canalside home in Amsterdam (p134) shows that seeing things in black and white can sometimes be a POS SITI VE approach.

One thing’s for sure, whatever the future holds, if you fill your home with personality, things will always look a little BRIGHTER.

CARVING A

CALM FUTURE The contemporary, carefully sculpted curves of this monumental Melbourne build make for a surprising yet fantastically serene family home Words BECKY SUNSHINE Photography LISA COHEN

Opposite The futuristic, floating concrete porte-cochère (the large covered entrance) was inspired by the shape of the canopies of the trees that line the street This page Set amid the limestone floors and polished plaster walls of the open-plan interior is a striking sculptural staircase

W

hen consulting with his clients about the kind of home they wanted, Melbourne-based architect Michael Leeton of Leeton Pointon Architects and Interiors was given a pleasingly open brief. ‘The owners are a busy couple with three kids,’ he explains. ‘So other than it needing to be a functioning family home, they just said, “see what you come up with”.’

What Michael gave them is a spectacular creation in concrete and glass, full of curves and projections that play elegantly with a balance between solid structure and perceived weightlessness. The two-storey, 864-square-metre Canopy House, as it’s known, is situated on a quiet residential street in a leafy suburb of Melbourne. Both the building’s external and internal contours take their cues from the tree-lined street on which the property sits. Having knocked down an existing 1980s brick house to make way for his vision, Michael’s aim was, he says, ‘to make sure that this new home would connect to the street and give something back’.

As an architectural creation, it’s full of surprises, from the sweeping driveway and spectacular flying saucer-like form hovering above the entrance to a vast glass front door. Inside, what might’ve been a cold, contemporary space is, in Michael’s hands, full of warmth and wonder. The ground floor, rather than one large open-plan space, is instead a series of zoned volumes: a minimalist kitchen and dining area, a study, casual family room and a more formal living room. At the centre of it all is a sculptural staircase that, as it ascends to the first floor, gracefully divides: to one side, the parents’ wing; to the other, the children’s. From almost every angle, though, one’s eye is drawn outside, to views of the elliptical pool and lush garden.

‘The walls are so big, we didn’t want it to feel like this was some heavy block,’ explains Michael, ‘so we created thresholds that offer a sense of journey and discovery.’ It’s his use of materials, though, that gives this property its joyous personality. From the oak floorboards – also used on walls, ceilings and built-in benches – that help to dampen acoustics, to the chalky polished plaster, softened by linen curtains, they lend this space a sense of serenity.

The interiors, led by Michael’s long-time collaborator Allison Pye, are elegant yet practical. Little touches of whimsy in furniture or lighting remind us there are teenagers in the house, while colour is neatly edited, too: deep-blue Bart Schilder sofas in one of the living areas and paintings by Sydney artist Jonny Niesche in another. ‘I think this place has nuance and subtlety,’ concludes Michael. ‘A house that’s tactile and will age well is always key.’ leetonpointon.com Opposite Moving Picture by artist Jonny Niesche greets guests as they enter through the glass front door, which has a linen curtain pulled across for privacy This page Hand-applied black polished plaster walls set the study apart from the rest of the light and airy house. The occasional table (top) is a vintage bamboo piece by Pierre & Charlotte, while the ‘Chiara’ armchair and ottoman (right) is by Francesco Binfaré for Edra

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Living room Facing out to the garden, this is the property’s formal reception area. Elegant touches such as the brass-edged mirrored glass wall and fringed poufs from Gubi add a shot of glamour. A pair of deep-blue ‘Bart’ sofas by Dutch designer Bart Schilder for Moooi sit on a similarly coloured rug from the ‘Agra’ collection by Armadillo & Co. The glass coffee table is the ‘Atlantis’

by Lorenzo Arosio for Glas Italia

Kitchen This vast, open-plan area includes a custom-made limestone island and ‘She Said’ bar stools by Studio Nitzan Cohen for Mattiazzi, as well as an informal dining area. The ‘Tambootie’ oak table by Agostino & Brown is surrounded by oak chairs, also from the ‘She Said’ collection. Above the table hangs a ‘Semi’ pendant light by Claus Bonderup and Torsten Thorup for Gubi

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Family room With wraparound views of the garden and swimming pool, this space is given a warmer feel via the ceiling and cabinetry, which is finished in oak. ‘Off Cut’ stools

by Tom Dixon feature alongside a ‘Cloudscape’ armchair, a collaboration between Diesel Living and Moroso, and a modular ‘Cloud’ sofa by Sanja Knezović for Prostoria. The wall light is the ‘Counterbalance’ by Daniel Rybakken for Luceplan

‘WE CREATED THRESHOLDS THAT OFFER A SENSE OF JOURNEY AND DISCOVERY’ Stairwell Oak floorboards have been used to vertically clad the walls, increasing the sense of height while adding warmth to the mostly white interior Guest bathroom A skylight illuminates this cheerful yellow space, where a Philippe Starck ‘Gnome’ table for Kartell adds a touch of fun Bedroom With its luxurious en suite featuring a ‘Spoon’ bathtub by Benedini Associati for Agape, this space is all about relaxation. The custommade bench, crafted from oak floorboards, runs the length of the window, creating the perfect spot for contemplation

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Exterior The deep reveals over the floor-to-ceiling windows shield the rooms from the harsh Australian sunlight. As the property is set on a sloping plot, the elliptical swimming pool has been elevated so it is level with the family room, where views of the sunlight glistening off its rippling blue surface can be enjoyed See Stockists page for details

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GOOD VIBES ONLY

Freedom of expression, joyous colour and the liberty to break rules – these are the very timely principles behind the feel-good interior of this Paris apartment Words CLARE SARTIN Photography ARIADNA BUFI & BIANCA BUFI

Study An ‘Extra Wall’ sofa by Piero Lissoni for Living Divani adds some comfort to this very grand workspace, complete with a marble fireplace and vintage Murano chandelier by Carlo Scarpa. The desk is an original curved ‘Compass’ by Jean Prouvé from the 1950s – modern versions of this design are available at Vitra – and the chair is the ‘Standard SP’, also by Prouvé and also available at Vitra. The lamp is a vintage piece by Gino Sarfatti for Arteluce, bought at Galerie Christine Diegoni in Paris. On the wall hangs Untitled #426, one of a series of works featuring clowns by American artist Cindy Sherman

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ince setting up her eponymous interior design studio in Paris almost 10 years ago, Sandra Benhamou has enjoyed creating stylish homes for her clients. When she began work on the interior of her own grand, Haussmanian apartment, however, she was excited to take advantage of the creative freedom and sense of liberty. ‘I wanted,’ she says, ‘to make it a joyful place.’

Originally an office block, the home, which she shares with her husband, Michael, and three children – Mia, 19, Sasha, 17, and Nathaniel, 13 – sits within strolling distance of the French capital’s National Assembly. When she bought it, the place was in a bad state of disrepair, with all of the electrics and plumbing needing to be replaced. This diamond’s shine was not deeply hidden, though. Straight away Sandra noticed its original wood flooring and ornate mouldings. They are features she coveted but was not willing to be restrained by. ‘I wanted to avoid that bourgeoise feeling,’ she says. ‘My husband and I have a nice collection of art and design, but I really didn’t want my home to feel pretentious, or like a gallery.’

The best way to puncture any potential pomposity was with an injection of colour, and this home’s walls are a confection of pink, pale blues and greens. The inspiration for the scheme came from Le Corbusier’s famous ‘Les Couleurs’ palette. Specifically, Jung’s collection of light switches available in the Swiss architect and designer’s chosen hues. ‘I decided to use a different one of the

switches for each space and to choose shades that would balance each one,’ explains Sandra. In the dining room, a red switch is paired with pale blue walls, while in the bedroom, terracotta switches beside the bed suit the mix of blue and pistachio green.

Le Corbusier is not the only design heavyweight to have influenced the look of this home. Italian architect Carlo Scarpa was in the forefront of Sandra’s mind when designing the bespoke handles for the cabinets in the kitchen and her walk-in wardrobe. Their indented shapes recall the geometric nature of his work. ‘I’m really a perfectionist,’ admits Sandra. ‘I pay attention to the things you may not see at first, but that really make the difference.’

This commitment to detail can also be seen in her first collection of furniture, released last year. Named ‘Ginger’, after Sharon Stone’s character in the Martin Scorsese classic Casino, it celebrates the excess of 1970s America with elegant precision. The movies are a natural reference point for Sandra, who started out training, not in interior design but film, moving to New York to work for Miramax before the birth of her children.

She has also lived in London and was impressed by the freedom of expression she witnessed in both cities. ‘There are less stereotypes and people trying to follow trends,’ she says. In her own home, the expected is deftly side-stepped with the emphasis on individuality and positive energy. Because, as Sandra concludes, ‘what’s most important in a house is good vibes.’ sandrabenhamou.com

Living room The plump dimensions of the ‘Sesann’ sofa by Gianfranco Frattini for Tacchini are perfectly complemented in this space by the inviting dimensions of the two ‘ABCD’ lounge chairs, designed by Pierre Paulin in the 1960s for Artifort. At the centre of it all sits a ‘Kyoto’ coffee table, also by Gianfranco Frattini, for Poltrona Frau and a deep burgundy ‘Marelaggi’ rug by Charles Zana for La Manufacture Cogolin. Side tables include a smaller version of the ‘Kyoto’ and the ‘Sienna’, a monochrome marble piece by Pierre Gonalons, available at The Invisible Collection. The pendant light above is an original ‘No.2109-16’ by Gino Sarfatti for Arteluce

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Dining room Angelo Mangiarotti’s statement-making marble ‘Eros’ table for Agapecasa dominates this delicate duck egg blue space. The chairs are the ‘Superleggera’ by Gio Ponti for Cassina and the yellow pendant light is a vintage ‘Suspension 2130’ by Gino Sarfatti for Arteluce. The Murano glass wall lights are also vintage pieces, attributed to Italian designer and architect Carlo Scarpa. A collection of original vases by Memphis master Ettore Sottsass – try 1st Dibs – add playful colour above the fireplace. The bar cart is the ‘Tea Trolley 901’ by Alvar Aalto for Artek ±

BUT THAT REALLY MAKE THE DIFFERENCE’

ADMITS SANDRA. ‘I PAY ATTENTION TO THE

‘I’M REALLY A PERFECTIONIST,’

THINGS YOU MAY NOT SEE AT FIRST, Kitchen Homeowner Sandra Benhamou designed the bright blue units in this room herself, creating inset handles inspired by Carlo Scarpa’s work. The flooring is also bespoke, made using Carrara marble. The similarly architectural white ceiling light is from the ‘Bebow’ range by Belgian brand Wever & Ducré Hallway Painted using ‘Rose Clair’ from the Le Corbusier paint range by Keim, this area sets the tone for the Corbusier-inspired palettes throughout the rest of this home. Against the wall sits a cream-coloured ‘636 Elling’ sideboard by Gerrit Rietveld for Cassina and a 1980s ‘Tree Light’ by Ron Arad, picked up at Remix Gallery

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Bedroom A bespoke blue headboard by homeowner Sandra incorporates the Le Corbusier-designed ‘LS 990’ light switches by Jung – available at The Conran Shop – that informed the palettes for every room in this home. On top sit two table lamps: a cardboard design by Frank Gehry, purchased at Galerie Christine Diegoni (left) and a vintage alabaster design by Angelo Mangiarotti (right). Between them sit a series of artworks, including photography

by Jack Pierson and Ettore Sottsass See Stockists page for details

A NEW RENAISSANCE The spellbinding beauty of this apartment in Palazzo Sacchetti, one of Rome’s most artistic architectural delights, fuelled its owner’s creative side Words ROSARIA ZUCCONI Photography ALBERTO STRADA

Living area Two leather ‘Togo’ armchairs by Michel Ducaroy for Ligne Roset flank the red 1980s ‘Tria’ coffee tables by Gianfranco Frattini for Acerbis. Instead of a wall, this area is separated from the bedroom beyond by a steel wardrobe. On it hangs Portrait of Signora, a 16th-century oil on canvas by Andrea Commodi from Miriam Di Penta Fine Arts gallery in Rome. The floor lamp is an original ‘No. 1080’ by Gino Sarfatti for Arteluce

ia Giulia, with its churches, monuments and palaces that overlook the Tiber, is one of the most fascinating streets in Rome. Quiet, reserved, aristocratic – it was the dream location for architect Massimo Adario, who, looking to move from his house in the city’s bohemian Monti district, was hoping to find a place with more historical context. Somewhere he could experiment, and play with elements of the past and future.

When he happened upon this apartment on the fourth floor of Palazzo Sacchetti, Massimo was instantly mesmerised by its wooden coffered ceiling, complete with original 18th-century decorations. ‘With the curiosity of an art history student, I immersed myself in the property’s history.

It began in the mid-16th century, when Cardinal Ricci from Montepulciano commissioned work on a project originally designed and owned by Antonio da Sangallo 118 ELLEDECORATION.CO.UK FEBRUARY 2021

the Younger, one of the age’s most renowned architects,’ he enthuses. ‘I never thought I’d be able to live in a building where the rigor of the Florentine Renaissance is so apparent.

A place where the monumental staircase would have been graced, over the centuries, by sarcophagi and Roman statues.’

By eliminating all of the internal walls, which were added in the 1970s, Massimo has revealed the original scale of the space and enhanced the view of the elaborate ceiling. Not wanting to detract from its beauty, he chose to divide the living areas with custom-made furnishings instead.

A walk-in wardrobe disguised behind brushed steel – reminiscent of the structural interventions in architect Gae Aulenti’s memorable 1971 redesign of Palazzo Pucci in Florence – creates a divide between the living area and bedroom. Elsewhere, a row of freestanding display cabinets separates the living area and kitchen. This second moveable ‘wall’, named ‘The Collector’ by

Massimo and his collaborator, artist Andrea Sala, was originally designed for the Schiavo Zoppelli Gallery in Milan and is inspired by Utz, a novel by British author Bruce Chatwin.

It tells the tale of a porcelain enthusiast so enthralled by his collection of more than 1,000 pieces that he chooses to remain in Czechoslovakia during the Cold War rather than defect and leave it behind. It’s a fitting influence for this intriguing apartment, where precious objects – a piece of coral, a book, a sculpture or antique vase – are arranged throughout with a curatorial eye.

On the walls, where once hung an extensive art collection – most of it sold during the 18th century to Pope Benedict XIV and later donated to the world’s first public museum, the Capitoline – Massimo now tends to hang photography, not wanting to compete with the works of the past. It’s a final show of respect and deference to the history of this incredible former palace that has now become his home. massimoadario.com

Opposite Homeowner Massimo stands at the entrance to the historic Palazzo Sacchetti This page Not wanting to damage the existing walls, Massimo clad the dining area using panels upholstered in Dedar fabric.

On them hang photographic works by German artist Joachim Schmid from P420 gallery in Bologna. The ‘Ollo’ table and chairs are a 1980s design by Alessandro Mendini and Alessandro Guerriero for Studio Alchimia, and the floor lamp is another ‘No. 1080’

by Gino Sarfatti for Arteluce

Above ‘The Collector’ cabinet, designed by Massimo and artist Andrea Sala for Schiavo Zoppelli Gallery in Milan, separates the living area from the kitchen. Full of curiosities gathered on trips abroad, its classic wooden and glass form is paired with playful mismatched feet Kitchen This space’s functional features, such as the drinks station and oven, can be concealed behind sliding brushed-steel doors. On the end wall hangs an engraving by Argentine-Italian artist Lucio Fontana. The ‘Eros’ side table by Angelo Mangiarotti for Agapecasa is paired with a vintage stool by Austrian architect and designer Josef Hoffmann

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Bathroom Hidden behind a beautiful 1950s Piero Fornasetti screen is an antique English copper bathtub from the 19th century – the ideal spot to linger and soak up views of the original wooden coffered ceiling Bedroom The minimalist design of the ‘Siebenschläfer’ bed by Christoffer Martens for German brand Nils Holger Moormann is juxtaposed perfectly by the elaborate pattern of Roman ruins on the Fornasetti screen See Stockists page for details

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RESTED DEVELOPMENT Creating a calm and peaceful home, free of life’s clutter, was the aim for two new parents renovating this Victorian terrace house in East Dulwich Words CLARE SARTIN Photography BETH EVANS

Living area Bringing pattern and impact to the pared-back space is the ‘Braid Monochrome’ fabric by Kirkby Design, which covers the ‘Borghese’ sofa by Natuzzi. The ceiling light is the ‘Sinker’ by Hay and the wall lamp is the ‘Mantis BS2’ by Bernard Schottlander for DCW Éditions. On the left, two ‘Crown’ armchairs by Massproductions are joined by a ‘La Lampe’ floor lamp by Friends & Founders and a ‘Tulou’ coffee table by GamFratesi for Hay

W orking as an interiors stylist for magazines and international

brands, Hannah Bort has cultivated her ability to select only the most beautiful pieces to grace her photoshoots. As she says, ‘You don’t need hundreds of things in an image or in a life to make you feel fulfilled.’ It’s an ethos that she has carried through into her own home in East Dulwich, south-east London, which she shares with her husband, Sam, who works in marketing for the Barbican, and their newborn daughter, Olive.

Everyday minimalism may not be for everyone, but Hannah’s love of all things pared back was strengthened, years ago, by some practical advice from a personal hero. ‘I remember going to architect John Pawson’s house and just being blown away by how there was no clutter,’ she recalls. ‘It was so calming, so peaceful. I recall asking him “How do you live with so little?” He just smiled and pushed open a concealed cupboard. Inside was all of his stuff!’

It’s been a long journey for Hannah and Sam to create their own tranquil sanctum. What was originally forecast to be a five-month renovation job – building a side return and a rear extension, as well as pulling down internal walls on the ground-floor to create an open-plan living space – ended up taking just shy of two years. It also involved Hannah taking over the role of project manager after letting the original builders go. Her mission to simplify this Victorian-era property also included taking out fireplaces and cornicing. Luckily, there was no guilt involved. Two previous

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renovations had removed all original features, so the only things to hit the scrapheap were some tired 1930s additions.

Once the building itself had been decluttered, it was time to focus on the interior. Hannah opted for a palette of soft greys and blush pink to amplify this home’s soothing atmosphere. ‘Some people have been surprised, thinking that the house would be much more colourful, like my shoots,’ she explains, ‘but I think that’s where I draw the line between work and home. Sam and I wanted this to be a place that we can really relax into.’

That’s not to say Hannah’s day job hasn’t been a deep well of inspiration for the look of her home. One particular furnishing choice had been on her wish list for some time: Massproductions’ ‘Crown’ easy chairs. Upholstered in mustard fabric, these sculptural pieces stand like works of art in her living room. ‘Finding the perfect armchair is one of life’s great missions,’ jokes Hannah, who first came across her ideal match when planning a shoot for fabric brand Romo. ‘To find a piece for work and mentally clock it as one of those things that you want to live with is incredibly special,’ she adds.

Currently, these much-coveted pieces are hidden under an avalanche of throws, as the realities of parenthood take hold. ‘I’m not sure we chose all the right furniture for a child’s small, grubby hands,’ laughs Hannah, ‘but I’m sure we will learn to be less precious.

I may make Olive tidy her room a little more frequently than most parents, though!’ hannahbort.com

Opposite Complementing the ‘Braid Monochrome’ upholstery fabric, which is from Kirkby Design’s ‘Arco Dimensions’ collection, is the ‘194 9’ side table by Piero Lissoni for Cassina This page ‘Compile’ shelving by Cecile Manz for Muuto displays carefully curated items that are changed regularly and, as Olive grows, this will hold her trinkets, too

‘ I R E M E M B ER G O I N G TO A R C H I T E C T J O H N PAW S O N ’ S HOUSE AND JUST BEING B LO W N AWAY BY H O W T H E R E WA S N O C LU T T ER. I T WA S S O C A L M I N G, S O P E AC EFU L’ Dining area A ‘Snaregade’ table by Norm Architects for Menu and a mix of chairs – vintage ones alongside the ‘Afteroom’ by Afteroom Studio and ‘Harbour’ by Norm Architects, both for Menu – offer a view through the Crittall windows to the garden beyond. On the wall to the left is what Hannah calls her ‘play shelf’, a spot where she regularly changes the display of her favourite ceramics and vases, including pieces by Kose Milano and Momosan Kitchen Streamlined smoked-oak cabinetry by Reform, a Danish company that offers fronts for Ikea kitchen units as well as more bespoke options, is paired with a Corian worktop and a vintage brass tap from The Watermark Collection

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‘YO U D O N ’ T N EED H U N D R EDS O F T H I N G S TO M A K E YO U FEEL F U L F I L L E D ,’ S A Y S I N T E R I O R S S T Y L I S T H A N N A H, W H O H A S C U LT I VAT ED H E R A B I L I T Y TO S E L E C T O N LY T H E MOST BE AUTIFU L PIECES Above, from left Carefully chosen vases in a neutral palette add warmth to the minimalist space. Along the whole wall under the stairs sits a concealed storage unit. It’s home not just to shoes, coats and everyday clutter, but also husband Sam’s barista station, where he makes his morning coffees. The bench is the ‘Maissi’ by Wesley Walters and Salla Luhtasela for Skagerak and the ceiling lamp is the ‘Industrial’ brass pendant by Workstead Guest bedroom Pale grey bedding from LinenMe complements the colour of the ‘Building’ side table by Bicolter for Skagerak. The table lamp is the ‘Enna’ by Astro

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‘ I WA N T ED T H I S TO B E A P L AC E W E C A N R E A L L Y R E L A X I N T O ,’ S A Y S H A N N A H , W H O C H O S E A PA L E T T E OF SOFT GREYS AND BLUSH PINK TO A M P L I F Y H ER H O M E’S S O OT H I N G ATM O S P H ER E Main bedroom ‘Plaster V’ paint colour by Paint & Paper Library is used on the walls to calming effect. This mood is emphasised by Gucci’s ‘Heron’ wallpaper – used here as an artwork. The bed is dressed with linens from Caravane and the table lamp is the ‘Flowerpot’ by Verner Panton for &Tradition Above, from left The couple wanted this to be more than just a space to sleep in, so there’s an ‘Oslo’ sofa by Anderssen & Voll for Muuto to relax on in the evenings. Next to it is a ‘Fifty-Fifty’ floor lamp by Sam Weller for Hay and the ceiling light is the ‘Satellite’ by Mathieu Matégot for Gubi.

A vintage German jug, a bowl by KH Würtz for Sigmar and a ‘Troll’ vase by Anderssen & Voll for Menu sit beneath a print of a work by Korean painter Kim Whan-Ki See Stockists page for details

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INCREASE THE CONTR AST

Seeing things in black and white is not always divisive. The Scandinavian owner of this Amsterdam home has created a monochrome palette that’s striking in its simplicity Words MARZIA NICOLINI Photography CHRISTOFFER REGILD/LIVING INSIDE Production and styling MAJA REGILD INTERIORS

O

riginally a schoolhouse, the main lessons now taught in this central Amsterdam property are the principles of Scandinavian design and minimalism. Converted into a four-bedroom house by local architect Jen Alkema, known for his commitment to clean lines and meticulously pared-back spaces, the building is now home to Ulrika Lundgren and her two sons, Felix and Luca.

Swedish fashion stylist and designer Ulrika has been living in the Dutch capital for 20 years, but her signature style is still very firmly influenced by her roots. In fact, it’s also the aesthetic that her fashion brand Rika Studios exhorts – there’s a shop, Maison Rika, located on the corner of the Herengracht and Oude Spiegelstraat, as well as a dedicated magazine and, as of late, a boutique guesthouse above the store.

The main defining feature of Ulrika’s home is its monochrome palette: white walls and antique oak floorboards painted pitch black. It’s a bold chromatic contrast that could end up looking cold or uninviting, but, when sprinkled with a carefully selected edit of iconic furniture from Scandinavia’s design past, as well as custom-made items, pieces picked up on trips abroad and contemporary paintings, it becomes full of soul.

Due to the property’s past as a place of learning, it is blessed with unusually high ceilings – the double-height living area is especially striking – and long, expansive rooms that add to the grandeur of Ulrika’s decorative decisions. For her, function is as important as form. That’s why, although it may look uncluttered, the trappings of everyday family life still exist, piled high on the built-in shelving units that blend into the fabric of this home. There is nothing superfluous here, but, when choosing the few pieces that are on display, Ulrika looks for one essential characteristic: timelessness. ‘Beauty,’ she says, ‘lies in things that are destined to grow in value as they age.’

Ulrika’s standards and palette may be strict, but there are a few notable exceptions to her monochrome scheme; bold splashes of primary colour that appear in the form of art.

Most notable is the large work above the daybed in the main living area, created by her friend, the Amsterdam-based artist and interior designer Sam Ming. Also bringing a note of softness to her architectural use of black and white are the bunches of fresh, seasonal blooms picked up from Amsterdam’s fragrant flower markets. ‘They are wildflowers, direct from local fields,’ explains Ulrika, who loves to arrange them in prime positions to enjoy the abundance of natural light that floods her home. rikastudios.com; jenalkema.com This page and previous spread Homeowner Ulrika (pictured) designed the sofa that sits beneath the large windows of this former schoolhouse. It’s joined by two vintage armchairs by Danish designer Hans J Wegner and a pair of glass and iron ‘Drum’ coffee tables by Paul Lelieveld. Next to the sofa, a feathery found-object sculpture by Ulrika’s friend and artist Sam Ming and table lamp by Paul Lelieveld add interest.

On the wall next to the stairs, monochrome works by a female artist from Bulgaria are displayed vertically to accentuate the height of the space.

‘I’ve owned them for 25 years, but sadly don’t know her name,’ says Ulrika. At the other end of the room (opposite), an oak daybed by Paul Lelieveld is placed beneath a large artwork by Sam Ming. Its bright red colour is one of the few breaks from this home’s strict monochrome scheme. The floor lamp is another design by Paul Lelieveld

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THE HOUSE’S DEFINING F E AT U R E I S T H E MONOCHROME PA L E T T E : W H I T E WA L L S A N D ANTIQUE OAK FLOORBOARDS PAINTED BLACK Dining area Architect Jen Alkema designed the table that is paired with vintage Dutch chairs, painted black to match the décor. The glass vase is

by Kate Hume – available at When Objects Work – and the small artworks on the antique Danish sideboard are by Sam Ming. A black console table

by Paul Lelieveld, topped with ceramics picked up on Ulrika’s travels, sits beneath an artwork by Stef Bakker Kitchen Custom-made to suit the monochrome scheme, the white units are paired with vintage wooden bar stools, again painted black to suit the strict palette

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Hallway and landing Nowhere does the contrast between white walls and black floorboards look more striking than on the staircase, which cuts like a shadow through this double-height space. At the end of the mezzanine is a vintage Dutch chair, painted black, and the small stool is by Liaigre. Above hangs a print by Stef Bakker

THERE IS NOTHING SUPERFLUOUS HERE. THE FEW PIECES ULRIKA CHOOSES TO DI SP L AY HAV E A TIMELESS QUALITY Bathroom Carved from Greek black marble, the large dual basins are a bespoke design. In the shower area, handmade green tiles punctuate the monochrome aesthetic. The white towels are from Scandinavian brand Tekla Bedroom Created by architect Jen Alkema, the bespoke bed is dressed in linens by Tekla. Watching over the room is an African mask (opposite) from the Congo, while above the Paul Lelieveld console (left) hangs a tonal artwork by Sam Ming See Stockists page for details

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Playing house A fresh and fun approach to space and light has transformed this former coach house into a family home fit for its innovative architect owner Words and production KRISTINA RADERSCHAD Photography CHRISTIAN SCHAULIN

Living area A suspended concrete chimney is the focal point of this open-plan space and separates the living and dining areas. Next to the fire sits a stone and iron menorah by Israeli sculptor David Palombo. A painting by local artist Thomas Hauri is positioned behind the leather ‘Naviglio’ sofa by Umberto Asnago for Arflex. The vintage 1980s coffee table is the ‘Kono’ by Lella and Massimo Vignelli for Casigliani

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ass through the imposing Spalentor gate, part of Basel’s ancient city wall, and, nearby, you’ll spot a narrow path leading to a tree-lined courtyard. A serene oasis, removed from the bustle and traffic noise of the Swiss metropolis, this is where local architect Andreas Bründler discovered his unique home. Originally a coach house, built in 1889 to serve the villa formerly located on the same spot, the property boasted a stable, a carriage room with a hayloft, and a rudimentary living area with a tack room.

It was its historical façade, however, that caught the attention of Andreas and his wife, Sandra, who moved here with their two children last spring. The co-founder of Buchner Bründler Architects was captivated by its cornerstones and friezes made of Bernese sandstone, and the grand, sweeping curve of its wooden gable. The latter’s traditional detail was the inspiration for the playfully modern use of arches and circles, which have given this transformed property its unique character.

The theme recurs time and again, be it in a round cut-out in a wall, a window opening or a railing detail.

‘It’s this harmonious geometrical form that allowed us to create a link between the existing and the new,’ explains Andreas. The building’s exterior has been left untouched but, inside, Andreas has let his imagination run wild.

Often, the best way to drive innovation is with a challenge, and that’s what the interior of this former outbuilding posed. ‘It was,’ says Andreas, ‘completely closed off to daylight.’ His ingenious answer was to create a house within a house – a concrete structure detached from the rear walls that appears to float above the openplan ground-floor living areas, surrounded by a glow emitted from the vast skylights above.

A curving staircase leads to a central play area, complete with a set of gymnastic rings, that sits outside the two children’s rooms. Circular openings cut into the concrete walls and sawn-fir panelling allow light into the guest room and bathroom beyond. On the top-floor mezzanine, the main bedroom and bathroom are connected by a long corridor in which two feeding troughs from the original stables have been repurposed as washbasins.

Andreas and Sandra’s home may be a joyful space, full of custom-designed pieces of furniture and hand-picked classics, but it is the garden courtyard that the family claim is their favourite place to spend time together. It’s here, on the patio constructed using stone fragments from the build, that Andreas passes his love for creating out-of-the-ordinary structures onto his children. He recently built them a temporary playhouse from roof battens removed during the renovation, helping to ensure a new generation of original thinkers. bbarc.ch

Portrait Homeowner and architect Andreas and his wife, Sandra Opposite A custom-designed table

by Buchner Bründler Architects is surrounded by teak ‘Shanghai’ chairs

by Inch Furniture. Leaning against the wall is Untitled (Cactus) by German artist Daniel Gustav Cramer, and the ‘Arco’ floor lamp is by Achille and Pier Giacomo Castiglioni for Flos ±

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Kitchen Crafted from white concrete and solid oak, the large island and cabinetry act as a divider between this open-plan living space and the cosy retreat of the library.

A pair of ‘PK22’ lounge chairs by Poul Kjærholm for Fritz Hansen face out to the garden ±

The building’s exterior has been left untouched but, inside, Andreas has let his imagination run wild

Opposite Custom-designed by Buchner Bründler Architects, the pink bookcase that dominates the library area is a rare glimpse of colour in an interior that is otherwise all about materials and texture. An artwork by Swiss artist Fabian Marti hangs above a ‘Shanghai’ lounge chair and ‘Tuju’ side table, both

by Inch Furniture. The floor lamp is the ‘Daphine’

by Tommaso Cimini for Lumina Landing A play area has been created outside the children’s room and features gymnastic rings suspended from a beam. A mezzanine washroom that connects the main bedroom and bathroom is visible above Guest bedroom In front of the pivoting circular window stands a built-in oak desk and a ‘DSR’ side chair by Charles and Ray Eames for Vitra ±

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Bathroom This home’s geometric theme comes into its own in this space, where a circular cut-out window in the concrete wall is reflected in a round mirror. The basin and bath are bespoke pieces, poured from white concrete ±

A playfully modern use of arches and circles has given this transformed property its unique character

Main bedroom Situated at the top of the house, with a huge skylight offering views of passing clouds, this space also has a circular picture window. Its shape is repeated in the vintage copper mandala by Lourdes Paiva that rests alongside it. The mid-century teak and rattan chair is by Danish designer Arne Hovmand Olsen. On the floor opposite is Ohne Titel by German artist Bernd Ribbeck and a wooden sculpture by Michel Pfister See Stockists page for details

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/ C U LT U R E / C R E AT I V I T Y Edited by CAT OLLEY

URBAN EXPLORATION

PICTURE: JACK B/UNSPLASH.COM

The world on your doorstep is a beautiful thing, especially when seen afresh with renewed curiosity. From ideas for upgrading your walks to the muralists transforming our streets, we share ways to make the most of the outdoors this season.

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few years ago, on a late afternoon in early January, my flatmate and I walked from the Victoria and Albert Museum in South Kensington all the way home to east London. It was that strange time of the year when the world feels half asleep and day seems indistinguishable from night. As we crossed Hyde Park, we skirted the edges of Winter Wonderland, watching the illuminated tops of the Ferris wheel and other less identifiable structures mingling with the bare branches of the plane trees against an orange-grey sky. Occasionally we stopped to admire the patterns created by the lit-up windows of townhouses and tower blocks. We arrived home refreshed and inspired but happily weary.

January, of course, is not a month we usually associate with exploration. Nature is in its deepest sleep, and even in daylight night never feels far from the edges. Yet this is precisely what makes winter walks so atmospheric; when the sun shines the shadows are long, and that end-of-the-day intensity always makes its presence felt.

The much-maligned shorter days mean you might stumble across a sunrise or sunset unplanned; pink and purple clouds framed by the black lines of an old gas works, or an office block suddenly aflame with gold as the afternoon draws to a close. Yes, rain is an occupational hazard, but the accidental compositions of buildings, trees and clouds

A WINTER FOR WANDERING PICTURES: GETTY IMAGES

It’s cold. It’s dark. It’s probably wet, too. But there’s much to gain from resisting hibernation and heading out for an urban jaunt, says author and illustrator Alice Stevenson

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reflected in puddles more than makes up for getting a little damp.

In the dark, the city becomes an entirely different place. Details come to the fore; a street lamp illuminates a decorative drain cover; front gardens are black save for lingering arrangements of Christmas lights.

Strolling at dusk can be a happy reminder as to how our surroundings are always in flux – nothing stays exactly the same from one moment to the next.

My trek across the city perfectly encapsulated the joys of walking with a friend in the heart of winter. Long since the pandemic and its prized new status as a socially distanced pastime, walking has been an excellent shared pursuit. As the landscape evolves around you, it finds its way into your exchanges; an unusual shopfront can stir a childhood memory or trigger an anecdote, imbuing the conversation with a delightful rambling richness. Looking out towards the world – not one another – lessens inhibitions and encourages the kind of shared confidences and honest discussions that can be a great tonic in the colder months.

With access to galleries, museums and travel limited, perhaps walking can provide

new experiences to sustain us. On your next lunch break, choose a location at random on a map and take a meandering wander in that direction. By slowing down and observing your environment, you will become attuned to what’s around you. Maybe you’ll spot a striking mural on the wall of an unassuming 1960s housing estate that you previously walked past without truly seeing (see over page for more on murals). Or you might find yourself admiring the original decorative tilework that lines the doorway of a lateVictorian house. By approaching a neighbourhood walk, wherever you may be, with a spirit of curiosity, you can experience your hometown as if you were discovering it for the very first time.

The world offers unexpected glimpses of beauty for those there to see them; berries and fallen leaves forming interesting arrangements across paving stones or coloured paper shapes Blu-Tacked in a primary school window creating an agreeable design. In the midst of winter, these incidental moments serve as a powerful balm for the soul. Stepping out of your front door and placing one foot in front of the other can be a timely reminder of all the wonder of the world, which happily is not going anywhere.

‘THE WORLD OFFERS UNEXPECTED GLIMPSES OF BEAUTY FOR THOSE THERE TO SEE THEM’

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HOW TO SUPERCHARGE YOUR STROLL With a little insider know-how, that daily plod around the park can become a mood-boosting creative outlet. Take a step in the right direction with these tips from our expert explorers...

Clockwise from top right Ernö Goldfinger’s brutalist Glenkerry House in east London; Neasden Temple in north-west London; the BedZED eco-village in Hackbridge, Sutton

Hafsa Adan is assistant curator at urban design charity Open City, which shares local London knowledge via architecture tours, talks and a new podcast

When visiting a new place, the same ordinary details we overlook at home become worthy of Instagram posts. Yet exploring our own cities, be it with a friend or solo, can be an equally adventurous and joyful experience.

This year, when the world came to a standstill and shops, cafés and restaurants closed, many of us broke with routine and discovered community gardens, interesting buildings and public art that had never previously caught our eye.

Take the long way. Many of us rely on navigation apps to find the quickest route to our destination, but the journey is part of the experience. Pay as much attention to small details as grand vistas.

Pick your sources. You won’t find the most fascinating stories about your neighbourhood on tourist websites. Seek out specialist books and sites that celebrate the unsung parts of the city.

Relish the residential. The most appealing architecture isn’t always at the heart of a city. Head in the opposite direction to discover housing estates with amazing heritage and other lesser-known gems. Cycling is a good way to increase your radius.

Seek out new neighbourhoods. Dust off an old A-Z and head to somewhere you’ve never been. Urban exploration is safer than it’s often portrayed, but perhaps share your live location with a friend.

Join an organised tour. A great guide can unlock an area, or try one of the new printed or audio tours from Open City as your guide to some of London’s hidden treasures. open-city.org.uk

PICTURES: JIM STEPHENSON, ALAMY STOCK PHOTO, THE HANDMADE APOTHECARY/OCTOPUS BOOKS

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Plot your own architecture tour

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Forage for wild winter food Herbalists Kim Walker and Vicky Chown are founders of Handmade Apothecary, and authors of ‘The Handmade Apothecary’ and ‘The Herbal Remedy Handbook’ (Kyle Books, £18.99 each)

Winter is by no means a barren time for foraging. Urban walks can uncover young green shoots, berries, nuts and mushrooms for delicious nourishing recipes. Just use a botanical guide to ensure correct identification before consuming any wild plant. Here are four ingredients to track: Rosehips (Rosa sp.). These round or oval-shaped ruby parcels full of tiny golden seeds are high in vitamin C and antioxidants.

Use them in syrups, jams and cordials.

Cleavers (Galium aparine). This is also known as sticky weed.

In winter, you can find the young shoots starting to pop up, which

‘URBAN WALKS CAN UNCOVER BERRIES, NUTS AND MUSHROOMS’ make one of our favourite tonics (see recipe, below right).

Chickweed (Stellaria media). Found growing in disturbed ground, this has small, oval leaves, with a single line of hairs along the stem and a star-like white flower. Chickweed is a nutritious leafy green that can be cooked like spinach. It contains soapy chemicals that need removing first, so blanch for one minute, then discard water.

Turkey tail mushrooms (Trametes versicolor). Find this attractive fungus growing in tiers on dead wood. Its multicoloured caps resemble a turkey’s tail. Use it for making stocks for the base of soups and stews for an added immunity boost. handmadeapothecary.co.uk

WORDS: NAME PICTURES: NAME

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From top The Handmade Apothecary larder always has fresh pickings drying; vibrant rose hips are an excellent source of vitamin C

This is a mineral-rich, refreshing drink used for glowing skin and aiding the body’s natural detoxification system. It’s best made fresh every evening to sip throughout the next day.

• 2 big handfuls of fresh cleavers • ¼ cucumber • 2-3 slices of lemon • 500ml filtered water Wash and finely chop or crush the cleavers. Finely slice the cucumber into ribbons (a potato peeler works well). Place in a glass or ceramic jar with the slices of lemon and leave in the fridge overnight.

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3 Pull out the pencils

Phil Dean, aka The Shoreditch Sketcher, is a professional urban artist and author of ‘TATE Sketch Club: Urban Drawing’ (Octopus, £12.99)

Urban sketching grants you a completely new way to engage with a city. To draw a place is to truly see it, whether it’s experiencing a new area on a completely different level or seeing a familiar scene through fresh eyes.

Travel light. Some artists prefer to have lots of kit, easels and large-format sketchbooks, but I find the less encumbered I am, the easier it is to focus on the job at hand. If you always travel with a small selection of pens and an A5 sketchbook, you’ll be able to set up camp and get drawing quickly wherever you are.

Pick a subject that interests you. You’re more likely to get a great result with something that gets you excited or catches your eye.

‘TO DRAW A PLACE IS TO TRULY SEE IT, WHETHER IT’S EXPERIENCING A NEW AREA OR A FAMILIAR SCENE’

From top Phil’s pen sketches include The Duke of Cambridge pub in Islington; and a London cityscape featuring St Paul’s Cathedral

Get comfortable. I like to draw standing as it gives me space and the impetus to work quickly, but for beginners a seated position is more comfortable and allows for greater accuracy. Find a wall or bench to sit on to give yourself more time to capture the scene.

Choose your medium. I love drawing with pen – straight in, with no pencil. But start with a medium you feel comfortable with. This might be pencil or charcoal, both of which are quite forgiving.

Keep at it. Practice makes perfect, and a sketch a day is a great way to train your eye. Draw mundane things such as sandwich shops and drab buildings. You’ll quickly become adept at looking for interesting views and turn your sketchbook into a travel journal. shoreditchsketcher.com

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Haarkon’s images include, from top, The Water of Leith as it runs through Dean Village in Edinburgh; capturing details in nature in Cambridge; London’s striking St Dunstan in the East Church Garden

WORDS: CAT OLLEY PICTURES: PHIL DEAN, PAUL DRIVER , INDIA HOBSON/HAARKON

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Elevate your everyday snaps India Hobson and Magnus Edmondson are the Sheffield-based duo behind online photojournal Haarkon and its ‘Haarkon Adventures’ book series, of which the latest edition is ‘Cornwall’ (£15)

Exploring the world through photography is our way of archiving daily life. Sometimes we choose a specific approach; paying attention to the variety of textures to be found on a single street, or how the changing seasons and time of day alter the appearance of a certain tree. It can also be a very meditative activity. We often find that focusing our attention in this way has a calming and grounding effect, and enables us to develop a deeper connection with the world around us.

Any camera is good enough. Photography, for us, is about observing and noticing things much more than it’s about anything technical.

Change your perspective. Sometimes we walk the same route over and over, and switch things up by homing in on specific elements: blue things, arrows, overgrown greenery or typography and signage.

We enjoy taking the time to give the often-overlooked details some recognition. An open perspective gives us the freedom to see street furniture, such as bus stops, waste bins and lamp posts, as sculpture.

Comfortable shoes are key. We always try to anticipate the terrain we’re exploring (and the miles we tend to cover!) and don’t like to be held back by our choice of footwear.

We don’t shy away from the rain. Wet weather provides new layers of texture and can paint the world in a different light. We notice that colours seem brighter and the way that light (natural or otherwise) interacts with water can bring unexpected surprises.

Experience first. Recognise when it’s time to put the camera down – choosing to not take a photo can be powerful. haarkon.co.uk FEBRUARY 2021 ELLEDECORATION.CO.UK 163

PAINTING THE TOWN Armed with colour, pattern and unfailing positivity, these muralists are leading a public art revolution. Where there’s a wall, there’s a way Words CAT OLLEY

Yinka Ilori brings colour and optimism to Harrow in Greater London, with his Love Always Wins mural

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Head north up the high street from Harrow & Wealdstone Station and you’ll struggle to miss Yinka Ilori’s latest project. After all, it’s several metres high, splashed on the side of a building and realised in the kind of hues that cut through the stimuli of the street below. Once unremarkable red bricks have been transformed with technicolour sunrises, rainbows and ice cream cones. Among them are three resolute words: ‘Love always wins’.

Situated a stone’s throw from his old studio, Ilori’s mural design is a winner itself – one of several successful proposals that had been put to a public vote. ‘I wanted to remind people that we still have love, each other and our communities,’ he says. That simple mantra, he adds, is ‘an open message’, perhaps even a form of therapy, in which onlookers might find a myriad of personal meanings.

In the year that cancelled art fairs and left galleries fighting for funding, September saw the first ever London Mural Festival leave a precious legacy of over 50 vast artworks across the capital. In the same month, designer Camille Walala unveiled one of London’s largest public art projects yet – less mural than full makeover, her exuberant transformation of Leyton High Road was the culmination of a crowdfunding campaign with street art collective Wood Street Walls. The whittling down to Walala’s final design had also been a community effort.

The mural, as it turns out, is pandemic proof.

Just as accessible public art has come into sharper focus, a shift towards time spent outdoors has sparked conversations about how our collective spaces might serve us better (and brighter). Walala, whose urban utopia involves ‘pedestrianised

Camille Walala’s community-funded artwork ‘Walala Parade’ in Leyton

Artmongers’ participatory mural ‘The Hive’ saw key workers’ children help transform Beecroft Garden Primary School in Brockley

PICTURES: ANDY STAGG, TIM CROCKER, HELEN MURRAY, BEN WELLS

THE FIRST EVER LONDON MURAL FESTIVAL HAS LEFT A LEGACY OF ARTWORKS ACROSS THE CAPITAL streets with public art on every corner’, says murals are democratic by design. ‘They’re out in the open for everyone to see and experience, so people feel more comfortable having an opinion,’ she explains.

‘Abstract art can be less intimidating – a more gentle way to put creativity out there.’

Participation is a key tenet of Argentinian-born muralist Patricio Forrester’s practice. As founder of community initiative Artmongers, he’s spent nearly two decades coaxing local councils to be braver with south London’s streets. ‘Artists with learning disabilities, for example, don’t have any claim on public space. By offering them a massive wall in the centre of Deptford, we’re completely breaking the expectations of what people with disabilities do.’

So what makes a good site for a mural? ‘It’s wherever there’s a need,’ says Forrester. ‘We’re planning a project with a primary school in Soho to give children who live in the heart of the capital an opportunity to mark their urban fabric with their ideas. It’s about agency, ownership, pride.’

Walthamstow’s joyful Rosebank Arcade by Edward Crooks

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Though Artmongers is well-rooted in south London, Forrester and his team have made trips to Jordan, Lebanon, Algeria and beyond, wielding collaborative art as a tool to creatively empower remote communities and those in refugee camps.

‘We’re not there out of guilt, but for the pleasure in creating something extraordinary together.

There’s this big question: where does the art happen? Is it the piece itself? The wall? Is it the experience the group has, or the sense of achievement? It could be all of those things.’

After almost 20 years of creating murals, Artmongers has welcomed the initial cohort of students to its freshly inaugurated Lewisham School of Muralism – the first of its kind in the world. By the time Lewisham becomes the London Borough of Culture in 2022, dozens of new muralists will be ready to take up the mantle.

‘WHERE DOES THE ART HAPPEN? IS IT THE PIECE ITSELF? THE WALL? THE GROUP EXPERIENCE?’ They’ll be joining a creative community in full swing, not least Scottish-Egyptian artist, teacher and social activist Sara Abdalla, aka Creative Visionaries Studio, who brought ‘a bricolage of British, Arab and African influences’ to the Tybalds Estate as part of the London Mural Festival. Then there’s the vibrant, fluid lines of Brighton-based Lois O’Hara, the enigmatic symbols and motifs of map typology Kasia Breska paints across Leeds, and the sunny displays of sisterhood and inclusivity

by Zoë Power in Bristol, itself a hub of street art heritage. Formed in 2019 by four female artists, Cobolt Collective is a response to the gender imbalance of Glasgow’s growing street art scene.

Perhaps it’s precisely the lack of formal education in public art that has drawn a diverse, multidisciplinary crowd to the medium. A muralist might be an illustrator, a colourist or a textile designer by trade. Manchester creative Ibukun Baldwin, officially the latter, managed to combine both creative outlets in creating a mural for the ‘Tapestries’ exhibition at the city’s Whitworth art gallery, and painting the walls of her ethical fashion store. London-based designer and colourist Adriana Jaros, who also transplants the architectural silhouettes of her prints and 3D pieces into mural form, says a public work of art can act as ‘the fingerprint of an area’.

And what red-blooded artist of any inclination could resist the blank canvas of an entire building?

Self-taught designer and artist Katrina RussellAdams, whose mural projects include a geometric façade for architecture firm BAT Studio and a kaleidoscopic barge, has priorities firmly in place after a bike accident last summer left her recovering from a brain injury. ‘I’m only working on projects that bring me joy,’ she says. And that’s the beauty of public art – the joy is ours, too.

Lois O’Hara with her music-inspired mural in Brick Lane

‘Nous’ in Bristol by Zoë Power was painted to mark solidarity, unity and sisterhood

Cobolt Collective’s mural for the 2019 Yardworks Festival, which celebrates graffiti and street art

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CHEZ Adriana Jaroslavsky’s artwork in Leyton for the London Mural Festival fuses colour and space

PICTURE: MATT BOWEN

‘Haus’ in Walthamstow by Katrina Russell-Adams for BAT Studio

Chez added colour and pattern to the Tybolds Estate in Holborn for the London Mural Festival

London-based visual artist Cherilyn Yeates views her murals as portals that provide moments of escape How did you get into painting murals?

It happened by chance, really. I started experimenting with a few walls at home, then a friend of a friend suggested I create something for a mural project they had in mind. I find the labour of using your whole body to create work and painting on unusual surfaces so primal – like you’re a cave person drawing on the walls for the very first time.

What inspires your sense of colour and shape? Architecture and design that brings joy, inspires play and breaks the rules; the vibrant buildings of Tirunamavalai in South India, the psychedelic structures of Bolivian architect Freddy Mamani, Memphis design, mystic artist Hilma af Klint and sculptor Niki de Saint Phalle. I gravitate towards symmetry in pattern and my colour inspiration comes from 1970s decor and Wes Anderson films.

How can murals enrich our experience of urban landscapes? Public art can engage people in conversation, bring communities together, or simply make us smile. I think attitudes are changing to street art as the landscape diversifies, from the artists painting murals to the breadth of projects cropping up. The exciting thing is that there is room for us all and I hope no one stops until all our streets are painted with art.

What would be your dream mural project?

The Hayward Gallery at London’s Southbank Centre – the forms of brutalism create the perfect foundation for murals. I like to work with the details of a wall to enhance what is already there, making it feel like the artwork and the architecture are one and the same.

What’s next for you? I’ve been producing smaller works on paper for the #Artist Support Pledge [which helps creatives during the pandemic]. I’m now yearning for my next mural project and to get my body moving again. So if anyone from the Hayward Gallery is reading this… cherilynyeates.com

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168 ELLEDECORATION.CO.UK FEBRUARY 2021

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Advertising feature

ST YLISH INTERIORS Create your dream living space with our inspiring collection

ROBEYS The New RAIS 600 now comes in a freestanding model – the brand new 600 Max with a large view of the fire from three sides.

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David Studwell often uses figures that are synonymous with certain eras, in particular the swinging sixties. Marilyn Monroe, Elizabeth Taylor and Steve McQueen all crop up in his prints, evoking a strong sense of nostalgia. His work has been exhibited in London and the USA. David’s work hangs in private collections worldwide and has been collected by Kate Moss, Nile Rogers and Sheryl Crow.

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Edition of 25. 45 x 56cm. £300.

Visit: www.davidstudwellgallery.co.uk or email david@davidstudwellgallery.co.uk

Bring the beauty and calm of the natural world into your home with a bespoke biophilic handmade table or desk made from stunning hardwoods such as elm, ash, walnut or chestnut. Design and timber selection are an inclusive process and customisations range from resin-embedded ammonites and brass bowkeys to built-in power and USB sockets, keyboard trays or wireless speakers for the tech-heads amongst you... even extending tables are an option!

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THE SOHO LIGHTING COMPANY ‘Fusion’ – unique, screwless and hand crafted, offering a blend of up to three different finishes in each switch or socket to reflect other interior finishes.

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RAND ALKISHTAINI Rand Alkishtaini is an Iraqi born interior decorator.

She has designed 'The Nest Cabinet'; a contemporary design that integrates the touch of Bahraini art with structure and handles that reflect the contemporary spirit. The design objective is to employ the painting formed on the cabinet, not behind it. The design story integrates the relationship of humans with nature, through details in the painting and metal handles on wood; so it’s all integrated as a single piece of art cabinet with a story to tell. @randalkishtaini www.randalkishtaini.com

170 ELLEDECORATION.CO.UK FEBRUARY 2021

ONGLEY-SNOOK DESIGNS Stainless steel stained glass columns made specifically for the garden, adding height and structure, they include a mirrored element to settle them in their surroundings.

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WINDOWS

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ART, SCULPTURES & GIFTS

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TO ADVERTISE HERE, PLEASE CALL THE CLASSIFIED TEAM ON 020 3728 6260

Classifieds | A – Z FURNITURE

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Visit @thenewmefurniture on Instagram & Facebook to check out the latest pieces.

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Classifieds | A – Z KITCHENS

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PILLOWS

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Harley Street Consultant and back pain specialist, Dr Deane Halfpenny, recommends Gx Pillows: I can honestly say that your pillow has made the world of difference… and fully endorse your pillow as being quite unique in its ability to maintain support throughout the night

-9,, KLSP]LY`

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7SLHZL ZLUK TL!

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PLEASE COMPLETE ALL BOXES IN BLOCK CAPITALS TO ENSURE CORRECT DESPATCH

Title

Name

Twinpack Gx Pillows @ £49.99 per pack + FREE delivery (any qty): 2 Medium-soft

TXDQWLW\ _ 0HGLXP Ć UP

0HGLXP VRIW 0HGLXP Ć UP

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< SCAN HERE

TWIN PACK

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The ties work to pull the pillow in and up so that your head and neck are gently cradled and supported in softly sprung comfort. As well as having the revolutionary internal ties, the pillow shell is 100% cotton with our superb hypoallergenic Polycoz filling, and we have added a unique integral air vent to help keep you cool through the night.

It is rare that something advertised as unique and life changing turns out to be true!! I have a chronic back and neck situation and I can honestly say these pillows make a huge difference!! Comfortable…supportive…and positively magical for my neck!! Congratulations! Many, many thanks

£29.99

TM

To stop the flattening we’ve come up with a solution that’s so simple it’s ingenious. By the clever installation of ‘double X’ internal ties we have produced the world’s first pillow to retain much more of its plumped shape all night long.

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SINGLE PILLOW

A cheque payable to BEAUTIFUL SLEEP

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FEBRUARY 2021 ELLEDECORATION.CO.UK 177

TREASURED /

For the British designer, his hard-earned turntables exemplify simple, functional design that’s engineered to last I was always into music and DJ-ing when I was a kid, and at 19 I finally bought a pair of Technics 1210 turntables. I was working as an apprentice carpenter at the time and had to save up for ages so I could afford them. I’d get paid on a Friday and then spend all my wages each weekend buying vinyl to play on them.

Technics was the best you could get, really. The brand shaped the music scene massively. Its turntables had a few key features that allowed DJs to do a lot more; they are solidly built and have a strong motor so they don’t jump, but at the same time the design is simple.

There’s nothing there just for show – it’s completely about function and, to me, they’re beautiful in that regard. I’d always been drawn 178 ELLEDECORATION.CO.UK FEBRUARY 2021

to nicely designed objects, but never really knew it – if that makes sense. These were some of the first objects I owned that made me join the dots. They’re also one of the few things that have moved with me through the many houses I’ve lived in. I still use one of the turntables to play records on – I’ve definitely listened to more vinyl over the last few months and I’m still adding to my collection.

There’s something therapeutic and reassuring about playing records – a sense of ritual that you can’t get listening to music through your phone or shouting at Alexa. The turntables are an excellent example of a highly technical design, simply executed and built to last, and it always gives me great pleasure to use them. danielschofield.co.uk

INTERVIEW: KATE WORTHINGTON PICTURE: RICK PUSHINSKY

DANIEL SCHOFIELD