Interior Design Spring Homes 2019

MARCH 15, 2019

the shape of things

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CONTENTS SPRING, 2019

VOLUME 90 NUMBER 3

spring1.9 ON THE COVER

A barnlike cottage in Coldita Island, Chile, by architect Mathias Klotz is clad in corrugated, galvanized steel that suits its coastal climate. Photography: Roland Halbe.

FEATURES 104 BRAZILIAN BEAT

by Kristina Raderschad

Andreas Fuhrimann Gabrielle Hachler Architekten gets into the swing of Latin American modernism for an extension to an art-world couple’s home in Zurich.

114 THE ART OF SUBTRACTION

by Larry Weinberg

2Michaels Designs brings a less-is-more touch to a 1970s East Hampton gem

by Joseph D’Urso.

124 TAKE TWO

by Tate Gunnerson 144

Frequent collaborators dSpace Studio and Project Interiors team up to design a modernist family residence in Chicago.

134 TWO ON THE ISLE

by Jeff Book

Architect Mathias Klotz creates a pair of cottages for his family’s retreat on a remote island in southern Chile.

144 BRAVE NEW WORLD

by Ian Phillips

Jacques Hervouet Interiors radically remakes a classic Paris apartment.

152 THE PICTURE OF ECLECTICISM

by Jen Renzi

An artsy Sag Harbor retreat by Groves & Co. is all about the mix.

STEPHAN JULLIARD

CONTENTS SPRING, 2019

VOLUME 90 NUMBER 3

spring1.9 at home 41 LIVING LARGE

by Georgina McWhirter

62 SKETCHBOOK

by Felipe Assadi

47 BEAUTY IN

THE BALANCE

by Karine Monié

67 MARKET

edited by Rebecca Thienes

55 INTO THE WOODS

by Athena Waligore

departments 17 HEADLINERS 23 DESIGNWIRE

by Annie Block 29 CROSSLINES

by Georgina McWhirter 55

Dino Dynamo

Nani Marquina

The Spanish textile designer/entrepreneur’s Costa Brava retreat is a collector’s paradise.

162 BOOKS

by Stanley Abercrombie and

Nicholas Tamarin 164 CONTACTS

167 INTERVENTION Shapely poured-resin

by Athena Waligore forms and canny color combinations are Dinosaur Designs’ stock-in-trade.

36 PINUPS

by Rebecca Thienes 85 COLLECTING

by Larry Weinberg True to Type

Multitalented graphic designer Elaine Lustig Cohen brought the same rigorous sense of style to the book covers, interiors, and artworks she created.

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89 IN HOUSE

by Mairi Beautyman

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e d i t o r ’ s welcome

The various shades of green—from acid to emerald—are definitely on-trend these days (even for appliances!). So, with that in mind, I looked far and wide for an all-green shot to grace this issue’s cover. But you’ll have to settle for the grass patch around a jewel of a cottage in southern Chile by Mathias Klotz. Its mini scale and perfect shape seemed just the right place to pause, regroup, and then blast out our first all-resi excursion of the year.

Moreover, if you too are keen on the color green, fret not: There’s every shade of nature in that particular story, and “green” in its other meaning—as in being green, and design’s power to promote sustainability— is front and center in many projects herein.

The other constant of our Spring coverage, from Chicago to Chile and all points in between, is art—oodles and oodles of it. According to our reporting, artworks, whether abstract, figurative, folk, primitive, mixed-media, flat, sculptural, watercolor, photographic, representational, talismanic, large, small, or just plain good-looking (phew!), have overtaken our living spaces. Take good note of it, the acres-and-acres-of-art phenomenon: It’s here to stay. One of my fave projects in this issue is the total transformation of a Brazilian-inflected midcentury villa in Zurich into an eclectic, art-filled home+studio+gallery.

Frankly, I could sit around all day watching designers dream up solutions for the environment and then hammer out the just-right art fit, or the crossfire between these two topics. But we have better things to do, don’t we? Like stepping inside and seeing for ourselves!

green & green

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MONICA CASTIGLIONI

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Jacques Hervouet Interiors “Brave New World,” page 144 director: Jacques Hervouet. firm site: Paris. firm size: 2. current projects: Two duplex apartments in Paris; a house in London. role models: Henri Samuel, for the well-balanced eclecticism of his interiors, and Oscar Niemeyer, for the musical sensibility evident in his architecture. obsession: Physics, particularly the research of the late Stephen Hawking. boarding pass: A trip to Corsica is in the works. home: A Paris residence and a country house in the Rambouillet Forest. galeriehervouet.fr

“Interior design is essentially about making people feel happier”

SAMUEL KIRSZENBAUM

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Groves & Co. “The Picture of Eclecticism,” page 152 principal: Russell Groves. office site: New York. office size: 5 architects, 4 designers, 2 administrators. current projects: Waterline Square residential development, Seaport Residences, and a townhouse, all in New York; a house in Palo Alto, California. role models: Early modernist designers JeanMichel Frank, Eileen Grey, and Paul DupréLafon, for their utilization of materials in unusual ways with incredible juxtapositions.

Project Interiors “Take Two,” page 124 principal: Aimee Wertepny. senior designer: Jennifer Kranitz. firm site: Chicago. firm size: 6 designers, 1 office manager/expediter. current projects: Houses in Madison, Wisconsin; Marco Island, Florida; Jackson Hole, Wyoming; Los Angeles; and Chicago.

giving back: Groves supports many charities, including New Yorkers for Children, God’s Love We Deliver, and animal rescue and shelter programs. destination next: Hotel Esencia in Tulum, Mexico. home: Groves splits his time between residences in New York’s Chelsea neighborhood and East Hampton. grovesandco.com

african adventures: Wertepny just spent a couple weeks camping and safari-going in Tanzania, where she’s been volunteering for nearly 13 years. latin landings: Kranitz recently took family trips to Cartagena, Colombia, and Mérida, Mexico, with her fiveand seven-year-olds in tow—and a solo trip to Brazil.

2Michaels “The Art of Subtraction,” page 114 partner: Jayne Michaels. partner: Joan Michaels. firm site: New York. firm size: 6. current projects: A Tribeca duplex penthouse loft, a seven-story Upper West Side townhouse, a Flatiron loft, and a West Village apartment, all in New York. role model: Joseph D’Urso, for his intelligence, mystery, and refusal to be categorized. mermaid: Jayne is an avid swimmer who’s recently mastered the “high-elbow” technique, which she practices during the summertime at Alberts Landing Bay Beach in Amagansett, New York. bookworm: Joan is obsessively reading the Elena Ferrante Neapolitan novels, and is almost finished with the third volume.

2michaelsdesign.com

doing good: The entire firm is traveling to Nepal for 12 days to build a school in collaboration with nonprofit BuildOn. projectinteriors.com

H E A D L I N E Rs Mathias Klotz

Andreas Fuhrimann Gabrielle Hächler Architekten “Brazilian Beat,” page 104 owner and partner: Andreas Fuhrimann. owner and partner: Gabrielle Hächler. firm size: 6 architects. firm site: Zurich. current projects: Tichy Ocean Museum in Prague, Czech Republic; booth for Laufen Bathrooms at ISH trade show in Frankfurt, Germany; a vacation home in Antiparos, Greece. role model: Dan Graham, for his inventive approach in questioning social behavior. on the canals: Hächler has been obsessed with Venice since she was a child and goes there once a year. under the seas: Fuhrimann was a passionate submarine builder during boyhood. home: A self-designed apartment where city meets forest, at the foot of Üetliberg Mountain. afgh.ch 18

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“Two On the Isle,” page 134 principal: Mathias Klotz. firm site: Santiago, Chile. firm size: 8. current projects: Houses in Santiago and Santo Domingo, Chile; Las Musas Club House in José Ignacio, Uruguay; Edificio M apartment building in Santiago, Chile. honors: LafargeHolcim Award; Modular Building Institute Award; Green Good Design Awards. obsession: Sailing, an activity Klotz started with his father at age 8 and that he now counts as his principal passion, an act that “transports you to landscapes where you encounter nature in its purest essence.” homes: Klotz has numerous residences: one in Berlin as well as abodes in Santiago, Viña del Mar, Tongoy, and Coldita, Chile—all locations where he’s working on a concurrent project. mathiasklotz.com

dSpace Studio “Take Two,” page 124 founder and principal: Kevin Toukoumidis, AIA. principal: Robert McFadden, AIA. firm site: Chicago. firm size: 8 architects, 1 studio manager. current projects: Houses in Nosara, Costa Rica; Chicago and Barrington, Illinois; Beverly Shores, Indiana; Oshkosh, Wisconsin; and Michiana Shores, Michigan; Mammoth Distilling Tasting Room in Torch Lake, Michigan. honors: AIA Chicago Awards. role model: Photographer Andreas Gursky, for his ability to find beauty in unexpected places. driver’s seat: Toukoumidis seeks out country roads to drive his 1984 Alfa Romeo Spider. hang ten: McFadden learned to surf while attending grad school in Los Angeles—and now steers family vacations to destinations with decent waves. dspacestudio.com

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Rui Sasaki’s motion-sensitive Liquid Sunshine/I am a Pluviophile, in blown glass and phosphorescent material, is a room-size installation at the Corning Museum of Glass in New York, on display through January 5, 2020.

edited by Annie Block

here comes the sun

COURTESY OF YASUSHI ICHIKAWA

Inaugurated in 1986 by the Corning Museum of Glass in New York, the Rakow Commission is awarded annually to up-and-coming and established artists whose work is not yet represented in the institution’s collection. It supports the development of new pieces in the museum’s namesake medium, providing winners with $25,000 to push the material into unexplored areas. Past recipients include Toots Zynsky and Thaddeus Wolfe. The 33rd commission winner is Rui Sasaki, a Japanese conceptual artist with an MFA in glass from RISD—and an interest in weather, specifically how to capture light in darkness. Her Liquid Sunshine/I am a Pluviophile, opening March 28, consists of over 200 blownglass “raindrops” embedded with phosphorescent material, installed in a 168-square-foot room. The room’s motionsensitive lights turn off when viewers approach the drops, so only their glowing outlines are visible. “It reminds us,” Sasaki says, “that even on rainy days, a little sunshine still comes through.”

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Clockwise from top center: Hubert Le Gall’s Bubbles Grand glass sconce, bronze Passoda floor lamp, and velvet-upholstered Adam, Sansévieria, and Maxou chairs are at Twenty First Gallery in New York through April 15. His new monograph Fabula, published by Flammarion and distributed by Rizzoli International Publications.

D E S I G N w ire

fantasy français

BRUNO SIMON

There may be a familiar air in the work of French sculptor and furniture designer Hubert Le Gall. That could be because he cites such surrealists as Jean Cocteau and Salvador Dalí as inspirations. For instance, his debut U.S. retrospective exhibition, “Fabula,” at Twenty First Gallery in New York, includes an armchair embroidered and cut out with birdlike silhouettes, another in the shape of a sanseviera plant, and a sconce embellished with pastel glass bubbles, the whimsical pieces part of a limited edition. The exhibit runs in tandem with the stateside release of Le Gall’s new, same-titled monograph. An objet itself, the hardcover book comes in a slipcase and explores the friendship and collaboration between him and American collector Pamela Mullin, captured in over 150 color photographs of her 17th-century house in Normandy, France.

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D E S I G N w ire Clockwise from below: Kirsten Ulve’s Catwalker, digitally printed in archival ink on Hahnemühle German Etching paper, is one of five of her artworks on permanent display at Innside by Meliá New York hotel. Her Bad Larry and NYC.

When a hotel is all about embracing the local culture of each destination, what better way to express that mission than by furnishing its interiors with works by local artists?

Especially if that hotel is situated in a city’s gallery district. That’s what Innside by Meliá New York, the brand’s flagship in Chelsea, has done in its lobby. Illustrator Kirsten Ulve was commissioned to make five large-scale pieces representing the Big Apple in her signature graphic style. Among them is Flatiron, Ulve’s rendition of the famous wedgeshape building, and Lady Liberty, her heart-holding interpretation of the Statue of Liberty. “I live right in the middle of Manhattan and aim to recreate the world around me through a clean lens of geometry and humor,” she says. Prints of these and other illustrations are available for sale at kirstenulve.com.

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C ROSS lines

About the name. “It was the 1980s, a crazy, absurd time, and we were art students,” says Stephen Ormandy, explaining the quirky moniker Dinosaur Designs. He hatched the business in 1985 with his now wife, Louise Olsen, and Liane Rossler when they were students at Sydney’s City Art Institute. Thirty-odd years later, the jewelry and tabletop company (sans Rossler since 2010) has become a veritable design powerhouse, with eight stores worldwide and 90 employees, including 48 in its Sydney studio, where every resin piece is hand-poured.

The couple’s sculptural accessories—chunky cuffs, pebble-like necklaces, organically shaped plates—are rendered in bold, full-spectrum colors.

The marbled, translucent, or pigment-saturated resin sometimes combines with sterling silver, gold, brass, wood, or stone. “It’s the fun of experimenting,” Ormandy notes. Alongside their studio output, which includes a collaboration with Louis Vuitton, Olsen and Ormandy engage in their own art projects, recently the subject of an exhibition at Newcastle Art Gallery in Australia. Talent will out.

FROM TOP: RACHEL KARA; ELEANOR ACKLAND (2)

dino dynamo Shapely poured-resin forms and canny color combinations are Dinosaur Designs’ stock-in-trade

From top: Stephen Ormandy and Louise Olsen at the Sydney, Australia, headquarters of Dinosaur Designs. Mother of Pearl dish and Boulder platter, both in resin, from the 2019 Lapis Landscape collection.

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Clockwise from top left: Temple platters in resin from 2018.

Collarbones 3 resin sculpture by Ormandy, 2013. Dinosaur Designs’ New York store relocated to Crosby Street in February 2017. Ormandy’s Alphabet sculptures in plywood at “Olsen Ormandy: A Creative Force,” at Newcastle Art Gallery, Australia. Forest vases in resin for Dinosaur Designs, 2017. Totem 16 in resin by Ormandy, 2017.

Ormandy’s Collage side tables, also resin, 2013. Stone platter from the Crystallised collection, 2018.

C R O S S lines

You started out as vendors at Paddington Markets?

SO: I sold jewelry to pay my way through art school.

LO: I was selling my handpainted T-shirts to stores.

So, we were both doing our own little creative endeavors.

Dinosaur Designs started to support our art careers.

How did you get into resin?

SO: I’d already been introduced to it as a surfer, fixing my board. But that type of resin is very different than the one used for casting. We “met” resin at the markets.

We had been playing around with Fimo polymer clay, handpainting it and baking it in the oven, when we met Geoffrey Rose, a contemporary artist making little resin sculptures of, say, milk pouring onto corn flakes—the pop art versions of Japanese display food. He encouraged us to try resin, and it went from there.

What draws you to the material?

SO: Opportunity. Resin continues to show us new things.

LO: Resin’s very fluid. It’s a lot 30

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like paint in that you can mix it in any array of colors. We’ve been working with it for over 30 years and still don’t feel we’ve hit its limit.

How do you develop a collection?

LO: Usually, we start with a title. We develop ideas in a sketchbook and then make prototypes, sculpting mainly in Plasticine. Eventually, we end up with production molds from which items can be cast in multiples.

You’re both practicing artists.

LO: The Newcastle Art Gallery just had an exhibition of our paintings and sculptures.

Stephen’s been painting for quite a few years and I’ve started more recently.

SO: I have upcoming shows in London and at New York’s Olsen Gruin Gallery. Dinosaur really took over for quite some time because of its expansion.

We still love it, but we just thought, Oh my god, let’s not forget why we started!

You’ve also branched into sculpture. Stephen, what sparked the totems?

SO: The series grew out of the visual language of shapes I’ve been developing in painting.

Having a sculptural practice— which I consider Dinosaur to be—I wanted to bring that to my art, creating shapes that could come together as a 3-D collage, like LEGOs. I’d love to

TOP LEFT: SASKIA WILSON; BOTTOM: STEPHEN WARD

When and how did you meet?

LO: On On the first day of art LO: school in 1983. Classes were set up alphabetically and both our names began with “O.” Sometimes you meet someone and get that feeling of destiny.

do more large-scale public sculptural work. I’ve done some in China but not yet in Australia.

CLOCKWISE FROM TOP LEFT: ADRIAN MESKO; COURTESY OF NEWCASTLE ART GALLERY; FELIX FOREST; COURTESY OF NEWCASTLE ART GALLERY; NICHOLAS SAMARTIS

Do your art projects connect to or differ from your design work?

SO: They talk to one another, don’t they?

LO: Yeah, very much so. It’s all starting to relate. Art is not limited to one medium: Calder made jewelry, Picasso made jewelry and ceramics, Giacometti made housewares and furniture.

SO: We consider Dinosaur more artwork than design, to tell you the truth. We are obsessed with the quality of things. We apply the same visual rigor to a tiny bead as we do to a large table.

What inspires you?

SO: The natural world.

The color palettes you find just walking around are incredible.

LO: And the way nature takes time to develop and evolve is so interesting. Our current collection is inspired by lapis, that beautiful blue, to which we added clay and bone hues. And seaside living inspired our recent Rockpool collection.

playing a piece of music— except you’re playing with visual “notes.”

What have been some milestones though the years?

SO: Opening our first New York store, in 2002, on Mott Street.

Then we moved to Elizabeth Street and now we’re in a new store on Crosby Street, designed

by BKH, which opened two years ago.

LO: We wanted this one to be more like our Australian stores: lighter and brighter, a real backdrop for color.

It’s our little gallery in a way.

Another milestone was the 1989 Victoria & Albert Museum exhibition on Australian design that we were included in. From that, we started wholesaling in London at Harvey Nichols, then went to New York and sold through Donna Karan and now Bergdorf Goodman. It builds its own momentum: The more you do, the more you create. The world works like that, doesn’t it?

—Georgina McWhirter

How do you approach color?

LO: It’s quite instinctive, like SPRING.19

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athome In the dining room, Ronan & Erwan Bouroullec pendants dangle above vintage Joe Colombo chairs in their original velvets; the chinoiserie panel was a thrift-store find.

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lombo chairs come in their original burnished-blue and wine-red velvets. The azure of the living room’s custom sofa—“it’s the centerpiece, large enough for the whole family to plop down on,” Chen says—was sparked by Gio Ponti’s Parco dei Principi hotel in Sorrento, Italy. “We have an abiding love for post-war Italian and Scandinavian design,” he adds.

In the same room, contemporary artworks by Ilana Savdie and Karin Haas join graphic-edge furnishings—the black lattice of a 1904 Charles Rennie Mackintosh chair, for instance, juxtaposed with a curvy console handpainted to look like bone marquetry. In the kitchen, the clients’ favorite zone, glossy dimensional tiles

and-glass partition that provides liminal, light-funneling demarcation. “I look for ways that spaces can slip into and overlap with one another,” he says. “It’s how most of our clients actually live.”

Crowded service areas were transformed into efficient functional zones, like a cloakroom Chen adorned in an embossed, flamingo-print wall covering spotted at a Brooklyn shuffleboard club. Colors throughout are bold yet dusky, playing against the crisp architectural details. The dining room is painted a desaturated pink (an eleventh-hour switch from white), while vintage Joe Co-

Clockwise from left: Near the living room’s onyx fireplace, mohair-covered ottomans rest on a custom syntheticsilk rug. The newly enlarged opening between living and dining rooms is framed in black-anodized aluminum.

A section of the kitchen’s rear wall was replaced with acidetched glass that filters light from the service entry beyond. Erich Ginder Studio sconces flank an Enzo Mari print in the breakfast nook; the table is Studioilse and the chairs are Jean Prouvé.

Bower’s tinted mirror and a brass ceiling fixture by Lambert et Fils join a vintage Italian console in a hallway leading to the kitchen.

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at home

BROOKE HOLM

New York architect Michael K. Chen knows his way around a tight floor plate. Sliding, pivoting elements that maximize micro-apartments are his namesake studio’s specialty. But Chen proves just as adept with more commodious spaces. To wit: a 2,800-square-foot Park Avenue prewar renovated for a young couple, Laura and Jason Schwalbe, and their two children.

The four-bedroom co-op’s living and dining rooms were well proportioned, but the threshold between them—a small portal— was insufficiently porous. So, Chen and project architect Natasha Harper enlarged the opening and replaced the door with a Crittall-style aluminum-

BROOKE HOLM

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Clockwise from top left: Formerly a closet, the powder room boasts a Rosa Aurora marble–top vanity, glazed ceramic wall tile, and stone flooring. The cloakroom’s lacquered built-ins integrate LEDs; original floorboards here and throughout were bleached and stained. The master bedroom’s custom sconce is blackened brass.

bounce light, and an Enzo Mari Il Gorilla print livens the breakfast nook. “Everything is different and interesting,” says Laura Schwalbe. Throughout, the mix is just that: a mélange of eras and styles that speaks to a knowledge of, and reverence for, the history of art and design. It’s the way we live—and design— now. —Georgina McWhirter ˇ

at home FROM FRONT FLOS: PENDANTS (DINING ROOM). ALEX DREW & NO ONE: TABLE. BIANCO LIGHT & SPACE: SCONCES (LIVING ROOM). HOLLY HUNT ENTERPRISES: OTTOMANS FABRIC. CASSINA: LATTICE CHAIR. STARK: CUSTOM RUG. RH: PICTURE LIGHTS. MARTIN ALBERT INTERIORS: CUSTOM SOFA FABRICATION. MAHARAM: SOFA FABRIC (LIVING ROOM), BENCH UPHOLSTERY (KITCHEN). MICHAEL ANASTASSIADES AT THE FUTURE PERFECT: CEILING LIGHTS (KITCHEN). ANN SACKS: WALL TILE. HENRY GLASS: GLASS. DORNBRACHT: SINK FITTINGS. GAGGENAU: COOKTOP. DE LA ESPADA: TABLE. VITRA: CHAIRS. ERICH GINDER STUDIO: SCONCES. FLAT VERNACULAR: WALL COVERING. LAMBERT ET FILS: CEILING FIXTURE (HALLWAY). BOWER: MIRROR. HEATH CERAMICS: WALL TILE (POWDER ROOM).

PARIS CERAMICS: STONE FLOOR. PEILL & PUTZLER: PENDANT. ALBANY AT WALLPAPER DIRECT: WALL COVERING (CLOAKROOM). ALLIED MAKER: CUSTOM SCONCE (BEDROOM). WATERWORKS: WALL FITTINGS. THROUGHOUT ABC STONE, SUPERIOR SELECTED STONE: STONE SUPPLIERS. JR FURNITURE FINISHING CORP.: WOODWORK. THINK CONSTRUCTION: GENERAL CONTRACTOR.

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TILE (BATHROOM). KALLISTA: SINK

at home

In the breakfast nook of the 19th-century apartment, a pair of Apparatus Studio sconces in brass and porcelain flank an Alain Chevrette painting; the table and stool are Jean ProuvĂŠ designs.

beauty in the balance designer: studio jeancharlestomas site: paris

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After years spent living in the French city of Lyon, a sixty-something couple decided to move back to Paris, their hometown. The pair’s house hunt dragged out for more than a year without success before they reached out to interior designer Jean-Charles Tomas for help. He was tasked with finding a twobedroom flat in the Sixth Arrondissement—the only parameters given for the otherwise carteblanche project. Seems Tomas had the magic touch: One month later, the clients purchased this classic 19th-century apartment at the designer’s urging.

A complete makeover ensued. The 1,83048

INTERIORDESIGN HOMES

square-foot floor plan lacked openness and required visitors to walk past the private quarters before arriving at the public rooms.

Tomas flipped the layout to relocate sleeping spaces at the rear and removed several walls to flood the living areas with natural light. To honor the rich character of the space, he preserved historic features such as moldings and cornices, as well as parquet flooring that required removal, rehabilitation, and reinstallation.

Given decorative freerein, Tomas channeled his own design sensibility, honed by a childhood spent antiquing with his grandmother SPRING.19

and by his abiding fixation with nature.

Tomas splits his time between New York and Nice, France, where his practice is based, and an oceanside cottage in Connemara, Ireland, that he likens to a spiritual retreat: “The wildness of the landscape— where W.B. Yeats wrote his poetry—is truly inspiring,” Tomas says.

“The ever-changing light and hues influence my color palette.” Here, that translates to a neutral, mostly black-and-white color scheme emphasizing warm, noble finishes such as brass, wood, velvet, and marble—the latter used to graphic effect in the kitchen and the bathrooms. “Materials were chosen to

at home

BENOÎT LINERO

Clockwise from opposite: Arabescato marble clads the kitchen, illuminated by a 1950s Angelo Lelli chandelier. Lazzarini & Pickering Murena chairs in the breakfast nook have brushed-brass frames. A Vico Magistretti lamp adorns the office, below Gaël Davrinche’s Georges Washington.

Velvet-upholstered custom sofas bring softness to the living room, with restored original plasterwork and a Lindsey Adelman chandelier in blown glass.

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at home

Clockwise from top left: The master bathroom’s shower is lined in Silk Georgette marble. Another Vico Magistretti table lamp graces the master suite, with custom bed crafted of American walnut. The patinated-brass mirrors and Silk Georgette–top vanity are both custom; the sconce is by Apparatus Studio.

A custom brass soap holder services the stone-composite tub.

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FROM FRONT MARTA SALA ÉDITIONS: CHAIRS (BREAKFAST NOOK). JIM THOMPSON FABRICS: CHAIR FABRIC. JAMES MALONE FABRICS: BANQUETTE FABRIC. APPARATUS STUDIO: SCONCES (BREAKFAST NOOK, BATHROOM).

VITRA: TABLE, STOOL (BREAKFAST NOOK); CHAIR (OFFICE). BOFFI: CABINETRY (KITCHEN). KWC: SINK FITTINGS. OLUCE: LAMPS (OFFICE, BEDROOM). LINDSEY ADELMAN STUDIO: CHANDELIER (LIVING ROOM). NOUAILHAC: CUSTOM SOFAS. DEDAR: SOFA FABRIC. OMNI MARBRES: MARBLE (KITCHEN, BATHROOM).

CRÉATIONS MÉTAPHORES: CURTAIN FABRIC (BEDROOM).

DORNBRACHT: SINK, TUB FITTINGS (BATHROOM).

VALLONE: TUB. THROUGHOUT MELJAC: PLUGS. WOOD WORK MONACO: WOODWORK. ATELIER S&L PRESTIGE, ATELIERS J. DE MISSOLZ: METALWORK. ARPE ALIZE: GENERAL CONTRACTOR.

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BENOÎT LINERO

complement each other and create a dialogue,” he says. Other choices reflecting Tomas’s twin passions include the living room’s branchlike Lindsey Adelman chandelier and classic furnishings by Jean Prouvé, Pierre Jeanneret, and Vico Magistretti.

Furthering the poetic atmosphere are art and design pieces by Apparatus Studio, Alain Chevrette, and Tomas himself, among others.

In every nook, Tomas achieved both contrast and harmony, celebrating the apartment’s old-world spirit while giving it a whole new life. —Karine Monié

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into the woods

Timber-framed houses make shapely statements in their natural settings

See page 60 for Studio Rinaldi’s residence in Cortina d’Amprezzo, Italy.

text: athena waligore

THOMAS PAGANI

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EWOUT HUIBERS

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i29 interior architects and chris collaris architects site Vinkeveen, the Netherlands. standout Inside a quartet of interconnected blackstained pine volumes is a contrasting palette of stark white, natural oak, and polished concrete—a dark/light duality epitomized by the clean-lined kitchen.

A T home

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stefan hitthaler architektur site Bruneck, Italy.

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HARALD WISTHALER

standout The original 1970s design by Austrian architect Josef Lackner informed SHA’s eco-forward renovation of the angular larch house, including the addition of a cantilevered terrace.

HARALD WISTHALER

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Studio Rinaldi site Cortina d’Ampezzo, Italy. standout The apartment in the Dolomites mixes traditional and contemporary elements, such as custom stools by the firm that riff on the airy structure’s original fir beams—previously hidden behind a drop ceiling.

THOMAS PAGANI

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d p se exem tructuring a u o h s i s “Th er ture ov c u r t s ing a inhabit

book

CLOCKWISE FROM BOTTOM: FERNANDO ALDA; PHILIPPE BLANC; COURTESY OF FELIPE ASSADI ARQUITECTOS

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© R O B E R T B E N S O N P H OTO G R A P H Y

A N E W C L AS S O F M U LTI S LI D E

FOLD | SLIDE | SWING L AC A N T I N A D O O R S .CO M

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The First Disruptors in the Furniture Industry Turn 30 ICONIC LUXURY HOME FURNISHINGS BRAND MITCHELL GOLD + BOB WILLIAMS CELEBRATES 30 YEARS OF DESIGN AND INNOVATION In 1989, the iconic brand manufactured one thing: upholstered dining chairs in bold fabrics, like big florals, velvets, and stripes.

They also manufactured a chair named “Lucy,” which featured an innovative, singlepiece side construction for durability and quality. Lucy turned heads, and within the first month of selling the chair, more than 5,000 were sold.

homes. These aspirations are evident in the Spring 2019 Collection, in which Mitchell and Bob introduce their anniversary line of Les Petite Seats. Chicly styled for cozy nooks, or larger conversation areas, these versatile, small-scale accents chairs offer the brand’s trademark comfort in a compact footprint.

Choose from in-stock options, or customize in 300+ fabrics and leathers (including C.O.M).

While their signature modern style has evolved over the decades, their iconic designs still reflect early aspirations to elevate entertaining and create comfortable

Experience Les Petite Seats and the new Spring Collection in comfort at one of 30+ Signature Stores, or explore the entire collection at mgbwhome.com.

Opposite top: innovative new designs include small-scale accent chairs, Les Petite Seats; Opposite bottom from left: the iconic mid-century Major Chair was introduced in 2011; the company expanded its collection of SunbrellaŽ performance fabrics in 2018 Top from left: the Sexy Sadie Chair won a Design 100 Award from Metropolitan Home Magazine in 1992; in 1989 Mitchell Gold and Bob Williams started their own furniture line; Mitchell and Bob’s beloved bulldog mascot, Lulu, was (and still is) the company’s muse; Bottom: the Spring 2019 Collection features sculptural silhouettes in vivid colors, playful patterns, and plush textures

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

spirited away Karl Chucri and Rami Boushdid share a noble mission: “To change the way people serve drinks.” To that end, the Studio Caramel partners concocted Trink, a bar cart for selfdescribed “French fifties” furniture label Kann Design. The Beirut-based duo recasts the midcentury mainstay of living room happy hours for modern-day entertaining. Framed in black-painted steel, the modernist teak case comes equipped with multiple compartments for storing libation essentials.

Outsize wheels wrapped in perforated painted aluminum reference era-appropriate vehicles. The made-to-order model measures 29 ½ inches high and 39 ½ by 21 inches wide.

Cheers to that. kanndesign.com

what’s new from maison & objet

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Britt Moran and Emiliano Salci for Illulian

Eugeni Quitllet for Vondom

Philippe Malouin for SCP

Pauline Deltour of Ames

product Costellazioni 3 standout The Dimorestudio

product Brooklyn standout The fiberglass-reinforced

product Barrel standout A highlight of the

polypropylene armchair, available in four neutral-cool colors, channels the intricate lines of New York’s Brooklyn Bridge.

designer’s four-piece collection— his second for the maker—the table sports circular bases clad in white oak slats, a clever nod to wine or whiskey barrels.

product Cana standout The disc-shape seat

founders indulge their love of lush, retro hues in a limitededition wool-silk rug featuring pointed geometries that recall origami. illulian.com

vondom.com

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of the French designer’s petite stool is hand-braided from arrow cane, a bamboo-like tropical plant cultivated in northern Colombia. ames-shop.de

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Arik Levy for Forestier

Pierre Charpin for Ligne Roset

Patrick Jouin for Pedrali

Mae Engelgeer for CC-Tapis

product Bamboo standout In the pulley-pendant

product Astair standout This comfort-driven

product Elliot standout An elegant tripartite

product Bliss Big Blue standout Warm and cool, circular

and lantern variants of the industrial designer’s cage light, two-tone bamboo strips cast delicate shadows. forestier.fr

armchair with pocket-sprung suspension, headrest, and footstool riffs on Franco Albini’s Tre Pezzi chair from 1959.

leg and a top that flips up for easy stowage distinguish the Interior Design Hall of Fame member’s powder-coated aluminum side table. pedrali.it

ligne-roset.com

and oblong collide in the Dutch textile designer’s rug, handknotted in Nepal of Himalayan wool and silk. cc-tapis.com

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market maison & objet Tina Ledi and her daughter, Marion, founded Orchid Edition

in 2018 to “renew the codes and styles” associated with rattan design. They are the third and fourth generations, respectively, of the Ledi-Krol family, which has been manufacturing rattan furniture for nearly a century under the banner KOK Maison. Orchid Edition’s creations are crafted in Indonesia from locally harvested vines, but four French ateliers hatched the clean, contemporary inaugural designs: AC/AL Studio, At-Once, Studio Guillaume Delvigne, and Jean-Michel Policar. Bôa, a sofa by Maxence Boisseau and Nelson Alves of At-Once, derives its name from the thick cane that forms its structure.

Three cane-webbing space dividers, dubbed Panô, offer practical assets: a mirror on one and shelves on the others. orchid-edition.com

cane-do attitude

BÔA

PANÔ

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TOP: HERRE GOLUZA; MIDDLE: MATTHIEU LANGRAND

MAXENCE BOISSEAU AND NELSON ALVES

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market maison & objet

opposites attract Nimbly navigating form and function, Portuguese furnishings brand Dooq is a study in contradiction. The comingling of curves and flat surfaces in the Bonnie & Clyde center table, carved from solid Nero Marquina marble, symbolizes a charged union like that of its namesake outlaw sweethearts. Its characteristic dip, meanwhile, makes an ideal spot for stashing magazines.

Playing Games cocktail and side tables earn their alias by toying with gravity, the random arrangements striking a delicate balance between positive and negative space.

Both are offered in combinations of six marbles, including Green Guatemala and pink Estremoz Rose, while the cylindrical stand comes in brass, copper, or nickel with a polished or satin finish. dooqdetails.com

BONNIE & CLYDE

PLAYING GAMES

“We find balance in contrasting concepts: feminine meets masculine, small meets large, soft meets solid” 72

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STILL COLLECTION DESIGNED BY RICHARD FRINIER

CHICAGO MIAMI

COSTA MESA

DALLAS

SAN FRANCISCO

LOS ANGELES SCOTTSDALE

Brownjordan.com/LearnMore

market maison & objet

stepping up

STOOL/SIDE TABLE

SOPHIE GÉLINET AND CÉDRIC GEPNER

Sophie Gélinet and Cédric Gepner inaugurated their Paris studio, Haos, three years ago with a funky family of lamps.

Neophytes no more, the couple moves beyond lighting via a seating-focused follow-up.

“We started by venturing in a few different directions, but once we drew the bench, we knew that was the right path to follow,” Gélinet explains. Japanese architecture and Gallic midcentury design influenced their second collection. Those references flavor the madeto-order bench and stool, the cherry veneer base capped with glazed ceramic seats supporting optional cushions with cottonlinen or wool-blend covers.

Chromed candleholders, which can be stacked magnetically, round out the mix. haos.fr

CANDLEHOLDER

BENCH 01

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Enjoy $50 off your purchase with promo code: ID50 Offer ends April 30, 2019

market maison & objet 1

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funny business

1. Mushrooms and Snails resin hangers

by Seletti.

2. Yiban Yiban armchair upholstered in Kvadrat Harald cotton velvet with steel legs in champagne titanium finish by Maison Dada.

3. Studio Bling’s Zag painted-steel coat hooks by La Chance.

4. Swirl candelabra in recycled marble powder, pigment, and resin

by Tom Dixon.

5. Mark Harfield’s Love quilt in Sunlight cotton velvet by Sans Tabù.

6. Haas Brothers’ Monster porcelain incense burner

by L’Objet.

Get a kick out of trippy odds and ends

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For sources see page 80.

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wild thing

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Voyage through the animal kingdom

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1. Another Bird on the Wall porcelain sculptures by Lladró.

2. Grasshopper figurine in ceramic and brass by Mambo Unlimited Ideas.

3. Kiwi recycled-plastic storage container

by EcoBirdy.

4. Bird stool in velvet, brass, and fiberglass resin by Circu Magical Furniture.

5. Snake rug hand-tufted of wool and botanical silk by Rug’Society.

6. Horace wall shelves in matte black HPL

by Ibride.

7. Marcantonio Raimondi Malerba’s Mouse lamps in resin with LED bulbs by Seletti.

See page 80 for sources.

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NINETY DEGREES CONSOLE CABINET SCOTTSDALE, AZ John Brooks, Inc.

DENVER, CO John Brooks, Inc.

LOS ANGELES, CA Mimi London SAN FRANCISCO, CA DeSousa Hughes

MINNEAPOLIS, MN Holly Hunt, LTD.

HOUSTON, TX David Sutherland, Inc.

DANIA BEACH, FL David Sutherland, Inc.

NEW YORK, NY Ferrell Mittman

SEATTLE, WA Trammell-Gagné

ATLANTA, GA Grizzel & Mann

DALLAS, TX David Sutherland, Inc.

CALGARY, CANADA Domaine

B E R M A N R O S E T T I . C O M

CHICAGO, IL Ferrell Mittman

P H O N E

3 1 0 . 4 7 6 . 6 2 4 2

celebrating 30 years of award-winning design I furniture | textiles

r i char df r i ni er.com

funny business 1. Seletti, seletti.it.

2. Maison Dada, maisondada.com.

3. La Chance, lachance.paris.

4. Tom Dixon, tomdixon.net.

5. Sans Tabù, sanstabu.com.

6. L’Objet, l-objet.com.

wild thing 1. Lladró, lladro.com.

2. Mambo Unlimited Ideas, mambounlimitedideas.com.

3. EcoBirdy, ecobirdy.com.

4. Circu Magical Furniture, circu.net.

5. Rug’Society, rugsociety.eu.

6. Ibride, ibride.fr.

7. Seletti, seletti.it.

market s o u r c e s

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C O L L E C T I NG

true to type Multitalented graphic designer Elaine Lustig Cohen brought the same rigorous sense of style to the book covers, interiors, and artworks she created

CLOCKWISE FROM BOTTOM RIGHT: JASON MANDELLA PHOTOGRAPHY; PHOTO COURTESY OF THE ESTATE OF ELAINE LUSTIG COHEN. COURTESY OF THE ESTATE OF ELAINE LUSTIG COHEN (4).

Elaine Lustig Cohen (1927-2016) was an American graphic designer of book covers, museum catalogs, and corporate-identity packages whose career flowered after the 1955 death of her first husband and mentor, the midcentury polymath Alvin Lustig.

She and her second husband, author/publisher Arthur Cohen, also achieved acclaim as the proprietors of Ex Libris, a pioneering

designer—passions she shared with Cohen— that culminated in the decoration of the Upper East Side townhouse the couple purchased in 1961. This townhouse is a gesamtkunstwerk combining all her interests in sophisticated interiors rivalling those of her contemporaries Florence Knoll and Estelle Laverne. Early photographs of the living room reveal vistas as clean as her concurrent abstract graphic

rare-book dealership in the field of 20thcentury European and Russian avant-garde design. And she is becoming better known as a painter, sculptor, and collagist thanks to “Masterpieces & Curiosities: Elaine Lustig Cohen,” an exhibition at the Jewish Museum that runs through August 11, 2019.

Less exposed are her endeavors as a collector and interior

work for the Jewish Museum, yet leavened with a catholic array of objects, both collected and created. Later photos show carefully composed vignettes akin to the collages she began making in the 1980s out of avantgarde ephemera.

The Cohens collected extensively: ancient, pre-Columbian, tribal, and modern abstract art; African beads and combs; Kachina dolls;

Clockwise from top right: Elaine and Arthur Cohen, circa 1965.

Untitled acrylic on canvas, 1967. Color Box, 1981, in acrylic-painted wood. Logo for Frederick Lunning/Georg Jensen, 1960. Cover design for the Jewish Museum exhibition catalog “Primary Structures,” 1966.

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C O L L E C T ing Lustig Cohen’s own creations also populated the house: a marble dining table with tubular chrome legs and walnut extensions channeling Philip Johnson and Le Corbusier, an adjustable wall lamp with conical visors based on Alvin Lustig commissions,

groundbreaking catalogs she designed for the Jewish Museum between 1963 and 1968.

“Primary Structures,” from a 1966 exhibition introducing Minimalism, is the jewel, with first editions fetching north of $1,000. Second editions, and most of the other titles, range

“European avant-garde and modernist influences into a distinctly American, midcentury manner of typographic communication” applies to her interior design, too. The townhouse furnishings included Mies van der Rohe Barcelona chairs, an original Gerrit Rietveld Zig-Zag chair, an early Marcel Breuer side table, two 1930s Werner Max Moser tubular steel chairs for the Swiss firm Embru, Massimo and Lella Vignelli Saratoga chairs, and a circa 1915 Peter Behrens pendant fixture.

a dome-shape sconce, and several two-tone credenzas. A rotating gallery of her canvases and collages occupied the walls, while her colorful painted boxes and wood sculptures were carefully arranged on available surfaces.

from $20 to $175. Consider also her corporate identity work when it surfaces.

Ex Libris, founded in 1972 and run out of the townhouse for two decades, produced nineteen major numbered catalogs and a slew of smaller catalogs and brochures designed either by Lustig Cohen or her daughter, Tamar Cohen.

These remain essential reference guides to important avant-garde modernist books and ephemera. Prices range from $10 to $150. The

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what to collect The best entry point for collecting Lustig Cohen is her commercial graphic design.

Book covers for New Directions and Meridian Books start at under $10 in paperback. Up the ladder are the roughly twenty

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inventory itself was partially dispersed

by Lustig Cohen, but a chunk from the estate went to the New York bookstore Anartist, which still has numerous items with prices beginning under $25.

I am fortunate to be handling some of the townhouse furnishings

tips

designed or collected by Lustig Cohen, including the one-off wall lamps, the marble dining table, and the Embru chairs.

Her artwork, done largely for herself, was nonetheless shown regularly at New York and Los Angeles galleries (Mary Boone Gallery,

Galerie Denise René, and Julie Saul Gallery among them), and she had solo exhibitions at the CooperHewitt museum in 1995 and the Glass House in 2015. These paintings and sculptures occasionally come up on the secondary market; check 1stdibs.com and Artsy.

See the Jewish Museum exhibition and scour the website dedicated to her work, elainelustigcohen.com.

Scavenge online platforms such as abebooks.com and eBay for her graphic design.

Search using her name and also specific titles— prices might be lower if she goes uncredited.

Make sure the dust jacket is included on hardcovers! And keep an eye out for more artwork down the line.

—Larry Weinberg

FROM LEFT: LOUIS REENS/COURTESY OF THE ESTATE OF ELAINE LUSTIG COHEN. JASON MANDELLA PHOTOGRAPHY/COURTESY OF THE ESTATE OF ELAINE LUSTIG COHEN. COURTESY OF THE ESTATE OF ELAINE LUSTIG COHEN.

Czech pre-war airbrushed pottery; and Bakelite jewelry. Rare books on Futurism, Constructivism, Dada, de Stijl, Surrealism, and the Bauhaus filled floorto-ceiling bookcases.

Art director/critic Steven Heller’s observation that Lustig Cohen’s graphic work integrated

Clockwise from top right: The master bedroom, photographed in 2016, with Kachina doll–propped shelves, a cabinet designed by Lustig Cohen, a circa 1940 Bruno Mathsson lounge and ottoman, a Firma Karl Mathsson book stand, and a 1990s Holtkötter Leuchten floor lamp.

In the dining area, a Gerrit Rietveld ZigZag chair joins a cabinet and collage by Lustig Cohen (topped with an Egyptian Ibis and a Corinthian helmet). Clear Writing book jacket, 1961. Sewing box prototype, 1983, in lacquered wood and chrome. Cover design for “A New Aesthetic,” 1967, at the Washington Gallery of Modern Art. “Dada Now & Forever,” 1981, from the Ex Libris catalog.

Opposite, from left: A wall lamp by Lustig Cohen and a coffee table by Alvin Lustig in the townhouse living room, circa 1964. Untitled acrylic on canvas, 1966. Ex Libris catalog, “Lissitzky and Maiakovskii,” 1979.

CLOCKWISE FROM TOP RIGHT: JOSHUA MCHUGH (2). COURTESY OF THE ESTATE OF ELAINE LUSTIG COHEN (4).

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KAY COLLECTION BY HENRIK PEDERSEN

LOS ANGELES 路 CHICAGO 路 DANIA BEACH 路 MIAMI 路 NEW YORK FLAGSHIP WWW.GLOSTER.COM

I N house

nani marquina The Spanish textile designer/ entrepreneur’s Costa Brava retreat is a collector’s paradise

ALBERT FONT

Nani Marquina has a thing for straw hand brooms. The textile designer and Nanimarquina founder owns more than two-dozen such specimens, sourced from locales as far flung as Thailand, Pakistan, and Ibiza. “They’re all essentially used the same way, yet every brush is different, depending on the country of origin and the regional fiber,” she marvels.

Marquina’s collecting passion also extends to woven baskets, beaded necklaces, teapots, seeds, dried gourds, soap, succulents, and sand (stored in fish bowls), all of which garnish the Esclanyà, Spain, getaway she shares The designer works with Pantone color with her husband, photographer Albert swatches in her Esclanyà, Spain, studio.

Font. The 1970s dwelling, purchased three years ago from a painter friend, has a whitewashed simplicity that renders it a perfect backdrop for the couple’s assorted ephemera. “The most important thing is not the container, but the contents,” Marquina says.

Sliding glass doors permit views of the Costa Brava coastline and coax an abundance of light into the 3,200-square-foot two-bedroom. The living/dining area, kitchen, and master suite are on the main level, whose wide-plank wood flooring is seasoned with paint splashes from the previous owner. The partially subterranean lower level, a converted garage, houses Marquina’s studio and a guest room.

Sharp-eyed visitors will notice Nanimarquina prototypes come and go. They’ll also observe the homeowners’ fondness for craftsmanship and repurposing; the dining area’s pendants, for instance, by Álvaro Catalán de Ocón, are made from plastic bottles collected in Colombia’s Amazon region. Tinted by natural dyes, they’ve faded to the same color as the living area’s vintage Tunisian armchair and Mario Ruiz sofa, both upholstered in crisp beige linen—reiterating the palette’s dominating “sandy-taupe” tones.

An exception is the studio’s Hella Jongerius sofa, covered in a fire-engine-red fabric. It’s the sole piece of seating here, where Marquina often works from the comfort of the floor—cushioned, of course, by one of her own carpet designs. —Mairi Beautyman SPRING.19

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“The most important thing is not the container, but the contents”

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I N house 1. Populating the studio are Shade poufs by Marcos Catalán, upholstered in rugs by Begüm Cânâ Özgür.

2. Nestled among olive and cork oak trees, the stucco and terracotta structure has a view of Spain’s Costa Brava coastline.

3. Custom cushions crafted from a Turkish kilim accent the guest room, with custom pine shelving repurposed from an installation at Nanimarquina’s Barcelona showroom.

4. Horizontal and vertical gradients converge in Shade, a handmade flatweave by designer Begüm Cânâ Özgür.

5. In the studio, a Hella Jongerius Polder sofa rests on a handwoven wool Losanges rug by Ronan and Erwan Bouroullec; Marquina’s brush collection includes one from Ibiza, typically used to lime-wash house stoops.

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6. The wool Kilim pouf is by Marquina and Marcos Catalán.

7. Cement-grouted wood planks salvaged from horse stables pave the floor; the stucco stair is original.

8. An existing skylight draws sunshine into the dining area, where PET lamps by Álvaro Catalán de Ocón dangle over vintage wicker chairs (from a local maker) and a salvagedwood table by Piet Hein Eek. 9. Burmese lacquerware that Marquina purchased on her travels alights a wool-blend Tres Green rug she designed with Elisa Padrón.

10. Marquina designed the pigmented cement pool to blend into the hillside.

11. A Tres Vegetal rug by Marquina and Elisa Padrón anchors the living area and covers a prototype pouf, which accompanies a vintage armchair, a Mario Ruiz sofa, a vintage Alvar Aalto stool, and a 1930s leather B.K.F. chair.

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brazilian beat Andreas Fuhrimann Gabrielle Hächler Architekten gets into the swing of Latin American modernism for an extension to an art-world couple’s home in Zurich text and production: kristina raderschad photography: christian schaulin

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Architects Andreas Fuhrimann and Gabrielle Hächler have amassed quite an artsy clientele since founding their eponymous firm in 1995. The husband-wife design duo is the vision behind a number of exhibition spaces—including early work on the decades-long redevelopment of a Löwenbräu brewery near their Zurich studio into a museum and gallery complex—as well as projects for collectors, curators, dealers, and artists. (Ugo Rondinone and Pipilotti Rist are clients.) Another forte is residential work, notable for the fluid transitions between spaces as well as the clarity, simplicity, and rich tactility of the materials palette.

Those specialties are leveraged in another multistage project they recently completed: transforming a midcenturyera villa into a combination residence, studio, and exhibition space for an art-world couple. Located just south of Zurich in the village of Küsnacht, and designed in 1956 by local architect Theodor Laubi, the house was purchased exactly 50 years later by gallerist Damian Grieder and his wife, Melanie Grieder-Swarovski, a multimedia artist known as Melli Ink. Having cycled through several owners, the property, whose four levels included a partially subterranean basement with a swimming pool, was not in great condition when they bought it.

“Nevertheless, the architectural quality was unmistakable,” Grieder says, noting that the structure’s flat roof, concrete-slat street facade, brise-soleil, curved staircase, and other elements clearly showed the influence of Brazilian modernism. “We were sold on the clean lines and clear geometry.”

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Previous spread: The partly subterranean basement-level studio of artist Melanie GriederSwarovski (aka Melli Ink) is furnished with her paintings and glass and ceramic works, along with Charles and Ray Eames wire-base chairs and a wood table from Ibiza.

Top: The second-level living room features an Isamu Noguchi table, a Björn Dahlem Mond art chandelier, and vintage chairs; the artworks are by Ross Chisholm and Gregor Hildebrandt.

Bottom, from left: Concrete walls and ceiling distinguish Melli Ink’s studio. The main entrance on the street side of the building leads to the private residence.

Opposite: The basement-level ceramic-tiled pool is original.

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“We wanted to create an ideal work environment for Melli and a platform for cultural exchange”

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Surrounded by traditional Swiss county houses, Laubi’s avant-garde design was as singular in its context as it was in the architect’s oeuvre, which was otherwise conventional. But Le Corbusier’s involvement with the Ministry of Education and Health Building in Rio de Janeiro—Brazil’s first modernist project, completed in 1945—meant contemporary developments in Latin American architecture were much discussed in postwar Switzerland, and Laubi evidently picked up on the vibe.

Fuhrimann and Hächler were initially hired in 2006 to restore the structure’s period luster, and to make visible the purity of Laubi’s design. They stripped back inappropriate fixtures and additions, such as a garish double garage that encroached on the garden, and added new architectural elements more in keeping with the original concept. Among the latter was a new kitchen with curvaceous avocadogreen cabinetry. “Tension between freeform sculptural elements and a precisely geometric floorplan was a typical feature of South American modernism,” Hächler notes.

More recently, the homeowners enlisted the firm for a second-round renovation 1 to create a studio for her and a gallery and lounge space for him, along with a workshop, archive area, and storerooms. “Our goal was to add an extension for 2 our art endeavors

1 POOL 2 STORAGE 3 GALLERY 4 LOUNGE 5 FACTORY 6 STUDIO 7 GUEST LIVING ROOM 8 GUEST BEDROOM

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without losing the character of the house,” says Grieder, who was anxious that its street-front appearance not be altered—no easy task when, as Hächler notes, “Laubi positioned the L-shape building optimally on the plot, so the proportions and distribution of his design all add up.” The clients also wanted the new wing to be publicly Head and Body Landshut 2 and Head and Body Landshut 3, cast-concrete sculptures by German artist Michael Sailstorfer, stand on the new gallery’s Tyrolean oak floor; the ceiling’s recessed LED strips are dimmable.

accessible without visitors having any contact with the private residential quarters.

Hächler’s solution was to extend the basement level, hiding the 3,500square-foot, multiroom addition under the half-acre plot’s extensive lawn so it is invisible from the street. Because the site falls away steeply, the southern side of the new space enjoys glazed walls, providing the studio and lounge with views of the garden while allowing for a separate entrance independent of the house above.

The architects used a number of strategies to ensure that the gallery, which is an internal space, “does not feel like a basement,” Fuhrimann says.

The room is flooded with light, thanks to skylights set flush into the surface of the lawn overhead and LED strips recessed into the ceiling. That plane, like the gallery walls, is exposed concrete; floorboards of solid Tyrolean oak and built-ins of plywood and painted blockboard create a homey counterpoint.

The contrast between these rough materials left in their natural state and the smooth, high-gloss finishes found in the rest of the house is typical of the firm’s work. “Damian and Melli were initially skeptical of that approach, because the aesthetic of the extension is so different from that

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The new extension lies hidden beneath the lawn so the original design of the 1956 international style building by Theodor Laubi is unaltered; the sculpture on the left is by Thomas Kiesewetter, the neon work in the balcony, Was ich noch zu erledigen habe (Why am I not invited to a biennale), is by Christian Jankowski, both German artists.

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of the residence,” Fuhrimann reports. “It’s more Paulo Mendes da Rocha than Oscar Niemeyer, if you like,” he continues, referencing disparate architectural styles that Brazilian modernism encompasses with nonchalant ease.

Ultimately, the stylistic ambivalence serves the project well, enhancing the clients’ lives aesthetically and functionally. In their private quarters, the couple live with a very personal selection of furniture and art, including classic pieces

by Isamu Noguchi and Eero Saarinen and paintings by such contemporary stars as Ross Chisholm and Gregor Hildebrandt.

The new public areas have proved their worth: Greider has already mounted the kind of salonlike exhibitions he hoped the gallery and lounge would inspire, including a show of furniture and objects by Ettore Sottsass and the Memphis Group drawn from a private collection, the colorful pieces popping in the cool, calm space.

And Grieder-Swarovski is putting her spacious studio to full use. “We wanted to create an ideal work environment for Melli and a platform for cultural exchange,” Grieder says. “Andreas and Gabrielle achieved these goals masterfully with the extension.”

PROJECT TEAM CARLO FUMAROLA, GILBERT ISERMANN: ANDREAS FUHRIMANN GABRIELLE HÄCHLER ARCHITEKTEN. ITEN AG: STRUCTURAL ENGINEER. BE ELECTRIC, PLANFORUM: MEP ENGINEERS. MEIENBERGER + EGGER: WOODWORK. BRINER BAU: CONCRETE WORK. WOODTLI SCHWIMMBADTECHNIK: POOL BUILDER. BAD DESIGN, GRETENER BAUPLANUNG: GENERAL CONTRACTORS. PRODUCT SOURCES FROM FRONT EDI ZWEIFEL BODENBELÄGE: PARQUET FLOORING (STUDIO, GALLERY). VITRA: CHAIRS (STUDIO), TABLE (LIVING ROOM). WINCKELMANS AT TOBIAS KOPP: POOL TILE. KNOLL INTERNATIONAL: TABLE (KITCHEN), CHAIRS (KITCHEN, DINING ROOM).

Top: The organic-shape kitchen cabinetry, part of the 2006 renovation, references Latin American modernism of the 1950s. Bottom, from left: The second-level dining room was also part of the 2006 renovation. Vertical cast-concrete lamellas on the residence’s street facade nod to the brise-soleils typical of Brazilian modernism.

Opposite: Mask, by Michael Sailstorfer, hangs above a vintage sideboard in the dining room.

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the art of subtraction 2Michaels brings a less-is-more touch to a 1970s East Hampton gem by Joseph D’Urso

text: larry weinberg photography: eric laignel

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Jayne Michaels of New York design firm 2Michaels and her husband, real estate attorney Todd Pickard, have long been drawn to the natural beauty of eastern Long Island. While searching for the perfect modernist house for themselves, they spent years renting offbeat hideouts in Amagansett and Montauk. Jayne and her twin sister and design partner, Joan, count architect and Interior Design Hall of Famer Joseph Paul D’Urso among their primary influences. So, it was kismet when, in 2014, a modest D’Urso house with all its key features intact popped up on the market. Set on a narrow three-acre East Hampton tract, adjacent to a nature preserve, it was built in 1972 for a mere $37,000. “Joe’s work has been a great source of inspiration,” says Jayne. “Each project has an underlying intelligence and restraint. A comment of his made an impact on me: Decorators add; designers subtract from a space.”

A 1973 New York Times Magazine article about the two-stories-plus-basement house marveled at the level of sophistication achieved with standard and inexpensive materials: 4-by-8-foot grooved plywood siding panels that, together with glass sliding doors of the same size, set the module for the house; marine turnbuckles and cables forming X-shape guardrails; Lally columns; and a freestanding steel Heatilator fireplace—a ready-made sculpture. The stairwell, capped by an 8-footsquare skylight, drew particular attention for the dramatic and varied lighting it provided, along with views of sky and stars. “It’s a private window on nature,” D’Urso observed.

Jayne and Todd were sold on the simplicity, flow, and timelessness of the design, and the indoor/ outdoor living aspect. They loved the abstract visual compositions of the facades: the geometric interplay of plywood and glass accented by horizontal bands between floors, the crisscrossing wire balcony railings, and the round porthole window. They got only as far as the open-plan living Previous spread: A Frank Veteran painting hangs in the sunroom addition, featuring a vintage Stilnovo lamp and a wroughtiron chair with vinyl upholstery.

Top left: A porthole window accents the western facade; the vintage B.K.F. chairs came with the house. Top right: Built-in seating surrounds the stairwell; the coffee table is a midcentury Paul Lebb design.

Bottom left: A Sam Samore photograph, Allegories of Beauty (Incomplete), animates the living area; to the left is a vintage Marianna von Allesch lamp and, in the foreground, sits a Hans J. Wegner Hoop chair. Bottom right: A painting by Kate Beck punctuates the ground-floor guest bedroom.

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Bottom: In the sunroom, a Swedish midcentury flatweave anchors an array of vintage furnishings, including a Joseph D’Urso sofa, a Milo Baughman coffee table, and a Paul Mayen floor lamp.

Opposite top: Modifications to the original design include the sunroom addition as well as an extended deck and new fencing.

Opposite bottom: The second-floor master bedroom boasts original wall-mounted lamps and a diptych by Jayne and Joan Michaels.

“Joe D’Uro’s intelligence and mystery fascinate us. He is a design celebrity

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yet refuses to be categorized as one”

room before deciding they wanted the house, which they agreed to purchase within a week despite a scare from another prospective buyer.

The primary challenge was weighing present needs against a profound desire to preserve the integrity and spirit of the original design. “It was important not to eff it up,” Todd says succinctly.

Significantly, the couple waited a year before commencing renovations. This allowed time to get a better feel for the place—including poring over documents and photos left in an old trunk—and to parse ideas with Joan and architect Jeffrey English, a frequent collaborator.

Much angst went into three decisions: what to do about the gray wall-to-wall carpeting, the glass-enclosed sunroom added later by the second owner, and the spiral staircase, with its Calderesque rhythm. All had practicality issues. The corkscrew stairs were awkward to climb, but a conventional flight would have commandeered the lightwell, which was the essence of the house. So, the staircase stayed, as did the wire railings around it and across the second-floor balconies—beauty and transparency winning over a more solid barrier. Jayne appreciated the dramatic effect of the dark carpeting but preferred warmer tones and was concerned about moisture from wet feet and salt air.

She opted for white oak floors but insisted on no baseboards—a D’Urso signature— which their contractor, Olman Alvarenga, said couldn’t be done. . .until he did it.

The lion’s share of the budget was spent replacing the sunroom, an uninsulated prefab unit that Jayne considered simply eliminating. But Todd wanted a southern exposure, so a new clerestory-ringed structure with custom 8-foot-tall glass sliding doors was built. Providing a second lightwell with more expansive views, it integrates seamlessly with the original house and has become the couple’s favorite room. As a bonus, English’s plan included an adjacent half-bath,

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Top: A stone-composite countertop runs the length of the new powder room.

Bottom: A Sam Samore photograph surveys the basement-level entertainment pit, with original Joseph D’Urso table base and a Swedish midcentury flatweave.

Opposite top: New appliances and ceramic tiles enliven the restored kitchen.

Opposite bottom: The upstairs guest bedroom with adjoining deck features a Frank Veteran painting, Italian 1960s floor lamp, and a hand-knit throw by Jon Giswold; the Brown Jordan outdoor seating is original to the house.

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an outdoor shower, and extended decking encompassing a previously disconnected pool, also added by the second owner.

The rest of the work amounted to tweaking D’Urso’s original design: replacing exterior cladding that had succumbed to dry rot and woodpeckers, renovating the kitchen with its new woodblock-top peninsula (a necessity for Jayne, who loves to cook), updating bathrooms, and re-doing the basement as an entertainment pit.

Furnishing the house was a less arduous task for Jayne, who chose a warm, neutral palette and a nuanced assemblage of vintage furniture and rugs. A few items actually came with the house, such as the Brown Jordan outdoor seating, a D’Urso low-table base repurposed for the pit, and the built-in platforms around the stairwell, which the couple regularly use for lounging. Key acquisitions included an eBay-sourced D’Urso sofa for Knoll that fits perfectly in the sunroom (“almost like it was made for it,” notes Jayne, who recovered the piece in crisp white canvas) and a Hans J. Wegner Hoop chair that sits in front of the hearth. Swedish midcentury flatweaves and 19th-century kilims grace the floors, while large-scale photographs by Sam Samore and paintings by Frank Veteran, both friends, enliven the walls.

The new owners consider themselves stewards of the house. “Each decision was made with Joe in mind,” Jayne says. Shown photographs of the renovation, D’Urso concurs the team did a good job: “No question, they love the house and you can see that.” So can we.

PROJECT TEAM SVELTLANA NORKINA, ARIANNA MICHAELS: JEFFREY ENGLISH. WISE SOLUTIONS: GENERAL CONTRACTOR. PRODUCT SOURCES LIVING ROOM TREADWAY GALLERY: VINTAGE HOOP CHAIR. KILIM ANTIQUE RUGS: ANTIQUE RUG. MAGEN H. GALLERY: VINTAGE COFFEE TABLE. DAVID WEEKS STUDIO: FLOOR LAMP. GUEST BEDROOM ARTEMIDE: TABLE LAMP. AREA AT WEST OUT EAST: BEDDING. SUNROOM RE STEELE ANTIQUES: VINTAGE CHAIR. TREADWAY GALLERY: VINTAGE TABLE LAMP, VINTAGE COFFEE TABLE. BUKOWSKIS: VINTAGE RUG. WESTPORT AUCTION: VINTAGE FLOOR LAMP. BATHROOM KOHLER: SINK, TOILET. ANN SACKS: SINK FITTINGS. ARTEMIDE: SCONCES. IKEA: MIRRORS. SLATESCAPE AT FOUNDRY SERVICE & SUPPLIES: COUNTERTOP. PIT MODWAY AT MINIMAL & MODERN: SOFA. INGELMARK ANTIK & DESIGN: VINTAGE RUG. KITCHEN ELECTROLUX: STOVE, VENT HOOD. ANN SACKS: WALL TILES. CAESARSTONE: COUNTERTOP MATERIAL. SECOND GUEST BEDROOM 1STDIBS: VINTAGE FLOOR LAMP. JON GISWOLD AT FAIR: CUSTOM THROW. BERGAMO AT DONGHIA: CURTAIN FABRIC. ANGEL THREADS: CUSTOM CURTAINS. THROUGHOUT WEINBERG MODERN: LAMP (LIVING ROOM), VINTAGE SIDE TABLE (SUNROOM), VINTAGE FLOOR LAMP (PIT), VINTAGE BOWLS (KITCHEN). VITANZA FURNITURE FINISHERS CORP.: SOFA AND BANQUETTE UPHOLSTERY. JUDY ROSS TEXTILES: CUSTOM PILLOWS.

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keeping it cool

Joseph Paul D’Urso, a 1965 Pratt Institute graduate and 1986 Interior Design Hall of Fame inductee, began his career as a protégé of Ward Bennett, the doyen of total design. Still working today, D’Urso has rightly been considered the most sophisticated and lyrical minimalist interior designer of the past half century yet one whose body of residential and commercial work defies easy categorization. His hardedge early masterworks—the Calvin Klein menswear showroom in New York and a series of mid-1970s apartments, including the ultra-sleek Reed Evins studio that scored him an Interior Design cover—both pioneered and transcended the high-tech vocabulary. In retrospect, those were strong, uncompromisingly purist statements, even to D’Urso. With further studies in England and travels across the globe, his work became warmer and more idiomatic. (For a fine assessment of D’Urso mid-career, see Design Quarterly 124 from 1984, an issue devoted entirely to his oeuvre.)

The spare, abstract beauty of D’Urso interiors bespeaks an underlying order and serenity as well as a potential energy. Both repose and motion are integral. Pivoting walls, seating platforms with pillows, and low tables on casters facilitate mutability and suggest a relaxed ease of living. So, too, does the furniture D’Urso designed for Knoll: the iconic rolling tables of 1980 and the more recent swivel lounge chairs. All point to the centrality of the client in D’Urso’s design calculus. His projects are never preconceived and often unfold organically over time, providing keenly edited stage sets for the drama of everyday life.

CLOCKWISE FROM TOP RIGHT: PETER AARON/OTTO (2). COURTESY OF JAYNE MICHAELS.

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Opposite, clockwise from top left: Joseph D’Urso reposes in the featured East Hampton, New York, house, 1972. Barry Schwartz residence, mid-1970s. Reed Evins apartment, New York, 1976.

CLOCKWISE FROM TOP LEFT: ERIC PIASECKI/OTTO. COURTESY OF WRIGHT. COURTESY OF KNOLL. PETER AARON/OTTO. COURTESY OF KNOLL (2).

Clockwise from top left: West Village townhouse, New York, 2013. Armchair prototypes, circa 1980. D’Urso high table for Knoll, 1980. D’Urso in his New York office, circa 1978. The designer today. D’Urso swivel chairs for Knoll, 2008.

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text: tate gunnerson

take two

Frequent collaborators dSpace Studio and Project Interiors team up to design a modernist family residence in Chicago

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Previous spread: A matte-black brass lighting pendant suspended from leather straps illuminates the open kitchen, with Orca marble backsplash and gold-finish bar stools. Photography: Aimée Mazzenga.

Left: Standing-seam zinc panels clad the home’s exterior; suede-finish concrete pavers lead to the entry. Photography: Tony Soluri.

Right: The folded-steel staircase connecting floors two and three is visible from the double-height living area, animated with artworks by Marlon Portales Cusett and Vladimir León Sagols. Photography: Tony Soluri.

First impressions, though not foolproof, are often right on the mark. That certainly was the case when designers Aimee Wertepny and Jennifer Kranitz of Project Interiors initially met their client, Stefanie Schenk. “That famous Eames quote came to mind: ‘The details are not the details; they make the product,’” Kranitz says, recalling the colorful fur tassels on her new

client’s handbag as well as her brass-studded heels. “I was intrigued and thought the project could go in a good direction; also, I wanted to know where she shops!”

After raising their three children in a typical painted-clapboard house on a double lot in Chicago’s Lakeview neighborhood, Stefanie and her husband, Jared, decided to demolish it and build a modernist structure that better reflected their style.

They engaged architects Kevin Toukoumidis and Robert McFadden of dSpace Studio, who recommended Project Interiors for the interior design—their fourth collaboration. Both firms share a progressive, contemporary spirit that appealed to the clients. “We had lived for so long in a traditional space, and we really wanted this house to have special, surprising moments,” Stefanie says. Also on the couple’s wish list: “A sense of flow that better reflected how we live.”

Built at grade with no basement, the new 6,000-square-foot five-bedroom residence has a strong connection to the rear courtyard via full-height glass walls. The front facade is more discreet, its three staggered planes clad in standing-seam

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zinc panels. The main entrance is located on the side of the house, where sliver windows offer teasing views of the interior. “We created a curated path from the front gate through the garden to the entrance, which isn’t visible from the street,” McFadden says. “As you proceed, the structure opens up and your perspective of it changes.”

A dramatic 9-foot-tall glass door grants entry to a soaring foyer that flows into a double-height living area. Flooring throughout the main level—including the courtyard—is concrete, scored with angled lines to create a trapezoidal motif. “The pattern generates energy,” Toukoumidis says.

Energy is certainly a hallmark of the project. In the open kitchen, for instance, the clients opted for a graphic Orca marble backsplash over a more subdued option. The veiny black-and-white Brazilian stone, which also fronts the vent hood and tops the breakfast nook table, pops against the white-lacquered cabinetry with bronze reveal. “The Schenks welcomed big moves and never played it safe,” Wertepny reports.

As evidenced by their contemporary art collection, which includes vibrant pieces by Beverly Fishman, Sarah Applebaum, and Alexa Horachowski, the clients are also unafraid of color. In the dining room, for example, curvaceous chairs by Cédric Ragot are covered in blush wool mélange with a contrasting zipper detail. The pinkish hue plays off the veining in the table’s marble-inlay top and reappears in the oak bar’s lacquered interior. “Color is dealt in small doses, but there are some fun surprises,” Kranitz explains.

The palette is echoed in the second-floor library overlooking the living area. Along one wall, custom rift-cut oak shelving with acrylic dividers frames a channel-back banquette in rosy mohair. Suspended from the ceiling, a sculpture of brass geometric shapes cascades through a cutout in the floor down into the piano gallery below.

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Clockwise from top left: The stair leading to floor two pairs European oak treads with steel-plate handrails; photography: Tony Soluri. In the master bedroom, a hand-blown glass pendant illuminates brass-inlaid rift-cut oak paneling; photography: Aimée Mazzenga. A suspended brass sculpture by Gold Leaf Design Group sluices through the library floor; photography: Aimée Mazzenga. In the ground-level office, walnut paneling complements a cotton velvet–upholstered banquette and a Warren Platner table in polished nickel; photography: Gianni Franchellucci.

Opposite: The dining room seats six on wool-upholstered Cédric Ragot chairs and more on a mohair-covered custom bench; above it is a painted-fabric triptych by Gina Dorough. Photography: Gianni Franchellucci.

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Left: Full-height bronzed-aluminum-frame glass doors slide open to connect living spaces with the adjacent courtyard. Photography: Tony Soluri.

Right: Viewed from the second-floor deck, the courtyard side of the house has beveled apertures shaded with Ipe louvers. Photography: Tony Soluri.

“We wanted to both honor and highlight dSpace’s ingenious use of negative space,” Wertepny says.

Brass threads throughout the interior. In the master suite, thin bands of the metal are laid into the dark-stained oak headboard wall (in an angled pattern that mimics the street facade’s step-backs) and the bathroom’s porcelain-tile floor. Brass panels also line the tub niche, reflecting the sunshine that spills in through the skylight above. “This house keeps unfolding,” Kranitz says. “What’s fun is the discovery.”

The master suite boasts a double-sided fireplace that can also be enjoyed from the adjacent Ipe deck, outfitted with a hot tub, built-in seating, and an entertainment system. “The indoor-outdoor experience here is truly extraordinary given the city location,” Toukoumidis says. Indeed, the glass walls of dining room, living area, and breakfast nook glide open to the courtyard—a lush space, planted with Hakone and other ornamental grasses, that boasts a covered outdoor kitchen and a pergola with integral sofas surrounding a concrete fire table.

Slab-on-grade construction, which positions living areas and courtyard at exactly the same level, further promotes the easy rapport between the spaces.

A couple who enjoys expressing themselves through fashion, art, and design, the Schenks say it’s been rewarding to realize a house that reflects them so well. “The design is a little bit

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“The clients let us dance with them and create some really innovative ideas”

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Clockwise from top left: An acrylic desk occupies a window niche in the second-floor guest bedroom, with selenite-motif vinyl wall covering; photography: Gianni Franchellucci. The master bathroom’s marble-top vanity meets walls in Venetian plaster; photography: Aimée Mazzenga. In the same room, brass wall panels and porcelain flooring boast the same trapezoidal form; photography: Tony Soluri.

Four built-in bunks curtained in burlap allow the second-floor kids’ hangout to double as a guest suite; photography: Aimée Mazzenga.

Opposite: A custom louvered fence offers curated views of the front yard, where white birch trees stand out against zinc panels; custom Cor-ten planters will rust to match the home’s Ipe accents.

Photography: Tony Soluri.

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interiordesign.net/projectinteriors19 for a tour of Project Interiors’ office

irreverent, and we’re thrilled we took some chances,” Stefanie enthuses. And unlike their rather nondescript former abode, the family’s new home makes a striking—and far more accurate— first impression.

PROJECT TEAM JASMINE GLOVER: PROJECT INTERIORS. NICOLE WAGNER ART & DESIGN: ART CONSULTANT. KEMORA LANDSCAPES: LANDSCAPE CONTRACTOR. HOMERUN TECHNOLOGY: AUDIOVISUAL CONSULTANT. MLT CONSULTING ENGINEERS: STRUCTURAL ENGINEER. AA SERVICES: MECHANICAL ENGINEER. GEOSOLAR ENERGY FARM: ELECTRICAL AND PLUMBING ENGINEER. DEMETER MILLWORK: WOODWORK. TAYLOR STREET FABRICATION: DECORATIVE STEELWORK, STEEL STAIR FABRICATOR. SALVO ARCHITECTURAL ROOFING CONTRACTORS: METAL CLADDING AND ROOFING. LG DEVELOPMENT GROUP: GENERAL CONTRACTOR. PRODUCT SOURCES KITCHEN ERNESTOMEDA THROUGH LUCA LANZETTA GROUP: CABINETRY. ANTOLINI: MARBLE. RUBN AT TWENTYTWENTYONE: LINEAR PENDANT. DIRESCO: ISLAND COUNTERTOP. DORNBRACHT: SINK FITTINGS. NOIR: BAR STOOLS. LIVING AREA WIZARD INDUSTRIES AT RETRACTABLE SCREENS: SCREEN SYSTEM. LUTRON: MOTORIZED SHADES. C. SANCHEZ: CUSTOM SOFA. MOKUM AT HOLLY HUNT: SOFA UPHOLSTERY. ERDEN AT JEAN DE MERRY: CUSTOM RUG. CRÉATIONS MÉTAPHORES: PILLOW FABRIC. DINING ROOM ROCHE BOBOIS: CHAIRS. CARNEGIE FABRICS: DRAPERY FABRIC. REJUVENATION: CHANDELIER. C.SANCHEZ: CUSTOM BANQUETTE; HOLLY HUNT: FABRIC. GINA DOROUGH SURFACE STUDIO: WALL ART. STAIR C.R. LAURENCE CO.: GUARDRAIL HARDWARE. DELTA AT INTELLIS: RECESSED STEP LIGHTS. AMBIANCE AT INTELLIS: CONCEALED LINEAR LEDS. MASTER BEDROOM C. SANCHEZ: CUSTOM BED, HEADBOARD. LEUCOS AT LUMENS: PENDANT LIGHT. PINDLER: HEADBOARD FABRIC. POLLACK: PILLOW FABRIC. JAIPUR: RUG. LIBRARY GOLD LEAF DESIGN GROUP: SCULPTURE. CB2: LAMP, CHAIR. OFFICE VISUAL COMFORT: CHANDELIER. C. SANCHEZ: CUSTOM BANQUETTE; HOLLY HUNT: FABRIC. KNOLL: TABLE. PIERRE FREY: PILLOW FABRIC. GUEST BEDROOM D.L. COUCH: WALL COVERING. CARNEGIE FABRICS: DRAPERY FABRIC. ACRYLIC + FRAMING SERVICES: CUSTOM DESK. ARTERIORS: BENCH. CB2: BED FRAME. BATHROOM STUDIO BK: WALL TREATMENT. PURE EDGE LIGHTING AT LIGHTOLOGY: SCONCES. CB2: MIRROR. WATERMARK: SINK AND TUB FITTINGS. TRANSCERAMICA: FLOOR TILE. APPARATUS: CHANDELIER. RANDOLPH STREET MARKET: VINTAGE STOOL. SIGNATURE HARDWARE: TUB. KIDS’ HANGOUT BASIA FROSSARD DESIGN: DRAPERY FABRICATION. EXTERIOR P & G ENGINEERING: GATE. PLANTERWORX: PLANTERS. SPJ: LIGHTING. VMZINC: ZINC PANELS. LEE LUMBER: IPE. TRESPA: RESIN PANELS. LIVEROOF: GREEN ROOF MODULES. THROUGHOUT BENJAMIN MOORE & CO.: PAINT. TERRAZZO + MARBLE SUPPLY: STONE SUPPLIER. UNILUX AT NOVUS INTELLIGENT FENESTRATION: DOOR, WINDOWS, CURTAIN WALL SYSTEM. EMERALD CONCRETE: CONCRETE FLOORING, PAVERS. RODE BROS: WOOD FLOORING. STUDIO41: KITCHEN/BATH SUPPLIER. RH: BEDDING.

two on the isle Architect Mathias Klotz creates a pair of cottages for his family’s retreat on a remote island in southern Chile

text: jeff book photography: roland halbe

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Previous spread: Casa Francisca, the larger of the compound’s two cottages, takes advantage of its sunny northern exposure with a building-length polycarbonate skylight and a wall of glass doors and windows opening onto a pergola-sheltered deck.

Top, from left: Whitewashed wood unites the ground-floor master bathroom. Polycarbonate panels wrap the solarium where stovewood is stored. The master bedroom’s windows and deck overlook the sea. Bottom: Corrugated, galvanizedsteel siding clads the timber-frame structure.

Opposite: Stairs in the solarium lead to a catwalk connecting a bedroom to a central sitting area.

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For Chileans—especially those who live in the frenetic capital, Santiago—a second home is an essential refuge, an escape to the serene beauty of the natural landscape.

Architect Mathias Klotz, principal of his eponymous firm, has designed many such houses, characteristically with a clean-lined modernism that nods to one of his heroes, Ludwig Mies van der Rohe. For his own family’s retreat on a largely undeveloped coastal island, he used archetypal forms that evoke both past and present. Constrained by the remote location and tricky logistics, the result is a timeless design that blends into the pristine setting.

Klotz is a passionate sailor, and this twocottage compound echoes the pared-down elegance of his 40-foot Beneteau sloop.

The architect wanted a base for family and friends close to the coastal channels and fjords of southern Chile, where he has

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long cruised and competed in regattas. He found the ideal spot on Coldita Island, in sheltered waters off the southeast coast of the much larger island of Chiloé. The 410-acre property had everything he sought: beach, dense native forest, safe anchorage for his boat, no nearby neighbors. The island’s infrastructure, however, was less than robust: boat-only access, minimal docking facilities, no roads to speak of, and no utilities. But none of that fazed Klotz, who prized unspoiled nature and knew how to create what he needed.

“I wanted to build something very simple and essential,” he says. That made practical

sense, given that all materials had to be shipped in on a narrow, open motorboat.

“The big windows were the hardest things to transport,” he recalls. “With the limits of the boat and the weight the workers could handle, the roof beams couldn’t be longer than 18 feet.” Which determined the dimensions of the two structures: 18 by 98 feet, with a 26-foot-high roof peak, for the larger house; 18 by 23 feet for the smaller guesthouse. The latter, dubbed Cabaña Coldita, stands a stone’s throw from the water. It was built first as a proof of concept, a kind of full-scale model for the main house, which stands on a low bluff nearby.

“I designed the cabin without any architectural pretensions,” Klotz says.

“I was inspired by the houses that children draw, and by the sheds at the Museo de Arte Moderno,” a cluster of barnlike structures by architects Edward Rojas and Eduardo Feuerhake in Castro, Chiloé Island’s main town. Cabaña Coldita’s plan is as tidy as its taut-skinned volume: a ground floor with a bathroom, an open kitchenliving-dining area, and a bed alcove with a sleeping loft above it.

Casa Francisca—the larger cottage, named for Klotz’s wife, artist Francisca Benedetti— is an elongated version of the cabin, but

Top, from left: The continuous skylight floods the living area with natural illumination. The timber framing, made of canelo, an indigenous wood, is left exposed throughout and whitewashed.

Background: Electric power for light and other purposes is supplied by solar panels and a small, seldom-used generator.

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Top, from left: A dream-inspired painting by Isabel Klotz, the architect’s sister, hangs in the bed alcove of Cabaña Coldita, the smaller cottage.

A George Nelson wall clock and a Charles and Ray Eames coat hook enliven the interior. Bottom: The Cabaña shares the larger Casa Francisca’s simple form and materials.

Opposite: Chicken wire provides a rustic balustrade for the cabin’s skylighted sleeping loft.

with a more complex plan. The siblings have much in common. Both are timber-frame structures clad in corrugated, galvanizedsteel siding, with a good foot of insulation between the two materials. In both interiors, the rough-hewn framework is completely visible—“it’s the most beautiful part of a wood house, so I left it exposed,” Klotz explains—with all surfaces, including floor, wall, and ceiling boards, simply whitewashed. Both are heated by wood-burning stoves that also heat water, pumped from a river on the property, for bathing and laundry. Solar panels and a seldom-used generator supply power. “Electricity reached the island last year,” Klotz notes. “But I don’t want it because they’d have to cut down a lot of trees to get it to us.”

In the Casa, ample windows and skylights capture not only views but also energy-saving sunlight. “This is a cold, rainy climate,” the architect explains. “In

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summer the maximum temperature is only 72 degrees. I chose black steel for the exterior to hold more of the sun’s warmth.”

Direct thermal gain comes courtesy of the building-length north-facing polycarbonate skylight; at one point on the building’s less-sunny southern side, another skylight extends all the way down the facade to create a double-height solarium.

Casa Francisca’s ground floor comprises a pair of spacious bedroom suites, one at each end, bracketing a double-height livingdining-kitchen area. A wall of glass doors and windows opens onto the northern deck, which is partially sheltered by a pergola.

The floor plan is echoed upstairs, where bedrooms and bathrooms flank a central sitting area, all connected by catwalks.

The furnishings are simple, modern, and comfortable, in a muted palette that defers to the drama of the post-and-beam interiors and the ever-changing natural world outside.

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Background: Located in a tiny cove, the smaller cabin sits close to the shoreline.

Top, from left: The cabin’s living area. The kitchen has close-up views of the island’s indigenous vegetation.

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“I designed the cabin without any architectural pretensions” “I work from here as much as possible— generally about eight weeks each year,” Klotz reports. Still, it’s remote enough that any visitors have to stay for at least two or three days: “Between the two cottages, we have beds for 18 people; at one point last summer, they were all full.” Now, the architect is thinking of creating something sociable to take advantage of the island’s clean water and native potato species: “I could make very good vodka here!”

PROJECT TEAM PABLO NAVARRETE: LOGISTICS. PATRICIO BUSTAMANTE: CONTRACTOR. PRODUCT SOURCES FROM FRONT THE POPULAR DESIGN: MIRROR (BATHROOM). TIENDA MILK: SOFAS (LIVING AREA), WALL CLOCK, COAT RACK (CABIN).

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text: ian phillips photography: stephan julliard styling: sarah de beaumont

brave new world Jacques Hervouet Interiors radically remakes a classic Paris apartment

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When the owner of this threebedroom apartment on Paris’s Left Bank hired Jacques Hervouet to redecorate it, she avowed a profound desire for change. “She wanted it to be radically different, with nothing that reminded her of how it was before,” Hervouet recalls. He certainly took the client at her word: The 2,475-square-foot space had previously been designed in typical Napoleon III style, with chevron parquet, elaborate moldings, and little in the way of decorating flair. Hervouet recalls a traditional bathroom wrapped in Carrara marble, and sofas “a little in the style of Christian Liaigre.” With the help of architect

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Odile Burnod, Hervouet removed all the florid touches, re-dimensioned doorways, and merged the kitchen and dining room into one. As for the interior design, he devised some rather audacious schemes, the most intrepid of which was the entry hall, its almost futuristic aesthetic inspired by the iconic sets of Stanley Kubrick’s 2001: A Space Odyssey.

Lacquered wall panels inscribed with large diamonds and fitted with vertical LED strips meet crisscrossmotif wall-to-wall carpet, creating an effect that’s highly kinetic. “There’s something quasi-mystical about the result,” Hervouet asserts. “You feel almost as if you’re in a chapel.”

Despite her desire for wholesale reinvention, the client, a businesswoman and former doctor, did request one anachronism. She insisted Hervouet integrate a family heirloom into the new design: a mahogany square piano dating from 1795. Hervouet, who found a spot for it in the entry, liked the idea of mixing something classical into such an avant-garde environment.

The request also appealed to his love of music. He started playing the piano at age five and once considered embarking on a professional career. “In some ways, I regret not having done so, because I love being constantly bathed in music,”

Previous spread, from left: Jean Royère designed the living room’s vintage candleholder, from Jousse Entreprise; the lacquered coffee table is a vintage piece after Royère.

The Royère sofa and the 1950s Federico Munari armchair, one of a pair, are upholstered in cotton velvet.

Bottom: A Hubert Le Gall Autruche floor lamp in patinated bronze and an opaline glass lamp by Jacques Adnet illuminate the living room; artworks include Michel Cadoret’s Partie de Pêche, 1958, and, on the fireplace, a metal sculpture James Barre Turnbull created in the early 1960s.

Right, top: Hanging above the Pucci de Rossi console is the only known textile work

by René Roche. Right, bottom: In the TV room, a scenic wallpaper mural depicting a Chinese landscape backdrops a vintage Philip Arctander armchair; the coffee table is a 1950s design by Maurice Pré.

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Bottom: In the master bedroom, a Garouste & Bonetti Koala sofa joins an early 1970s painting by Guy Perron and an enamelled stoneware lamp from the same decade.

Oppsoite, clockwise from top right: Citrus peels inspired Hervouet’s design of the kitchen’s handmade pendant lights; Maison Jansen chairs were converted into barstools for the varnished oak countertop, with carved and gilded stone backsplash. In the entry hall, a 1960s chair attributed to Archizoom Associati joins an early 1970s sculpture and lacquered panels integrating LED strips. In the dining room, Norman Cherner chairs surround a 1970s table with Saint-Gobain glass top and earthenware dish by Helle Damkjaer through Galerie Carole Decombe; a bronze floor lamp by Carlo Scarpa joins a 1960s tapestry

by Ateliers Pinton. In the master bathroom, intersecting rondels are rendered in glass mosaic.

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Hervouet says. “But I’m also quite happy I didn’t, because I get terrible stage fright.”

Hervouet’s life took a different path. He worked in advertising for a decade, during which time he rubbed shoulders with Charles Saatchi and worked on Kodak campaigns with photographers Jean-Paul Goude and Jean-Baptiste Mondino. Then, in 2005, he opened a decorative arts gallery on Paris’s Rue de l’Université, which specializes in the work of Maison Jansen, midcentury Italian masters like Gio Ponti and Ico Parisi, and French designers Paul DupréLafon, Line Vautrin, and MarieClaude de Fouquières, among others.

Galerie Hervouet ultimately spawned a parallel decorating practice.

The interiors Hervouet creates generally have a number of commonalities—all in evidence here.

For one, he tends to avoid using curtains. “I hate them,” he declares.

“In the best-case scenario, they’re acceptable and in the worst, they’re absolutely horrible. They’re never straight, and they absorb all the natural light.” Hervouet also prefers neutral-toned sitting rooms—“the places where you spend most of your time should not inspire visual fatigue”—but introduces bright pops of color in secondary spaces.

And he loves integrating curves, as witnessed by the living room’s vintage red-lacquered coffee table, custom sorcière mirror, and Federico Munari armchairs, not to mention the round motifs in the master bathroom. “For me, the circle represents completeness, softness, and perpetual renewal,” Hervouet says.

His inspiration for the opalescent master bath came from two sources.

The first is a pair of bathrooms in the French Foreign Ministry—one in gold mosaic, the other in silver— created in 1938 for a state visit by

“In every room there should be something a little incongruous, to show you don’t take yourself too seriously”

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the British king and queen. The second is, quite simply, Japan. “The circle is central to Japanese cosmology, and I also wanted to reproduce the iridescence of the moon—a recurrent element in traditional etchings,” Hervouet explains. Another nod to Asia comes in the TV room, where he installed a panoramic wallpaper depicting China’s Yunnan mountains in India ink.

One of Hervouet’s constants is to test the limits of good taste. “For me, true elegance implies a sense of freedom,” he explains. Here, he papered the walls of the powder room with an oversized panther motif, and there are humorous touches elsewhere. “In every room there should be something a little incongruous, to show you don’t take yourself too seriously,” he says. The living room’s Hubert Le Gall floor lamp, with its base in the form of an elongated bird, certainly conjures a smile. In the master bedroom, meanwhile, an anthropomorphic Olivier Mourgue chaise longue reposes in close proximity to a drawing of a naked John Lennon viewed from behind.

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The late pop star appears to be looking over his shoulder toward the bed, which sits on a freeform sky-blue rug and sports a cover whose tropical motif evokes Gauguin paintings. Above it a Royère Liane light fixture, reminiscent of a climbing plant, clings to the wall. “I wanted my client to feel as if she was in the sky or on a Pacific Island,” Hervouet notes.

Wherever she’s transported when she lies down to rest, one thing is for sure: It’s a world away from the apartment she knew before.

PROJECT TEAM ODILE BURNOD ARCHITECTES: ARCHITECT. PRODUCT SOURCES FROM FRONT AT JOUSSE ENTREPRISE: VINTAGE CANDLESTICK (LIVING ROOM).

HUBERT LE GALL: FLOOR LAMP. PIERRE FREY: SEATING FABRIC (LIVING ROOM), WALLPAPER (TV ROOM). LELIÈVRE: BEDSPREAD FABRIC (BEDROOM). SURFACE: CUSTOM GLASS MOSAIC (BATHROOM). LEROY MERLIN: BATHTUB. CARRELAGES DES SUDS: WALL STONE (KITCHEN). ATELIER MADERA: CUSTOM WALL PANELING (ENTRY). AT GALERIE CAROLE DECOMBE: CERAMIC DISH (DINING ROOM).

THROUGHOUT GALERIE HERVOUET: LAMP (BEDROOM), PENDANT LIGHTS (KITCHEN), CANDLESTICKS, CEILING LAMP (DINING ROOM).

CODIMAT COLLECTION: CUSTOM CARPETS.

Opposite, top: In the master bedroom, the leather-clad desk is Maison Jansen, circa 1960; Marc du Plantier designed the chair in 1936 for the couture salons of Jacques Heim; the oil on canvas is by Joseph Rivoalen. Opposite, bottom: On the other side of the room sits a vintage Bouloum chaise by Olivier Mourgue.

Right: The bedspread fabric is a cottonacrylic tapestry weave; the vintage Liane wall light is by Jean Royère, and the bedside table by Gio Ponti.

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the picture of eclecticism An artsy Sag Harbor retreat by Groves & Co. is all about the mix text: jen renzi photography: joshua mchugh 152

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Previous spread: A glass-onion chandelier illuminates vintage Ib Kofod-Larsen rosewood chairs and a walnut-top table in the art-filled dining room.

Left, from top: An oil and enamel on canvas by David Kramer punctuates the hallway leading from the foyer to the living room. The upper hallway functions as a de facto art gallery, including a church facade photograph by Markus Brunetti.

Right: In the living room, an untitled work by Barbara Kruger and a still from Shirin Neshat’s 1999 “Rapture” series are among those featured in the salon-style installation; the main seating area, with antique bergères, centers on a pair of Yves Klein acrylic coffee tables in gold leaf and blue pigment.

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It’s one thing to live with art. But to live submerged in it—as do the owners of this Sag Harbor, New York, getaway—requires a whole other level of connoisseurship and commitment, not to mention a rather prolific collection. Festooning the walls of many rooms are salon-style installations of contemporary prints, film stills, photographs, and paintings by Shirin Neshat, Panos Tsagaris, Barbara Kruger, and other provocateurs. Outsize canvases punctuate the many antechambers and hallways that function as buffer zones between public and private spaces—mini-galleries for upclose contemplation of brushwork technique and compositional choices. The regular rhythm of the

dining room’s crisp white-painted wall paneling is the absolutely perfect foil for a freeform assemblage of framed works in various mediums.

Commandeering a corner of the master suite, a Harland Miller oil painting proclaims “International Lonely Guy”—a deliberately ironic declaration given the six-bedroom retreat is filled yearround with family and friends of the homeowners, who are entertaining enthusiasts.

Also ironic: the fact that collectors of au courant works live in a house with such an old-world bearing. “The project’s biggest challenge,” says Groves & Co. principal Russell Groves, who masterminded the interiors, “was marrying the very

forward art with the traditional envelope.” Brian Sawyer of architecture/landscape firm Sawyer | Berson designed the 7,400-square-foot two-story neo-colonial in the vernacular of the area’s quaint whaling cottages, replacing a 1960s anachronism that previously stood on the waterfront property.

“Even though the house is quite large,” Groves explains, “Brian labored to give the rooms a lovely sense of scale, proportion, and detail in keeping with historical precedent,” including carefully dimensioned and articulated moldings that lend spaces a quality of elegance and intimacy.

To bridge the attitudinal divide between art and architecture, Groves and team embraced SPRING.19

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eclecticism. The decorative scheme is an unstuffy mélange of new-production, custom, and vintage pieces from various locales and eras; “there’s a little French twist to it,” Groves points out. In a downstairs powder room, skull and crossbones– motif toile backdrops a Venetian-glass mirror.

The dining room hosts a veritable cocktail party of personality types. A set of Ib Kofod-Larsen midcentury rosewood chairs dressed in emerald leather—one of many 1stdibs finds—rubs elbows with a made-to-measure walnut-top table. Above dangle the glass onions of a bespoke chandelier, a new take on a classic 1960s J.T. Kalmar design.

And then there’s the art, hung with an eye for offbeat placement. “We helped pick what goes where, but the clients really know what they’re doing,” the designer marvels.

Groves both respected and rebelled against the living room’s overriding symmetry via a play of similarity and variation. Two identical linencovered sofas face off across a diptych of Yves Klein acrylic cocktail tables, one encasing crumpled gold leaf, the other displaying the artist’s Top: In a guestroom, a single signature azure pigment. velvet-covered headboard Echoing the mirror-image anchors a pair of twin beds, arrangement, twin so they can be pushed bergères and a pair of together to create a king. ebonized klismos chairs Middle: A 1970s Muranocomplete the seating glass pendant hangs above the kitchen’s breakfast nook, vignette. The designer with Eero Saarinen table was especially attentive serviced by Charles and Ray to elevations. “In such a Eames chairs. Bottom: Linac large space, it’s important marble clads the master to break the lines with a bathroom, with blackenedmix of shorter and taller steel mirrors. pieces, so everything isn’t Opposite: In the study, all on one plane,” he says. a velvet-covered sofa joins a vintage Nordiska Kompaniet Groves is particularly fond floor lamp, a Nanna Ditzel of certain sight lines, such teak desk, and a classic as the view from the limeEames executive chair. stone hearth toward the main art wall. “All the layers and the mix of elements you see in that direction really explain the house: the sequence of spaces, the formality, but also the diversity of the art, which ranges from minimalist to more assertive,” he says.

Of course, this being a coastal property, the interior views have stiff competition from Mother Nature. The house was designed so the water would be visible—albeit through an enfilade of rooms—right as guests step into the entrance hall. To heighten the indoor/outdoor connection, most window treatments are simple oyster-hued sheers, although shutters modulate the light in the ground-floor study and the Linac marble– clad master bath above it. “The study has great views of the water,” Groves says, “but privacy was a must, as the client tends to work there.”

At a vintage Nanna Ditzel teak desk, no less.

Appropriately, blue is the primary accent color, omnipresent everywhere from the living room’s Murano glass table lamps and textured throw pillows to the study’s velvet-covered sofa and the 156

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“It’s a very mature house but it still feels relaxed and cool”

The pool house doubles as additional guest accommodations courtesy of a sleeper sectional; the Charles and Ray Eames dowel-leg chairs are vintage, and the pendant light is oil-rubbed bronze.

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Top: The porch between the living and family rooms is one of many outdoor lounge spaces. Bottom: Teak lounges line the pool, which overlooks the waterfront.

Right: In the master bedroom, an oil on canvas by Harland Miller brings a modern tone to an assemblage of vintage furnishings that includes a George Peterson desk, a J.T. Kalmar Tulipan glass chandelier, and lounges in the style of Ib Kofod-Larsen.

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breakfast nook’s curved banquette. “Blue flows throughout the house,” Groves affirms. “We spent a lot of time picking that particular slate, which pops against the views.” In the master bedroom, the tone softens, the silk rug rendered in a mercurial, aqueous colorway that invites an impression of walking on waves. The hue beautifully complements the wide-plank oak flooring, stained a shade the designer dubs “Weimaraner brown” and that also characterizes many of the wood tones throughout.

Groves reports that the homeowners truly use the entire residence, which includes numerous outdoor living areas and even a tree-lined bosque.

“They family hosts everything from formal dinners

to casual barbecues, and when they entertain, it spills everywhere.” Even of course, the pool house and lap pool, where guests can experience true submersion in their surroundings.

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edited by Stanley Abercrombie

Off the Grid: Houses for Escape

by Dominic Bradbury New York: Thames & Hudson, $45 272 pages, 310 color illustrations Prolific design writer Dominic Bradbury, whose Iconic House was reviewed in last fall’s Homes issue, now turns his well-trained eye away from town toward country—and beyond.

Here are almost 50 examples of remote and self-sustaining dwellings, ranging from complete houses to single-room cabins. They are divided into three groups: “Countryside and Forest,” “Hillside and Mountain,” and “Waterside and “Off-grid living is Coast.” Among the highlights are an artist’s retreat on a deeply in tune with sparsely populated island in Newfoundland by Saunders the green imperative” Architecture; a woodsy cabin in the high mountains of Norway by Jarmund Vigsnæs; and the “Sawmill” house (named for a nearby defunct landmark on land now inhabited by wild Morgan horses) in the desert canyon of Tehachapi, California, by Interior Design Hall of Fame members Jim Olson and Tom Kundig.

All have been handsomely photographed, and there are floor plans for each design although, strangely, these are clustered together in the back of the book rather than appearing alongside the relevant images.

A very informative back-of-the-book feature, however, is the seven-page “Off-Grid Guide” with explanations of the technology without which these houses could not have been built: materials, passive design, solar energy, biomass, geothermal and hydro systems, water and waste systems, wind power, and much more.

Objects of Our Affection

by Maynard Hale Lyndon and Lu Wendel Lyndon Sea Ranch, California: LyndonDesign Press, $44 70 pages, 166 color illustrations Sir John Soane did it in his London townhouse with models of his own building designs and Etruscan vase fragments. Charles and Ray Eames did it in their own Case Study House with banners and tumbleweeds. Alexander Girard did it in his La Fonda del Sol restaurant with Latin Americana. What they did was to bring their interiors to vibrant life with highly personal and fondly regarded artifacts, often more humorous than valuable.

A contemporary exemplar is a house in Sea Ranch, California, designed by one of that idyllic planned community’s architects, Donlyn Lyndon, for “Every day. . .we his brother and sister-in-law, Maynard and Lu, who have been work and play and associated with Design Research and Placewares shops in explore and learn” several locations. Here is a delicious sampling of roughly 200 objects from the couple’s collection: pencil sharpeners, bells, birdbaths, baby rattles, candleholders, dollhouse furniture, eyeglasses, an African headdress, a Mexican boat, a Polish horseman, a Japanese tea whisk. Even without the Lyndons’ memories of where each piece was found, they are singly and cumulatively delightful: Any one of them could make an interior smile. Glimpses of Italian-built shelving suggest how the heck the collectors deal with it all.

The book’s aptly happy design and crisp photography are

by Hall Kelley.

What They’re Reading...

Ashley Hicks Founder of Ashley Hicks

The Quest for Queen Mary

by James Pope-Hennessy, edited by Hugo Vickers London: Hodder & Stoughton, $33 336 pages, 50 black-and-white images As the son and mentee of legendary 1960s British interior designer David Hicks—an influence on everyone from Jonathan Adler to Tom Ford—Ashley Hicks is design royalty. He’s actual royalty, too: His mother is the younger daughter of Earl Mountbatten of Burma, the last Viceroy of India and a great-grandson of Queen Victoria. Never content to rest on those aristocratic laurels, the author and prolific designer of everything from interiors and Kartell furniture to fabrics, carpet, wallpaper, totems, bronze hardware, and even Frette bedding, spotted this quirky publication while perusing London’s legendary John Sandoe Books “and couldn’t resist,” he says. “I’m an enthusiast for royal anecdotes. This compiles the notes a young writer made between 1955 and 1958 visiting aging European royals and English courtiers for the official biography of Queen Mary, the present Queen’s grandmother. It’s a sequence of hilarious snapshots of a bygone world with atmospheric descriptions of interiors.” Were those an influence on his current design work? “Not at all! It was just very entertaining and great fun,” Hicks says. “I’ve just finished an apartment for a Swiss couple in London and they were not open to design details from the book’s chronicle of faded royal houses— not even the Duke of Windsor’s Maison Jansendecorated haven.” But perhaps some of those details will seep into Hicks’s latest book of his own work, Rooms with a History: Interiors and Their Inspirations, which comes out from Rizzoli International Publications this fall.

—Nicholas Tamarin

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TOP: JANE MURDOCH

BOOKs

get inspired Dedicated to showcasing residential interiors: leading projects, products, walk-throughs, news, and more.

PHOTOGRAPHER: ASSASSI

Up Next SUMMER ISSUE vacation homes

FALL ISSUE the new hot list

WINTER ISSUE modern retreats

DESIGNERS IN AT HOME Chris Collaris Architects (“Into the Woods,” page 55), chriscollaris.nl. i29 Interior Architects (“Into the Woods,” page 55), i29.nl.

Michael K Chen Architecture (“Living Large,” page 41), mkca.com.

Stefan Hitthaler Architektur (“Into the Woods,” page 55), raum.it.

Studio JeanCharlesTomas (“Beauty In the Balance,” page 47), jeancharlestomas.com.

Studio Rinaldi (“Into the Woods,” page 55), rinaldiarchitects.com.

DESIGNER IN SKETCHBOOK Felipe Assadi Arquitectos (“On the Line,” page 62), assadi.cl.

PHOTOGRAPHERS IN FEATURES Gianni Franchellucci (“Take Two,” page 124), immagine3.com.

Roland Halbe Architectural Photography (“Two on the Isle,” page 134), rolandhalbe.eu.

Christian Schaulin (“Brazilian Beat,” page 104), Fotografie Schaulin, fotographieschaulin.de.

Stephan Julliard (“Brave New World,” page 144), stephanjulliard.com.

Eric Laignel Photography (“The Art of Subtraction,” page 114), ericlaignel.com.

Aimée Mazzenga (“Take Two,” page 124), aimeemazzenga.com.

Joshua McHugh (“The Picture of Eclecticism,” page 152) joshuamchugh.com Tony Soluri Photography (“Take Two,” page 124), soluriphotography.com.

DESIGNER IN INTERVENTION

Interior Design (USPS#520-210, ISSN 0020-5508) is published 18 times a year, monthly except semi-monthly in March, May, June, August and thrice-monthly in October by Interior Design Media Group. Interior Design Media Group, 101 Park Avenue, 4th Floor, New York, NY 10178, is a division of Sandow, 3651 NW 8th Avenue, Boca Raton, FL 33431.

Periodicals postage paid at New York, NY, and additional mailing offices. Subscriptions: U.S., 1 Year: $69.95, Canada and Mexico, 1 year, $99.99. All other countries, $199.99 U.S. funds. Single copies (prepaid in U.S. funds): $8.95 shipped within U.S. ADDRESS ALL SUBSCRIPTION REQUESTS AND CORRESPONDENCE TO: Interior Design, P.O. Box 16479, North Hollywood, CA 91615-6479. TELEPHONE TOLL-FREE 800-900-0804 (continental U.S. only), 818-4872014 (all others), or subscriptions@interiordesign.net. POSTMASTER: Send address changes to: INTERIOR DESIGN, P.O. Box 16479, North Hollywood, CA 91615-6479. Publications Mail Agreement No. 40624074.

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i n t er vention

What’s in a name? For Luxembourg-based architecture firm 2001, quite a lot, actually.

The moniker nods to the energy embodied by the start of a new millennium, as well as to Stanley Kubrick’s seminal sci-fi film 2001: A Space Odyssey. Philippe Nathan, who cofounded the studio with Sergio Carvalho, says the numerical designation “sums up an attitude that finds its architectural application,” and refers to their projects as “reduced expressions” that carefully consider the interaction between structure and surroundings.

Exmplifying that ethos is a 4,800-square-foot house in Mondorf-les-Bains, Luxembourg. An essential gesture is the contrast between cast-in-place concrete and solarprotective glass that each define two of the four facades. At the structure’s corners, the shine of mirrored glazing meets the rough nuances of concrete left imperfect to emphasize materiality. The glass, meanwhile, is framed in sleek black-anodized aluminum. “It’s a simple and clear vocabulary,” Nathan says.

The two aboveground levels contain the bedrooms and bathrooms for the family of four. Since the house was built on a slope, the lowest level, devoted to the public spaces, is partially underground. The back faces a patio and small garden. The front overlooks a quiet street dotted with single-family residences and blossoming cherry trees—all remarkably reflected on the building itself. —Athena Waligore

rise and shine

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