Interior Design Summer Homes 2019 by SANDOW®

JUNE 15, 2019

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summer1.9 CONTENTS SUMMER, 2019

VOLUME 90 NUMBER 8

ON THE COVER Paper-lined shoji screens slide open to overlook a Japanese garden with a koi pond at fashion designer Kenzo’s Paris home, sensitively rehabbed by Kengo Kuma & Associates. Photography: Jimmy Cohrssen.

FEATURES 74 NATURAL SELECTION by Pilar Viladas

In Houston, Jamie Bush gives a midcentury International Style house his signature “Organic Modernist” makeover. 84 A FLOATING WORLD by Fiona Wilson

In Paris, Kengo Kuma & Associates refreshes the exquisite oasis Japanese fashion designer Kenzo built himself more than 30 years ago. 96 METROPOLITAN LIFE by Fred A. Bernstein

A poured-concrete townhouse in Mexico City marks Studio Rick Joy’s first ground-up urban building.

106 SANTA MONICA SAMBA by Edie Cohen

John Friedman Alice Kimm Architects compose rhythmic curves for a Los Angeles residence. 114 THE STABLE LIFE by Michael Lassell

In Dublin, Kingston Lafferty Design transforms a 200-year-old, stone-vaulted coach house into a thoroughly modern residence. 122 HAWAII’S NEW WAVE by Ted Loos

Traditional meets contemporary at a Kona Coast compound by Walker Warner Architects and Philpotts Interiors.

JOE FLETCHER

CONTENTS SUMMER, 2019

VOLUME 90 NUMBER 8

summer1.9 at home 35 PIET BOON’S MULTITASKING NATURE by Marc Heldens

open house 55 MAKING A POINT by Jen Renzi 63 KEEPING UP WITH THE JONESES by Georgina McWhirter

departments 17 HEADLINERS 21 HAPPENINGS 27 CROSSLINES by Meaghan O’Neill The Ripple Effect

Mario Romano defies the rules of architecture by following nature’s blueprints. 30 TRENDING edited by Rebecca Thienes 38 SKETCHBOOK by Tiago do Vale 41 MARKETPLACE edited by Rebecca Thienes 132 BOOKS by Stanley Abercrombie 133 CONTACTS

MARIO ROMANO

135 INTERVENTION by Colleen Curry

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a summer hit!

e d i t o r ’ s welcome As is customary when summer is nigh, newspapers, mags, blogs, and sites all start bidding for our leisure time with their hit lists of must see/do/read. Let me borrow a leaf from that lot, because this is our Summer Homes issue after all, and we want to vie for your downtime, too. Our top must-do? Beef up on Japanese design pronto, full stop. Yep, short and sweet communiqué, but I really mean it, so let me explain. We have always been hip to the dos of the Nippon brand. Through the years, many Japanese architects and designers have enriched our pages. Super Potato’s late Takashi Sugimoto entered the Hall of Fame ranks for his sensitive approach to interiors that honored traditional Japanese materials like iron, timber, stone, and brick, using them in a completely original and arresting way. So did Shigeru Ban, another colossal talent who went on to win the Pritzker Prize for his thoughtful and innovative architecture, this time with paper—in particular, recycled cardboard tubes used to efficiently house disaster victims. It is, however, our most recent Hall of Fame member from the Land of the Rising Sun who deserves your rapt attention, during leisure time and otherwise: Kengo Kuma. Simply put, he’s just special in my book. I have published his architecture and interior projects many times over the years but had the pleasure of getting to know him well while working on the induction process: reviewing his lifetime portfolio, interviewing and filming him for our documentary, and physically being in his architecture with him. The stunning home we present in this issue brings that all back for me. It’s almost unimaginable how a designer who’s building a stadium for the next Olympics— wowza!—can so easily switch gears and get up close and personal for a residential project. But that’s his mastery: scale. The home featured in these pages was originally Kenzo’s Parisian nest, and Kengo has made sure it will remain true to the fashion icon’s vision for the foreseeable future. But at the same time, I see all Kengo there, particularly with those seamless transitions from inside to the garden...peace right in the middle of a hectic metropolis. His unique approach to scale and intimacy with nature and light made him the obvious choice to be the ambassador of our Summer Homes presentation, and he proudly graces our cover. Here’s to our #1 for any list. Happy reading, and surf’s up! xoxo

JIMMY COHRSSEN

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Jamie Bush + Co. “Natural Selection,” page 74 principal: Jamie Bush. firm site: Los Angeles. firm size: 14 designers. current projects: A farmhouse with Walker Workshop in Mandeville Canyon, California; a house in Incline Village, Nevada. role model: Bush’s great aunt, the late shoe designer Beth Levine—creator of the iconic boots Nancy Sinatra wore and sang about—who brought an unrivaled work ethic and a sophisticated sense of modern play to all she did. rural roots: Bush grew up working on farms, surrounded by animals, which gave him an appreciation of nature. life afloat: To be near his family, he lives parttime on a houseboat in Long Island, New York. jamiebush.com

“We strive to blur the lines between architecture and interior design, approaching the space as one holistic vision that imbues an organic modernism and incorporates elements of the natural world”

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Walker Warner Architects

Kingston Lafferty Design

Studio Rick Joy

“Hawaii’s New Wave,” page 122 principal: Greg Warner, AIA. senior project manager: David Shutt. firm site: San Francisco. firm size: 50 architects and designers. current projects: Kona Village resort and houses in Maui, Oahu, and Kauai, all in Hawaii; a ranch in Wilson, Wyoming. honors: AIA San Francisco Merit and Honor Awards; AIA Honolulu Awards of Excellence and Member’s Choice Award. role model: Interior Design Hall of Fame member Peter Bohlin for his approach to material expression.

“The Stable Life,” page 114

“Metropolitan Life,” page 96 principal: Rick Joy, FAIA, Int. FRIBA.

fierce: Warner has completed an impressive 25 Ironman races. solo effort: Shutt is now principal of his own firm, David Shutt Architecture. walkerwarner.com

founder and creative director:

Roísín Lafferty. firm site: Dublin. firm size: 14 designers. current projects: A restaurant and a residence in Dublin; an office in Belfast, Ireland; a hotel in West Ireland. role model: Ilse Crawford because the depth and genuine consideration of her designs—along with their exquisite beauty— genuinely enhance people’s lives.

senior interior designer:

close to home: Oozing charm, Inishbofin, a tiny island off the west coast of Ireland, is Lafferty’s favorite place. far and away: She recently returned from Cuba, an experience that left her head brimming with ideas. kingstonlaffertydesign.com

beat master: Joy was a professional drummer before beginning architecture school at the age of 28. wood maven: Zepeda moved to China for three years to pursue custom furniture-making. studiorickjoy.com

Marybel Rodriguez Zepeda. office site: Tucson. office size: An architect and 12 designers. current projects: A mixed-use development in Austin, Texas; a house in Park City, Utah. role model: Luis Barragán for his emotional and existential works that offer nature to every space.

John Friedman Alice Kimm Architects

H E A D L I N E Rs

“Santa Monica Samba,” page 106 Alice Kimm, FAIA. founding principal:

Kengo Kuma & Associates

Philpotts Interiors

“A Floating World,” page 84 founder: Kengo Kuma, FAIA, FRIBA. firm sites: Tokyo and Paris. firm size: 200 architects and 180 designers. current projects: National stadium development project and Shinagawa Station in Tokyo; 1 Hotel Paris; Hans Christian Andersen Fairytale House in Odense, Denmark; Odunpazari Modern Art Museum in Eskişehir, Turkey. honors: Global Award for Sustainable Architecture; Mainichi Art Award; Ordre des Arts et des Lettres Award; Spirit of Nature Wood Architecture Award. role model: Frank Lloyd Wright for respecting nature’s importance at the height of 20th-century industrialization.

“Hawaii’s New Wave,” page 122 partner: Marion Philpotts-Miller, ASID, IIDA. firm site: Honolulu. firm size: 18 architects and designers. current projects: Hotel Wailea, Sheraton Waikiki, Hapuna Beach Residences at Mauna Kea, and houses, all in Hawaii. honor: NAIOP Hawaii Design Firm of the Year.

woodcuts: Kuma admires Ando Hiroshige’s 19th-century One Hundred Famous Views of Edo series. paintings: One of his favorite French artists is Paul Cézanne. kkaa.co.jp

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role model: Orlando Diaz for putting his creative voice on a pedestal. toes: Philpotts-Miller studied at the Joffrey Ballet School. travel: She just returned from San Miguel, Mexico. philpotts.net

John Friedman, FAIA. firm site: Los Angeles. firm size: 20 architects and designers. current projects: Crossroads School for Arts & Sciences performing arts classroom building, California State University Los Angeles alumni center, a 22-unit housing complex, and a house, all in L.A. honors: Interior Design Best of Year Award; AIA Los Angeles Awards; Westside Urban Forum Architecture Award. role model: Álvaro Siza for his use of forms that are simultaneously elegant and complex—and his humble personality. sight: Kimm, an avid reader, would have been a novelist if not an architect. sound: Friedman owns every David Byrne album. jfak.net

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Henry Moore’s fiberglass Large Reclining Figure from 1984 is at Houghton Hall in Norfolk, U.K., through September 29.

PETE HUGGINS/COURTESY OF THE HENRY MOORE FOUNDATION

britain’s greats Nearly two centuries divide them. But Houghton Hall and Henry Moore are two of England’s national treasures. The former was built in the 1720s by prominent Georgian architects Colen Campbell and James Gibbs for Great Britain’s first Prime Minister, Sir Robert Walpole; the latter is considered the U.K.’s greatest sculptor of the 20th century—and the two have been brought together this summer for all to enjoy. “Henry Moore at Houghton Hall: Nature and Inspiration” displays six of Moore’s monumental outdoor works across the estate’s 4,000 acres. The artist is perhaps best known for his large figurative and abstract bronzes, but he also worked in fiberglass, and two such pieces, The Arch and Large Reclining Figure, appear on the verdant grounds. His smaller sculptures as well as models and etchings are on view inside the house’s ground-floor galleries.

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Clockwise from top left: Swallowed Sun (Monstrance and Volute) in Southern yellow pine is a new sculpture by Martin Puryear, who is representing the U.S. at La Biennale de Venezia through November 24. His 2014 Big Phrygian. New Voortrekker in ash, American cypress, maple, and mirror. His Aso Oke and Tabernacle, both from 2019.

citizen artist New York residents and visitors may remember when a squirrel was momentarily trapped amid the laminated timbers forming Bling Bling, Martin Puryear’s 40-foot-tall installation at Madison Square Park in 2016. The animal eventually found his way out safely, and the sculpture continued to be an Instagram sensation.

This year, the park’s conservancy and the artist have teamed up again on a project with freedom at its core: “Martin Puryear: Liberty/Martin Puryear: Libertà,” with which he is representing the U.S. at La Biennale de Venezia, where his new works, such as the covered-wagon New Voortrekker, reflect on liberty as an essential human theme. The exhibition’s seven sculptures are in a setting designed by Tod Williams Billie Tsien Architects, which also collaborated with the artist on the enormous screen stretching across the pavilion’s forecourt like a church rood screen.

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roll on in “I’ve been reading about art’s transformative powers, so my intention is to create not only an environment that makes it accessible to all but also an impactful business that does good,” Chris Dowson states. The result is “Flutter,” his immersive multi-artist, multiroom installation occupying a central La Brea building in Los Angeles, a portion of proceeds from its $28 entry ticket going to Lady Gaga’s Born This Way Foundation. To curate, Dowson turned to Karen Robinovitz, who selected 15 contemporary artists—Liz Collins and Saya Woolfalk, among them—whose work embodies playfulness. In fact, the theme for this iteration of “Flutter” is play date. Robinovitz also partnered with Flavor Paper to turn some of the works into wallpaper editions, which can be purchased. After six months, a new theme and roster of artists will take over.

interiordesign.net/flutter19 for more artists’ rooms

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From left: Dozens of paint- and resin-covered foam balls and custom Flavor Paper wallpaper compose Sphere Stack, Town and Concrete founder Cyril Lancelin’s room at “Flutter,” an interactive, long-term pop-up inside a Los Angeles building running until November 1. Katie Stout’s silk-covered figures in her Worm Store. Leah Guadagnoli’s Special Occasion, which has Velcro-backed wall shapes that visitors can reposition and a sofa upholstered in fabric she designed.

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the ripple effect Mario Romano defies the rules of architecture by following nature’s blueprints

From top: The voluptuous form of the Preston house was inspired by calligraphy and crashing waves. The artist/designer is based in Santa Monica, California.

FROM TOP: MARIO ROMANO; DAN ARNOLD

Complex and beautiful geometries take on sculptural form in the hands of Mario Romano. His particular brand of poetry is rooted in the language of construction. Specializing in digital fabrication yet heavily inspired by nature, Romano’s Santa Monica, California, art/design studio has pioneered architectural systems that combine parametric modeling software with CNC machining to create facades that undulate like ocean waves or emulate bird feathers. His latest venture is M.R. Walls, large-scale interior surfaces developed in collaboration with Corian. Panels are carved with intricate and endlessly variable gradient patterns informed by a giraffe’s spots, wind-blown reeds, and other earthly touchstones. These monolithic pieces bond seamlessly and are impervious to water, bacteria, and mold. Better yet, walls can be fabricated locally from digital files, reducing lead times and transportation costs. Blending elaborate organic motifs and cutting-edge technology, Romano’s work demonstrates that the wonder of the natural world never goes out of style.

c r o s s lines SUMMER.19

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c r o s s lines

Your houses are known for their wild exterior shapes. Where do your ideas come from? They start from sketches and a very abstract inspiration. Then I flesh out the concept, working from the outside in. I think about creating a sculptural object that just happens to be habitable. A straight-up and boxlike structure can feel domineering, whereas organic shapes are more becoming, feminine, approachable, and inviting.

“My work is about creating architectural experiences and developing the How does technology affect the surfaces you create? Digital fabrication is an emergent discipline. I explore the bridge between design concept and manifestation: How do you realize a computational design in the physical world and ensure the result is reliable, functional, and priced accessibly? CNC machines are the core route, currently.

That seems at once extraordinarily complicated and very straightforward. There’s something beautiful about organized complexity that attracts us to incredible landmarks— whether a constellation, the Grand Canyon, or the way a tree grows. We used to think that nature was random and chaotic; now we know it’s driven by an incredible logic—one we can experience but are only just beginning to understand.

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CLOCKWISE FROM BOTTOM: JASON SPETH (2); DAN ARNOLD

What’s your process for designing and building? The digitally created house can be realized almost at the click of a button. Every piece is labeled, etched, marked, and thought out, and then gets produced on a machine. The pieces fit together puzzle-like using an assembly map, which renders the construction of these complex structures user-friendly. All the houses I designed were built by local carpenters and framers utilizing open-source construction.

Nature is obviously a big source of inspiration for you. I think it is for everyone. That’s where wonder comes from. It could be the color of someone’s eyes or the shape of a face or a body that gives us that first charge of attraction. Beauty is of incredible value; we’re driven by it, but it’s often underappreciated. What sparked M.R. Walls? I wanted to expand the design language of the wall

How did you decide which designs to put in the M.R. Walls collection? We’re focused on applying mass variation. The Honey wall, for example, is based on the Voronoi diagram, the formula for a giraffe pattern. It’s an interesting sequence of logic found throughout nature that can yield incredible and unlimited variation—you never get the same pattern twice. The design is customizable without being super-expensive or hard to install.

Clockwise from bottom: A spiral staircase twirls through the Morningside house, in Venice, California. The San Vicente house in Santa Monica, California, features a textured Corian facade. Giraffe-patterned solid surfacing from Romano’s M.R. Walls collection for Corian dresses every surface of his

human landscape, a new design language communicated through the language of construction” surface. The only existing option was tile: the same shape repeated, with grout lines dictated by that form. You’re trapped by the shape of this one massproduced object. In contrast, with M.R. Walls, unique pieces fit together to create an uninterrupted design experience that extends over a large area. People want something they haven’t seen before, that evokes mystery and intrigue. When you see a large-scale object, you wonder how it was created. No one thinks that when they see tile. This is what attracts people to marble slabs: They want a continuous slice of nature on the wall. Bookmatching stone is like putting the mountain back together—inside the house.

What’s your own family home like? The second-story flooring is white Corian textured to resemble wood grain—a unique interior element. Architecturally, I oriented the rooms to establish visual connectivity, both vertically and horizontally, between spaces. There’s separation, which is important, but without isolation: At home, we want to be connected to other people. —Meaghan O’Neill

own master bathroom. The Wave house, located in Venice, California, is dressed in rippling CNC-cut aluminum and has a garage door composed of stained cedar slats. The rear of the Wave house wraps around a lap pool; feathers inspired the panels’ forms.

FROM TOP: JASON SPETH; MARIO ROMANO

What led to collaborating with Corian? Practice, experimentation, testing, and research. Ultimately, we developed a patent-pending software platform linked with low-level robotics; assembly is embedded into the design so there’s only one way to install the product. We then asked which material could perform the role. I also wanted to make the product accessible and affordable. With Corian solid surface, I could bond pieces to make one monolithic slab. Corian is widely available, has been around for about 50 years, and has been thoroughly tested.

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t r e n ding edited by Rebecca Thienes

clay crazed Weâ&#x20AC;&#x2122;re all fired up about seating, lighting, and accessories shaped from elemental earthenware High-touch ceramic makes for artful furnishings in the hands of Eny Lee Parker. Standouts from the Brooklyn-based designerâ&#x20AC;&#x2122;s line include her Slip poured-ceramic mirror, Stitch ceramic stool, Line No. 1 wool-viscose rug, and Lumpy breakfast table with hand-built ceramic base and custom glass top. Turn the page for more.

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Stereotypically Dutch weather accompanies the drive through the peat area northeast of Amsterdam en route to designer Piet Boon’s home. An imposingly cloudy sky looms overhead and a strong wind blows over vast meadows and ditches, where sheep shelter under pollard willows. Down a narrow polder road, sited alongside a nature reserve, is Boon’s modern interpretation of a farmhouse, its lime-stuccoed exterior punctured with steel-frame windows and capped by a standing-seam zinc roof. “In contrast to my other design work, this house is quite minimalist, with a classical shape,” the Studio Piet Boon founder says by way of introduction. “The symmetrical volumes read as strong and timeless.” Strong and timeless certainly characterize Boon’s work in myriad genres, from kitchen systems and furnishings to global real-estate developments and luxury cars. Many such creations are visible in the house he shares with his wife, Charlotte. Boon bucked the open-plan trend with a compartmentalized layout that invites exploration and discovery. Each room has its own atmosphere, although the overall decor is subdued and a bit masculine, with furniture and art by fellow Dutch trailblazers including Maarten Baas, Studio Job, and Frederik Molenschot. “Those pieces stand for special conversations we’ve had, as well as for freedom of thought,” Boon explains. Landscaping is by another friend, garden designer Piet Oudolf. The more formal front lawn is a geometric composition of boxwood and hornbeam, whereas the rangier rear seems to have become one with the adjacent nature reserve. “This garden has nourished my work,” Boon allows. “It’s very layered, always revealing a new dimension, not giving away everything at once.” He could be talking about himself. —Marc Heldens

TOP: JESAJA HIZKIA. BOTTOM: VERNE PHOTOGRAPHY; PRODUCTION AND STYLING: MARC HELDENS

piet boon’s multitasking nature From top: Dutch interior and product designer Piet Boon at ease. Garden designer Piet Oudolf masterminded the landscaping at Boon’s home, northeast of Amsterdam.

at home SUMMER.19

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1. A de facto gallery, the entrance hall showcases a Maarten Baas chair, artworks by Studio Job, and a Mathieu Nab sculpture. The wall-hung chain is a street find. 2. Boon designed the Kekke dining chair, in quilted leather. 3. In the master bedroom sits a leather A.B.C. chair by Antonio Citterio. Visible in the study beyond are a desk and stool by Mathieu Nab. 4. Cat with White Collar I, by Marie Cecile Thijs, hangs above a Frederik Molenschot lamp and a console of Boonâ&#x20AC;&#x2122;s design in the foyer. 5. The maverick multitasker also conceived the Bo modular sofa. 6. Pietra Serena paves the floor of the master bathroom, which centers on a Boffi soaking tub.

A T home

5 6 9

7. A Frederik Molenschot Oculus lamp and sofas by Boon furnish the veranda.

9. Among the Boon-designed pieces in the living room are the side table, lamp, and the sofa, behind which hangs a Teddy Rogers artwork. The coffee table is by Jerome Abel Seguin and the blackleather chairs by Antonio Citterio. 10. A bone china tableware collection Boon created for Serax. 11. In the study, a Norman Seef photo of Mick Jagger leans behind a book of Erwin Olaf photographs. 12. The Gijs sun lounger in iroko. 13. A Bart van Hoek statue graces one end of the pool.

INTERIORDESIGN HOMES

SUMMER.19

INTERIORS: VERNE PHOTOGRAPHY; PRODUCTION AND STYLING: MARC HELDENS

8. Boon envisioned the Hero side tables (in bronze or brass) for Linteloo.

“This house brings me peace.It fits like a coat”

7 11

INTERIORS, EXTERIOR: VERNE PHOTOGRAPHY; PRODUCTION AND STYLING: MARC HELDENS

SUMMER.19

INTERIORDESIGN HOMES

s k e t c h book

A shapely house in the Portuguese countryside is born from Tiago do Vale’s economical, evocative drawings

blue-sky thinking “Sketching is the most important tool of my practice. It greatly enhances and enriches the design development process and allows me to rapidly evaluate hundreds of big and small variations and possibilities. Everything is tested first by that method; only then do we progress to more permanent and time-consuming 2- and 3-D CAD renderings. There’s a certain ‘weight’ to those seemingly finalized computer drawings that constitutes a barrier to change and improvement, whereas sketching is a lightning-fast action whose result can be trashed without regret. I like drawing with a black Bic ballpoint—it allows modulation of line strength—in a soft-cover Moleskine notebook. But these particular sketches were made on 80gsm printer paper using a Uni-Ball Eye Micro gel pen, which produces consistent lines that scan well. (Alternatively, ) They were executed midway through project development of a client’s countryside house in Ponte de Lima, Portugal, about 25 miles north of my studio in Braga. The street-facing southwest facade is enigmatic, simple, and monolithic, whereas the northeast exposure is complex. As a result, the details took a bit more work from here to resolve, which occurred during the technical drawing and construction stages. My aim with both drawings was to represent the project’s graphic aspect: the play between masses and planes, the relationship between opaque white and transparent dark surfaces, and the proportions between volumes. They’re not so much communication tool as thought process. Each of our firm’s obsessively detailed designs emanates from a sketch—although we never know which of the thousands generated along the way will turn out to be ‘the one.’”

BOTTOM: JOÃO MORGADO

“Sketching is for me a thinking mechanism”

INTERIORDESIGN HOMES

SUMMER.19

True luxury doesn’t follow convention. In the Litze® Bath Collection by Brizo, artful details like finely crafted knurling texture and a stunning Luxe Gold™ finish co-exist with stripped-down modern minimalism—for an elevated take on style that’s anything but expected. Available exclusively in showrooms. brizo.com

K E M I Z O

C O C K TA I L TA B L E I N C E R U S E D B R O N Z E W A L N U T, D A R K B R O N Z E I N L AY

C O L L E C T I O N

Y P

E S

C E L E B R AT I N G 3 5 Y E A R S O F C O N T E M P O R A R Y F U R N I T U R E D E S I G N A N D FA B R I C AT I O N - S I N C E 1 9 8 3

edited by Rebecca Thienes text by Mark McMenamin and Rebecca Thienes

CASCADE

all in the family Kira de Paola, who holds a studio art degree, and Joseph

Vidich, trained in architecture, looked no further than the family tree when founding their design/fabrication studio Kin & Company—the two are cousins. They’ve quickly become known for sinuous forms with character to spare, as seen in their Cascade mobile. Artfully crafted in Brooklyn, New York, the dangler’s steel arms are finished with a black-oxide patina. They hold tight to disc, ring, and half-moon shapes in bronze (muted with a satin coating or tarted up with a rose patina) and heat-treated, polished, or black oxide—finished steel. The resulting form comes in a pleasingly oversize scale—it measures 60 inches across by 105 high. As the designers put it, “Surface textures recall illuminated stars, dusty planet surfaces, or shimmering comet tales.” To the moon! kinandcompany.com SUMMER.19

INTERIORDESIGN HOMES

Lindsey Price Criswell and Donnie Criswell of Denver Modern

Ana María Gómez of amgs

Josh Metersky and Aiden Bowman for The Future Perfect

Brecht Wright Gander of Birnam Wood Studio

product Tundra standout The Colorado-based husband-wife duo uses leather braces and brass hardware to hold oak shelves in place, while a sliding steel door adds clever peekaboo storage to the cabinet below. denvermodern.com

product A Boi standout The Brussels-trained designer traveled to Cucunubá in her native Colombia to collaborate with weaver William Contreras on unique Peruvian alpaca textiles that blend craft and contemporary design. anamariagomez.me

product Lescaze standout The Trueing co-founders imagined a seat in anodized aluminum and cast-glass brick, its name a reference to the noted modernist, who utilized glass brick for a Manhattan town house facade in 1934. thefutureperfect.com

products Total Garbage and Magritte standout Co-dependent aluminum cantilevered shelving only functions when balanced by soil placed in the planter bin, thus allowing for object display, while an ombré blue aluminum stand corrals umbrellas. birnamwoodstudio.com

INTERIORDESIGN HOMES

SUMMER.19

2: ALEXANDRA COLMENARES COSSIO (PRODUCT AND PORTRAIT); 4: SUSAN SHACTER (PORTRAIT)

market P L A C E

7: ANA EIRIKSSON (PORTRAIT); FANAE AARON (PRODUCT)

Jude Heslin Di Leo of Jude Heslin Di Leo

Riley McFerrin of Hinterland

Fanae Aaron of Parts + Assembly

Sarah Von Dreele of Sarah Von Dreele

product Gibbous standout Tracings of the lunar calendar led the designer to the curvaceous form of these bleached-maple armchairs, softened by bridle-leather seats and backrests, which pair well with a table from the same collection. judeheslindileo.com

product Field standout A modern take on the classic army cot by the Vancouver, B.C., studio tops a whitewashed white-ash base with an overstuffed upholstered cushion, lashed to the frame via rope and secured by brass pegs. hinterlanddesign.com

product Amelia standout The Los Angeles–based designer (and Sci-Arc graduate) crafts made-to-order mirror compositions in myriad materials including tinted mirror, raw brass, and lacquered steel. A sturdy integrated walnut shelf holds treasures. partsandassembly.com

product Betsey standout The branding consultant turned artist’s paintings are reborn as wallpaper digitally printed using waterbased inks on nonwoven grass cloth or metallic substrates and named for important people from her life, in this case her mother. sarahvondreele.com SUMMER.19

INTERIORDESIGN HOMES

FAYE TOOGOOD

MUSE

Silent movie divas didn’t need dialogue; they had

expressive faces. Faye Toogood proves equally gifted in Muse, her latest collaboration with Calico Wallpaper, where abstract visages do all the talking. The dreamy, almost spectral montage celebrates the endless diversity and variety of the female form, using digital printing technology that replicates the sweeping brushstrokes of the original paintings that inspired the series. “No face is painted in detail, yet there is a distinctive character to each of them,” the multidisciplinary British artist says. They are set against six different background colors—named for women, of course—from charcoal Simone to creamy Vera, thereby transforming art into a custom-fit mural, every installation unique. calicowallpaper.com

painting beauties “It’s an ongoing dialogue between handpainted artwork and digital technologies”

market P L A C E

INTERIORDESIGN HOMES

SUMMER.19

O N TH E R O C KS design f. binfarĂŠ | quickship

2 0 1 9 C OL L E C TI ON furniture | lighting | accessories

market P L A C E

VIPP 971 AND 451 KASPER EGELUND, SOFIE CHRISTENSEN EGELUND, JETTE EGELUND

beyond the salon In 1939, young metalworker Holger Nielsen built

a pedal-operated trash can for his wife’s beauty salon. The now-ubiquitous bin, since enshrined in the Museum of Modern Art’s permanent collection, became the foundation for Danish home goods supplier Vipp. What followed was 80 years of invention, now guided by daughter Jette Egelund and her children, CEO Kasper Egelund and communications director Sofie Christensen Egelund, who expanded the brand into kitchens, a prefabricated home, and even a hotel. To mark the anniversary, chief designer Morten Bo Jensen conceived a way to outfit all those spaces: a full range of furniture. Dining-friendly options abound, such as Vipp 451, a chair that nods to the company’s metal manufacturing heritage, the slender powder-coated aluminum frame meeting a slim upholstered back and generously scaled seat. The chair finds a striking partner in Vipp 971, a powder-coated stainless-steel table with chevron top assembled from thin layers of smoked-oak veneer for a whiff of warmth amid the industrialism. vipp.com

“We open new doors by introducing new tones, textures, and upholsteries” 46

INTERIORDESIGN HOMES

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VIPP 451

The Oscar Collection Ann Marie Vering

CHICAGO

COSTA MESA

DALLAS

LOS ANGELES

brownjordan.com

MIAMI

SAN FRANCISCO

SCOTTSDALE

market P L A C E

INDIA MAHDAVI

BISHOP JET LAG

chic on the beach The starry scene at last year’s Art Basel Miami Beach was burnished by Ralph Pucci International, which hosted the stateside launch of a new collection by India Mahdavi. The architect’s Eclipse table was produced by century-old lacquer artisans L’Atelier Midavaine using nearly 20 layers. “To combine precise geometric patterns with lacquer is a technical feat,” Mahdavi says. The design established a unifying motif, with variations magnified in murals painted within the space and across the showroom’s facade. Hints of the pattern graced the upholstered seat of Cap Martin, a rattan seating family with a ’50s French Riviera vibe. The green scheme touched signatures like Jet Lag, Mahdavi’s first sofa, with diagonally bisected cushions, and Bishop, her enameled ceramic tables that love to cluster. ralphpucci.net

CAP MARTIN

ECLIPSE

“India’s furniture captures her personality: modern, elegant, out of the ordinary” 48

INTERIORDESIGN HOMES

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Authenticity. AND ALLURE .

Amy Kehoe x The Heritage Collection

“ O F T E N , W H AT G I V E S A N O B J E C T AUTHENTICIT Y IS THE ONE WHO IS BEHIND T H E O B J E C T— I T S M A K E R — A N D I T S F I N I S H , I T S TO U C H . A N A U T H E N T I C P I E C E I S N ’ T “ O F T H E M O M E N T ” O R TO O C O N T R I V E D. I T ’ S S I M P LY S O M E T H I N G YO U N E V E R T I R E O F. ”

- AMY KEHOE Interior Designer/Co-Founder Nickey Kehoe

Experience Dacor at our new Kitchen Theaters. For more details, visit dacor.com/kitchentheater

N E W YO R K | C H I CAG O | LO S A N G E L E S

market P L A C E

CATILINA

CILINDRO

BASE GHISA

the test of time Following last fall’s acquisition of Azucena, the Italian

ABCD

TORO

“We share an origin guided by a deep vocation to innovation and experimentation” 50

INTERIORDESIGN HOMES

SUMMER.19

CENTER, FROM LEFT: FEDERICO CLAVARINO (2)

furnishings brand founded in 1947 by architects Luigi Caccia Dominioni, Ignazio Gardella, and Corrado Corradi Dell’Acqua, B&B Italia reveals 20 re-editions of Caccia Dominioni’s 20thcentury masterworks. Toro borrows the Italian word for bull, a reference to its protruding tubular-steel “horns” that users can grab to move the sofa on hidden casters. ABCD, an updated spin on the formal reading chair, is embellished with painted-aluminum studs that are only seen in profile. Brass and upholstery form the two-tier cylinder of the Cilindro ottoman. The painted-steel Catilina chair harks back to medieval thrones, while helmets worn by policemen in the architect’s hometown sparked the Base Ghisa lamp’s painted-aluminum shade. bebitalia.com

FURNITURE

LIGHTING

www.powellandbonnell.com

TEXTILES

“I like cloth to be used and lived with”

market P L A C E micro

a real charmer manufacturer Maharam product Amulet standout A hand-printed scarf pattern translates to an eye-popping graphic fabric. Zürich-based textile designer Sonnhild Kestler, known for blending folkloric and traditional motifs under her label S.K. Hand-Druck, has produced hand-screen-printed cloth for home and fashion accessories since 1988. Her references run the gamut from children’s books to religious cult imagery. Her latest collection for Maharam consists of three fabric and two rug designs, including this looker transcribed from a scarf. Kestler begins each pattern with paper cutouts painted in a distinctive mixed-gouache palette, then translates the motif to silkscreen. Without the aid of a computer program, she uses handy tricks such as employing a mirror to play with repetition. The resulting material, a blend of cotton and solution-dyed nylon, exhibits the designer’s penchant for cool graphics—here the namesake good-luck charm—and vibrant color. maharam.com

AMULET

INTERIORDESIGN HOMES

SUMMER.19

KEEP IT LIG HT ( EVEN WHITE ) WITH WORRY-FRE E P E R FOR MA N C E FA B R ICS

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ope n house firm: jennifer post design site: palm beach, florida

making a point

A Bermuda-style peaked roof of slurry-coated concrete caps the stucco-clad residence.

KEN HAYDEN

SUMMER.19

INTERIORDESIGN HOMES

Jennifer Post sums up this snappy Palm Beach, Florida, abode in three words: “Simplicity, simplicity, simplicity!” (OK, technically one word.) “My challenge was to streamline,” she explains. “This house is not grandiose; it’s a jewel box.” It’s true that the cottage exhibits an almost disarming clarity. For starters, every surface is white—walls, floors, ceiling, window frames—as are the majority of the furnishings, and there’s primarily one accent color: beachappropriate blue. And though it encompasses a not-inconsequential 3,700 square feet, the house is still relatively petite by Palm Beach standards. The resi56

INTERIORDESIGN HOMES

SUMMER.19

dence is functionally a two-bedroom, with ground-floor guest quarters and master suite upstairs (although what’s used as a dressing room is technically a third bedroom). Decoratively speaking, the first impression is of minimal embellishment; observe the spare moldings, fuss-free sheer window treatments, and clean-lined furniture, most of Italian provenance. Simple? Sure. But probe a little deeper and you notice this fresh-faced cottage is more complex than it initially lets on. What appeared to be slick expanses of pure, unadulterated white are actually quite nuanced, with textures evocative of

KEN HAYDEN

ope n house

Opposite, from top: Thassos marble treated to a brushed and bush-hammered finish paves the poolside terrace, furnished with seating by Kris Van Puyvelde; in the garden is a bronze and bluestone sculpture by Boaz Vaadia. The entry, nicknamed the buttery, features a pebble floor inset and a concrete bench by Eric Slayton. Clockwise from top left: A dining area at one end of the white-lacquered kitchen (with Cararra backsplash and countertop) features a David Weeks Kopra Burst chandelier; the Ava chairs are by Song Wen Zhong and the tabletop sculpture by Martha Sturdy. In the stairwell, screened from the living room via plantation-style custom metal louvers, hangs Pedestrians 372, an acrylic on canvas by James Zwadlo. Above the living roomâ&#x20AC;&#x2122;s custom lacquered console hangs David Hockneyâ&#x20AC;&#x2122;s Table Flowable; the sofas are by Rodolfo Dordoni.

KEN HAYDEN

SUMMER.19

INTERIORDESIGN HOMES

sea and sand and boat decks. The lacquered ceiling is grooved, walls are Venetian plaster, the floor is heavily painted rift-sawn oak, and the Thassos marble paving the covered patio has perceptible shifts in coloration, from palest cream to blanc de chine. The predominant ocean-blue hue also turns out to be a carefully calibrated spectrum. “It was tricky to make the space tonally even—blues can really clash—without seeming repetitive,” she notes. And even though the residence has a veneer of modesty, with its relaxed open plan, Post accommodated bells and whistles aplenty, including a yoga yard with a blackgranite water feature and the clients’ rather serious art collection

From top: Stones, an acrylic on canvas by Alan Magee, accents the office, with a custom wall unit and desk plus Yves Béhar’s Sayl chairs. Praia Piquinia, a photograph by Christian Chaize, hangs on the guest room’s hand-painted wallpaper; the rug is a cotton flatweave but the woven headboard and Dordoni chair are leather.

INTERIORDESIGN HOMES

SUMMER.19

KEN HAYDEN

ope n house

ope n house

(see: Lichtenstein, Hockney), around which key elevations were composed. Post had a design partner in Peter Papadopoulos, of Smith and Moore Architects, who masterminded the Bermudian-style structure, with its signature stepped roofline and high pitch (requiring Landmarks Preserva-

tion Commission approval). Other savvy collaborators were in the mix: the clients. John and Diane Sculley are a trained architect and a former exec at a high-end constructionmanagement firm, respectively. He is also an erstwhile CEO of Apple and PepsiCo, who now invests in tech startups; his desire to host at-

home meetings accounts for the setup of the living room, with a secondary seating grouping that doubles as a conference area. “These are clients who could have anything,” Post says. “But they just wanted a space to nestle in, with a ray of sunshine in every room.” In a word, refreshing. —Jen Renzi

FROM FRONT MODERN FORMS: SCONCES (EXTERIOR). ROYAL BOTANIA: SOFA, COCKTAIL TABLE (TERRACE). SUNBRELLA: SOFA FABRIC. JANUS ET CIE: CHAIRS, OTTOMANS. MAGITEX DECOR: CHAIR FABRIC, OTTO MAN FABRIC. WALKER ZANGER: FLOOR TILE (EXTERIOR, BATH

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BERNSTEIN LIGHTING DESIGN:

FLOOR LAMPS (LIVI NG ROOM).

LIGHTING CONSULTANT. ASK

MODULIGHTOR: ART SCONCE.

THE ADVISORS: AUDIOVISUAL

HERMAN MILLER: CHAIRS

CONSULTANT. PATTERSON’S CUSTOM CABINETRY: WOOD WORK. ARMSTRONG LAND SCAPE GROUP: LANDSCAPING

INTERIORDESIGN HOMES

SUMMER.19

CONSULTANT. ABSOLUTE HARD WOOD FLOORING: FLOORING. WITTMAN BUILDING CORPO RATION: GENERAL CONTRACTOR.

KEN HAYDEN

From top: The master bath room features a sandblasted Starphire glass shower partition and Thassos flooring. A mohair rug, custom lacquer night tables, and Bertjan Pot chandelier furnish the master bedroom. An awning- shaded terrace lines the lap pool.

Grandis SILGRANITÂŽ Sink Collection

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ope n house

keeping up with the joneses A quartet of residences pop with personality

Custom pink powdercoated railings and trim animate the facade of a Seattle townhouse by Best Practice Architecture, Hybrid Architecture, and Steven Lazen. See page 68 for more.

SUMMER.19

INTERIORDESIGN HOMES

o pe n house

tc plus site Bruges, Belgium.

LUC ROYMANS/LIVING INSIDE

standout A dollhouse-like family residence, dating to the 1970s, reflects the architect-ownerâ&#x20AC;&#x2122;s doctoral research into creating private spaces that can also be shared with the community at large: Ergo, a roofless outdoor room, with tinted-concrete walls and billowing sailcloth curtains, thatâ&#x20AC;&#x2122;s wide open for the public to use.

INTERIORDESIGN HOMES

SUMMER.19

LUC ROYMANS/LIVING INSIDE

SUMMER.19

INTERIORDESIGN HOMES

gafpa site Wachtebeke, Belgium. standout Bucking the local trend to replicate traditional brick architecture, a weekend house manifests its modernism with a grid facade of standardized plywood panels, a floating spiral staircase in black-painted steel, and glass walls that survey the adjacent nature reserve.

LUC ROYMANS/LIVING INSIDE

o pe n house

INTERIORDESIGN HOMES

SUMMER.19

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ope n house

site Seattle. standout Multi-family living gets a vibrant, hospitalitystyle makeover with a complex of three townhouses enlivened by artist Sam Wood Wilsonâ&#x20AC;&#x2122;s geometric stairwell and rooftop murals along with jaunty chromatic kitchen cabinets in low-fi painted MDF.

ED SOZINHO

best practice architecture, hybrid architecture, and steven lazen

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ope n house

maria giuseppina grasso-cannizzo site Noto, Sicily.

NATHALIE KRAG/LIVING INSIDE

standout In summer, pivoting cement-board louvers open this artbook editor’s 1,000-square-foot holiday home to rolling hills planted with olive and almond groves—and to the sea beyond—while in winter, they close like the pages of a portfolio to shutter the unoccupied structure against the elements. —Georgina McWhirter

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INTERIORDESIGN HOMES

natural selection In Houston, Jamie Bush gives a midcentury International Style house his signature “Organic Modernist” makeover

text: pilar viladas photography: roger davies

INTERIORDESIGN HOMES

SUMMER.19

INTERIORDESIGN HOMES

Previous spread: Backed by ombré wallpaper, Ohm Dieter’s totemic wood sculpture dominates one end of the gallery. Top: In the living room, Jamie Bush’s white-oak Pier bookcase presides over Vladimir Kagan’s curved sofa, Franco Albini’s rattan armchair, and a trio of Atelier de Troupe custom brass coffee tables. Bottom, from left: A custom console joins a vintage Lumi Milano disc chandelier in the entry. A colonnade wraps the 1963 Modernist brick house. The entry and gallery are separated from the living room by a slatted-

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A perennial criticism of Modernist houses is that they can be cold and unwelcoming. But the Los Angelesbased designer Jamie Bush has never seen modernity and creature comforts as mutually exclusive. “The soft edges and curves that occur in nature are essential counterpoints to the angles of Modernist architecture; there’s a synergy between them,” says Bush, who strives for what he refers to as “Organic Modernism.” The principal of Jamie Bush + Co.—which he founded in 2002 after getting a master’s in architecture from Tulane University and working for the architects Marmol Radziner and the designer Kelly Wearstler— has applied these principles to iconic 20th-century houses like Silvertop, a 1963 John Lautner work in Los Angeles (on which Bush collaborated with Bestor Architecture), or Frank Wynkoop’s 1951 Butterfly House in Carmel, California. More recently, he has completed the interiors of a residence in Houston. Located in the tony River Oaks neighborhood, it was designed in 1963 by architect Harwood Taylor of Neuhaus & Taylor, a local firm known for houses that confidently tempered International Style Modernism with abstracted classical references, making the office a favorite of Houston’s cultural elite. Indeed, this house, with its exterior of warm, variegated bricks, wraparound colonnade, and rooms that look onto a leafy central patio, exemplifies the architects’ appeal. The house had been restored and renovated in 2014 by the Houston firm Murphy Mears Architects; sometime later, the owners—a couple with two daughters—asked Bush to design the interiors. “The clients love Modernism,” he reports. “But they felt that the house was too pristine, and needed more playfulness, color, and natural materials. My approach was to layer onto what was there, and bring the warmth of the exterior indoors.” Bush started by turning the entry— and the passage that connects it to the master bedroom and study on the south side, and the kitchen/dining area and daughters’ rooms on the north—into a gallery. It features paintings, sculptures, and drawings by a variety of artists, including Bush himself, whose output ranges over drawings, paintings, and conceptual photography. While he does not see a strict parallel between his artistic and design methods, Bush does feel that his artworks—often “variations on a theme,” like his Upsidedown L

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Clockwise, from left: Constance Guisset’s pendant fixture and two Jill Greenberg animal photographs preside over a collection of Mitsuko Ikeno ceramic vases on the dining table. The powder room features a bronze bell by Paolo Soleri. Bush framed existing kitchen cabinets in American white oak. Bush’s photograph, Ultramarine Pink 2, hangs behind the living room’s second curved Kagan sofa.

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series of drawings near the entry— become “environmental” pieces that function on a larger scale than the furnishings in his spaces. Biomorphic, peach-colored shapes painted on the hallway’s white walls provide a backdrop for framed drawings, while the wall behind the large totemic sculpture at the north end is covered in a distinctive blue ombré wallpaper. Bush designed the red wedge-shape console next to the front door and painted the slattedwood partition that separates the entry from the living room—part of the earlier renovation—black. Off the entry, the powder room features one of Paolo Soleri’s famous bronze bells. In the living room, a curved Vladimir Kagan sofa stands in front of Bush’s striking Pier bookcase, made of American white oak, which anchors one end of the room, while Ultramarine Pink 2, his 6-by-9-foot

photograph of chairs, anchors the other, above a smaller, sheepskindraped Kagan sofa. A pair of vintage French floor lamps, shaped like praying mantises, speak to Bush’s decided preference for Modernism with “a playful quality,” while a trio of polished brass coffee tables by Atelier de Troupe provides a shiny contrast to the room’s more textured materials. The clients wanted to keep the kitchen’s existing white cabinets, so Bush framed them with a slatted pergola and crisp wall planks in the same white oak as the bookcase, for “a warmer layer of background material.” In the adjacent dining area, which is dominated by Jill Greenberg’s arresting photos of a monkey and a bear, the dining table displays a variety of ceramic vases by Mitsuko Ikeno—pieces that echo the fondness for “variations on a theme” found in Bush’s own art.

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As does a series of 67 woodblock prints, each in a unique handcarved wood frame, by the artist Tal R, which hangs on a pinkpainted wall between two narrow, full-height windows in the study. Bush eschewed a conventional desk for that room, choosing instead a round, ebonized table with concealed connections for electronics. He designed the equally unexpected curved red sectional sofa and added a Moroccan-style rug over the base layer of sisal carpeting. For the master bedroom, Bush created three “floating” celadonpainted wall panels (one of which conceals a TV cabinet), each with a narrow, undulating brass shelf at its base to display small sculptures by the artist Alma Allen. Mounted directly above the Naoto Fukasawadesigned bed’s upholstered headboard, a delicate cast-bronze tree branch offers an airy counterpoint to the solid panels. Outdoors, Bush provided seating areas near the swimming pool, retained a fixed canopy that was part of the earlier renovation, replaced white-globe light fixtures with a smoked-glass model in the colonnade, and “added some layers” to the landscaping in the form of agave, canna lilies, and palms in planters. Bush has more renovations of Modernist houses in the works, including one by Pierre Koenig,

Top: In the study, Tal R’s series of woodblock prints hangs behind a Bush-designed custom sectional sofa; GamFratesi swivel chairs pull up to the custom ebonized-oak round table, which doubles as a desk, while a vintage Serge Mouille floor lamp provides reading light. Bottom: Under the pool patio’s freestanding canopy, a custom sectional sofa and Vittorio Bonacina rattan ottomans gather round a custom aggregate-and-fiberglass coffee table. SUMMER.19

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the noted California architect and professor. While he loves these residential projects, he’s hoping for one that involves a commercial-scale building. That, Bush reasons, would provide a larger canvas on which to show a wider audience how “we help bridge the gap between architecture and interiors by bringing a layer of materiality, reading how to be in a space, and maximizing the experience that the architect envisioned.”

Top left: A vintage African stool sits beside the master bath’s freestanding tub. Top right: In the master bedroom, Bush’s custom wallmounted cabinet conceals a TV. Right: A cast-bronze branch sculpture by Lisa Ludwig hangs above the Naoto Fukasawa bed, which is flanked by Tyler Hays bedside tables and a pair of ceramic lamps by DaLo.

PROJECT TEAM JULIE RICE, MAYRA ESPARZA, ANDREA CERNUSAK, DANIELLE YERETZIAN: JAMIE BUSH + CO. HAYES CARPENTRY: WOODWORK. THOMSEN COMPANY: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT CALICO: WALLPAPER (GALLERY). JAMIE BUSH + CO.: BOOKCASE (LIVING ROOM). THROUGH RALPH PUCCI: SOFAS, WOOD SIDE TABLE. ATELIER DE TROUPE: CUSTOM COFFEE TABLES. THROUGH NICHE BEVERLY: RATTAN ARMCHAIR (LIVING ROOM), OTTOMANS (POOL PATIO). LAWSON FENNING: OTTOMAN (LIVING ROOM), BAR STOOLS (KITCHEN), STOOL (POWDER ROOM). D&J CUSTOM BENCHWORKS: CUSTOM CONSOLE (ENTRY), CUSTOM MIRROR (POWDER ROOM), CUSTOM SECTIONAL SOFAS (STUDY, POOL PATIO). THROUGH JF CHEN: TABLE LAMP (ENTRY). THROUGH MA +39: PENDANT FIXTURE (ENTRY), COFFEE TABLE (STUDY). THROUGH SIGLO MODERNO: VINTAGE WHITE CHAIRS (DINING ROOM). FRITZ HANSEN: DINING TABLE. THROUGH REWIRE: PENDANT FIXTURE. MENU: SHELF (POWDER ROOM). WATERWORKS: SINK. VOLA: FAUCET. EUROPEAN SHEEPSKINS: SHEEPSKIN THROW (LIVING ROOM). LEE JOFA: PILLOW FABRIC. RIGO’S CUSTOM FURNITURE: CUSTOM DINING TABLE (STUDY). GUBI: SWIVEL CHAIRS. DOWNTOWN: PENDANT FIXTURE. DESIGN SPEC: SISAL CARPETING (STUDY, BEDROOM). DUNNEDWARDS: PAINT (STUDY ACCENT WALL). ZACHARY A.: CUSTOM TABLE (POOL PATIO). RH: SUN LOUNGERS. MODERNICA: PLANTERS. B&B ITALIA: BED (BEDROOM). BDDW: NIGHTSTANDS. THROUGH 1STDIBS: TABLE LAMPS. IN-EX: THROW. DEBORAH SHARPE LINENS: BEDDING. RH: DUVET COVER. THROUGHOUT MARC PHILLIPS DECORATIVE RUGS: AREA RUGS. BENJAMIN MOORE & CO.: PAINT.

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a floating world In Paris, Kengo Kuma & Associates refreshes the exquisite oasis Japanese fashion designer Kenzo built himself more than 30 years ago

text: fiona wilson photography: jimmy cohrssen

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Tucked away in a hidden spot in the Bastille district of Paris is a remarkable house built by Japanese fashion designer Kenzo Takada more than thirty years ago. Set in the courtyard of an 18th-century apartment building, the four-level, 14,000-square foot, cedar-clad residence—replete with its own inner courtyard and planted terraces— took about seven years to complete. (All the materials were imported from Japan.) Sharing the culture-spanning ethos of Kenzo’s fashion work, the sprawling oasis was a thrilling East-meets-West fusion that stylishly juxtaposed the Japanese with the European, African, South Asian, and more—a vivid patchwork epitomized by the huge living room where vintage Japanese screens coexisted happily with 18th-century French daybeds. Yet in places the house was pure Japan: A wing with a traditional tea-ceremony room, tatami-mat flooring, and paper-lined shoji sliding doors overlooked a perfectly authentic Japanese garden with a rocky koi pond and graceful cherry tree. “You could be in Kyoto,” Kenzo once said, with justification. A decade ago, Kenzo, who had sold his influential brand to LVMH in 1993, decided it was time to downsize. He auctioned off much of his eclectic assemblage of art and antiques and moved to a smaller apartment on the Left Bank. When a French family recently acquired the house, they called on the Japanese architect and Interior Design Hall of Fame member Kengo Kuma to infuse new life into the unique property. The brief was to remodel parts of the six-bedroom, six-bathroom house but leave other areas much as they were. The Kengo Kuma & Associates principal was intrigued by the project. “Although I’d never been inside the house, I had always known about it and been curious how such a beautiful Japanese garden had been created in the heart of Paris,” he says. “The condition of the garden was just perfect, so carefully maintained. And I could feel Kenzo’s spirit in every part of the building.” Both the architect and his clients agreed that it was important to stay faithful to Kenzo’s original intentions. “My idea was to keep Kenzo’s aesthetic vision—to see the house as a bridge between Japan and the West,” Kuma explains. The plan was to reinvigorate while treading lightly, make judicious changes, and gently lift the property into a new phase.

Previous spread: Louvers and beams of French oak encase the living room of Japanese fashion designer Kenzo’s former Paris house, renovated by Kengo Kuma & Associates. Opposite top: The house, set in the courtyard of an 18th-century building, is flanked by an authentic Japanese garden. Opposite bottom: The stair wall in the living room is finished with soil-based plaster, applied by artisans from Japan, while the other walls were simply repainted Kenzo’s preferred shade of pure white. Clockwise, from top left: A new flight of oak steps connects the living room to the dining room, one level above. Overlooking the living room and opening onto a terrace, the mezzanine study has a free-standing stove. The “Japanese” wing of the house includes a traditional dining room, left largely untouched in the renovation.

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“My idea was to keep Kenzo’s aesthetic vision — to see the house as a bridge between Japan and the West”

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The house’s cedar exterior was pressure-washed, treated, and repaired where necessary. The biggest structural change was to remove the indoor lap pool, which was separated from the living room by a rather clunky colonnade, and replace it with a glass-roofed, cedar-walled terrace, opening up the view into the inner courtyard. The solid wall between the dining and living rooms, which are on different levels, was also removed and the wood-burning fireplace in the latter (one of several in the house) was remodeled. The cedar siding and the beauty of the Japanese garden guided the atmosphere of the interior. Natural materials such as wood, stone, and soil-based plaster—applied by artisans from Japan—were used to bring warmth and texture to the updated part of the house. Towering planks of French oak, their edges left natural, were used as a screen of vertical louvers between the living room and the elevated dining room, where a pair of the same planks serve as a long refectory table. The exposed beams spanning the split-level space are also oak, as is the flooring (which complements existing oak parquet elsewhere in the house) and new paneling in the entry hall. Japanese ash was used for massive new pivoting doors at the entry and in the master bedroom. Most of the changes are subtle but have brought a cleaner, more modern feel to the interior such as the wood floating staircase that connects the first and second levels or the fine aluminum frames on the sliding doors to the new terrace. Kuma partnered with a local architect, Loïk Corre of Atelier Kiol, who had worked closely with Kenzo on the original house and whose anecdotal knowledge proved invaluable. For example, Corre was able to advise that the pale-green paint covering some ceilings and walls should be replaced with Kenzo’s preferred shade of pure white. The Japanese garden needed very little work. A wood deck was replaced with travertine from Italy and square-section solid-oak slabs installed as benches. Likewise, the tatami-floored portion of the house—whose traditional tearoom, Kuma notes, “is of a quality that would be hard to find even in Japan”—was refreshed but otherwise left intact.

Previous spread: An indoor lap pool was removed and replaced with a glass-roofed accoya-decked terrace beside the inner courtyard. Opposite top: Seating in a fourth-floor lounge area includes a Marc Newson woven-rattan lounge chair and a rare Pierre Paulin side chair. Opposite bottom: A natural-edge French oak table surrounded by Hans Wegner Wishbone chairs, also in oak, graces the “European” dining room; the sliding shoji screens conceal a kitchen. Clockwise, from top left: Pierre Paulin’s Dune modular seating sits under a skylight in the media lounge. Apart from a trio of pivoting Japanese-ash doors at the entry, the third-floor master bedroom remains untouched. The traditional tea-ceremony room looks down the length of the Japanese garden.

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The current owners plan to use the house for entertaining, just as Kenzo always did. The beguiling network of courtyards and terraces is a delight for visitors and the update has integrated the garden even more intimately with the newly pared-down interiors. Kuma chose a few key pieces of furniture such as a handsome set of Hans Wegner Wishbone chairs in oak for the dining room and a Walter Knoll sofa and rug for the living area. When the views are this good, you don’t need much inside. Kuma’s sensitively blended renovation is a perfect tribute to Kenzo, who was born in Himeji in 1939 but has lived in Paris since the 60s. The architect, known for his softspoken modesty, was eager for the original owner’s verdict. “I was so happy to hear that Kenzo loved the renovated house,” he reports, beaming. PROJECT TEAM YUKI IKEGUCHI, CHIZUKO KAWARADA, MASATOSHI TOBE, AIGERIM SYZDYKOVA: KENGO KUMA & ASSOCIATES. ATELIER KIOL: ARCHITECT OF RECORD. VIABIZZUNO: LIGHTING CONSULTANT. AUSTRAL JARDIN: LANDSCAPE CONSULTANT. SCYNA 4: STRUCTURAL ENGINEER. EICP INGENIERIE: MECHANICAL ENGINEER. ATELIER ES: PLASTERWORK. BAK SYSTÈMES: METALWORK. JP MENUISERIE: MILLWORK.

Top: Strings of washi-paper lanterns hang in a glass-wall corridor overlooking the inner courtyard. Center: A stair hall also serves as an art gallery. Bottom, from left: Black granite and honey-toned wood clad the Japanese-style master bath, which was not renovated. On the lowest level, a corridor leads from the main entry to the central courtyard. Opposite: Most of the materials for the original house, including the rocks for the koi pond, were imported from Japan.

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e t c.

From the moment designer Kenzo opened his Paris fashion house in 1970—the first Japanese to do so—his exuberant, floral-drenched clothing was a hit. In 1985, he began to build another sort of house: a sprawling residence in the city’s Bastille district, where he lived in colorful splendor for two decades. We asked him about it.

house of flowers Why did you decide to design your own house? My business was going swimmingly. Still, there was something missing. I began to get caught up in the dream of building my own “home” with my partner Xavier de Castella.

What was it like living in the house? Although Xavier and I shared the house, we each had our private space. It was a house for entertaining, with a karaoke room and an indoor pool. I have vivid memories of people swimming in the midst of parties. We decorated the house in different styles. I had a collection of antiques I’d acquired in Asia and Europe. There was a Japanese room with a veranda from which you could view the cherry trees and bamboo in the traditional garden. Have you seen the house since it was renovated? Yes! I think the house looks more Japanese than when I was living there but somehow, in Kengo Kuma’s expert hands, it also looks more modern.

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FROM TOP: JIMMY COHRSSEN; COURTESY OF KENZO TAKADA

What role did he play? Xavier was a student of architecture, so he could make sense of my ideas and develop them further. We inspired each other. We wanted to keep the basic form of a warehouse that had been on the site, while introducing a Japanese atmosphere inside and out, so although I was in Paris, I could feel as if I was in Japan. My ideas became so ambitious that the project took longer than I originally planned.

Opposite, from top: The designer, Tokyo, 2019. A personal photograph by the designer of a courtyard in the Paris house when he was living there.

COURTESY OF ACC ART BOOKS

Clockwise, from top left: Iman, in a 1983 Kenzo campaign shot by Hans Feurer. The designerâ&#x20AC;&#x2122;s sketches for a 1972 collection. A 1984 look, shot in Egypt by Sacha Van Dorssen. A pre-Kenzo-label design from 1967. Kenzo Takada, by Kazuko Masui (London, ACC Art Books, $75), the first monograph on the designer, features a peonyinspired cover by Kenzo himself. Sayoko, in animal prints, from the 1983 Feurer campaign.

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metropolitan life A poured-concrete townhouse in Mexico City marks Studio Rick Joyâ&#x20AC;&#x2122;s first ground-up urban building text: fred a. bernstein photography: joe fletcher

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For years, architect Rick Joy was known mainly for designing houses in the Arizona desert. But that’s changing. “We’ve had a lot of ‘firsts’ in the last few years,” notes the principal of Tucson-based Studio Rick Joy. One was a train station in Princeton, New Jersey, the firm’s first public commission. Another was an 11,000-square-foot, two-family residence recently completed in Mexico City, their first ground-up urban building. “People tend to think of our projects as being out in the wilderness,” Joy says. “This one is squeezed between two other houses.” Mexico City has long been Joy’s favorite place to visit. “It has a lot to offer in terms of both culture and emotion,” he observes as a fan of the capital’s burgeoning art and architecture scenes. So when a Mexican developer asked 98

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him to design a five-story townhouse for a site in the upscale Polanco neighborhood, he jumped at the chance. Comprising a pair of duplex apartments stacked on a ground-floor garage, the 40-foot-wide, 60-foot-deep building is roughly the same size and shape as its neighbors. But in most other ways, it couldn’t be more different. The other facades on the street are flat; for contrast, Joy wanted to give his house front “a deep 3-D quality.” In fact, he created a kind of giant sculpture by pouring concrete into primavera-wood forms, a construction method used for the entire building. “Some people have a negative attitude toward concrete,” Joy says, acknowledging the common perception of the Brutalist material as harsh and cold. “The concrete

Previous spread, from left: Torso Volcanico, a pigmented-concrete sculpture by Mexico’s Tezontle Studio, presides over the penthouse terrace. The common stair has a powdercoated-steel center partition and a custom brushed-brass handrail. Top left: Pedro Ramirez Vázquez’s painted-steel coffee table centers the penthouse living area, which looks onto a street-facing terrace and an internal courtyard. Top center: The north courtyard serves as the building entry. Top right: The penthouse dining area’s table and chairs are walnut and oak, respectively. Bottom: Red Circle, a composition of terra-cotta beads on wood by Polish-Mexican artist Xawery Wolski, marks the penthouse entry landing.

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Previous spread, from left: The pouredconcrete townhouse comprises a pair of duplex apartments stacked on a groundfloor garage. In the penthouse master suite hallway, a window set in the deep concrete facade is angled precisely to frame views of neighboring treetops.

here is soft”—rich with the imprinted texture of the wood planks—“and a very warm color. Mexicans do the best concrete in the world.” The townhouse’s sculptural form arose from Joy’s habitual desire to bring the outdoors in. “When I ask people why they hired me, they say, ‘We knew you’d bring nature into every room,’” reports the architect, who grew up in Maine but moved to Arizona 34 years ago. “But how do you do that on a super-urban site?” Joy’s answer was to puncture the building both vertically and horizontally. He started with three lightwells, which bring sunshine (and starlight) all the way to the ground floor. (“I’m really conscious of celestial connections,” he notes.) Since the shafts serve both apartments, where there are privacy concerns, Joy coated the window glass with opaque film. A lush garden courtyard sits at the base of each lightwell; additional plants grow in boxes built into the shaft walls or in baskets hanging from ropes threaded with local stones. Next, Joy created terraces for both the lower and upper units. The penthouse terrace, open to the sky, is expansive enough to accommodate a firepit and a small reflecting pool with a totemic sculpture at its center. But it’s not only the outdoor spaces—2,000 square feet in all—that connect to the surroundings. Since the front of the building is the only facade with exterior fenestration, Joy made the most of the windows, positioning them so that they frame views of specific neighboring trees wherever possible. And one window is pointed at the Parroquia de San Agustin—a strikingly austere, reinforced-concrete church designed by Leonardo Noriega Stavoli in the 1940s—less than a mile away. Entry from the street is through a blackened-steel gate, detailed with brass inserts, that leads into the

Opposite: In the south lightwell, vines grow in baskets hanging from ropes threaded with local stones. Top: The penthouse kitchen, a simple galley overlooking the south lightwell, has custom oak cabinetry and travertine countertops. Center: A guest room’s custom oak bed is flanked by a custom brushed-brass side table and a flatweave wool rug. Bottom: At one end of the terrace, a custom oiled-teak dining table is served by Bogus Studio’s painted-steel chairs.

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largest of the three courtyards. The adjacent stairs to the apartments wind around a center partition of blackened steel, which Joy has given a traditional powder coating. A brushed-brass handrail forms a softly glowing ribbon against the inky metal backdrop. In the apartments, Joy uses oak planking for ceilings and floors, which not only links those surfaces to the board-formed walls but also further mellows what would otherwise be all-concrete spaces. Built-in cabinetry and doors are made of oak, too, while kitchen counters and bathroom vanities and walls are travertine. When it came time to furnish the townhouse, Joy’s team didn’t have to look far. There are a few European pieces in the mix but—given the high tariffs on imports and the resourcefulness of Mexican craftsmen—it made sense to have much of the furniture made locally. “We

collaborated with local fabricators to make sure most of the pieces reflect the essence and culture of Mexico,” says Studio Rick Joy senior interior designer, Marybel Rodriguez Zepeda. The architect designed some of the hardware, including handles and hinges, which was also manufactured in the area. So were the large steel-casement windows, many of which feature nearly square panes. Joy continues to expand his practice beyond the desert houses that made his reputation. His current projects include another Mexican foray—a resort north of Puerto Vallarta, for which he has designed more than 100 separate buildings—as well as two villas in Ibiza, Spain. Surprisingly, he has only one current commission in what was formerly his bread-and-butter state, Arizona. But he expects that to change momentarily. “Projects,” Joy says, “tend to come in waves.”

PROJECT TEAM MARYBEL RODRIGUEZ ZEPEDA, PHILIPP NEHER, NATALIA ZIEMAN HAYES, CHRISTOPHER PELA, HEIMAN LUK, CLAUDIA KAPPL JOY: STUDIO RICK JOY. FRB ARQUITECTOS ASOCIADOS: ARCHITECT OF RECORD. ENTORNO TALLER DE PAISAJE: LANDSCAPE CONSULTANT. CONCEPT LIGHTING LAB: LIGHTING CONSULTANT. RODOLFO PADILLA: STRUCTURAL ENGINEER. IESH INSTALACIONES: MEP. MONTEALBAN: WOODWORK. P&G: GENERAL CONTRACTOR. PRODUCT SOURCES [LIVING AREA] ATRA FORM: SOFA, COFFEE TABLE, BRASS SIDE TABLE, LOUNGE CHAIRS. ASTRO: FLOOR LAMP. NAMUH: WOOD SIDE TABLE, AREA RUG. LAGO DF: ACCENT PILLOWS, BLACK BLANKET. [NORTH COURTYARD/LIGHTWELL] IGUZZINI: WALL MOUNTED FLOODLIGHTS. PRUDENTIAL: WALL MOUNTED LINEAR FIXTURE. [DINING AREA] ATRA FORM: TABLE, CHAIRS, AREA RUG. BUSCHFELD: PENDANT FIXTURES. [PENTHOUSE ENTRY] NAMUH: WOOD BENCH. PRUDENTIAL: WALL MOUNTED LINEAR FIXTURE. [SOUTH COURTYARD/LIGHTWELL] IGUZZINI: WALL MOUNTED FLOODLIGHTS. [KITCHEN] BUSCHFELD: CEILING FIXTURE. DETALLER: CUSTOM DOOR PULLS. [GUEST ROOM] ATRA FORM: BEDFRAME, SIDE TABLE. SEARCHLIGHT LIGHTING: TABLE LAMP. BI YUU: RUG. [TERRACE] BOGUS STUDIO THROUGH ATRA FORM: PAINTED STEELE CHAIRS. ATRA FORM: CUSTOM TEAK TABLE, CUSTOM BALI BEDS. SUNBRELLA: BED ROLL FABRIC. LAGO DF: ACCENT PILLOWS. [MASTER SUITE] ATRA FORM: BEDFRAME, GOLD-LEAF CABINET DOORS. FLOS: TABLE LAMP. NAMUH: STOOLS, RUG. [DEN] PRUDENTIAL: WALL MOUNTED LINEAR FIXTURE. [MASTER BATH] VIABIZZUNO: SHOWER HEAD/LIGHT FIXTURE. WARP & WEFT: INDIGO RUG. AMERICAN STANDARD: BATHTUB. STANZA: BATHTUB MIXER. [THROUGHOUT] BASALTEX: STONE FLOORING. VESCOM: SHEER AND DIM-OUT CURTAIN FABRIC. ELR: RECESSED CEILING FIXTURES.

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Clockwise, from top left: Full Moon and Half Moon, gold-leaf on wood-panel works by Mexico City studio Fervor, hang in the penthouse den. Lush vegetation fills the courtyard at the base of the south lightwell. The terrace firepit is flanked by

custom Bali beds. Since the master bath overlooks a shared lightwell, opaque privacy film has been applied to the steelcasement windows. Caballo con plumas, a photograph by Flor GarduĂąo, hangs above the master suiteâ&#x20AC;&#x2122;s custom walnut bed.

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santa monica samba John Friedman Alice Kimm Architects compose rhythmic curves for a Los Angeles residence

text: edie cohen photography: benny chan|fotoworks

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John Friedman and Alice Kimm are thoroughly modern architects. That said, Friedman sounds a caveat about contemporary residential design: “I’m tired of boxy, stacked architecture,” he says firmly. He and Kimm—married co–principals of John Friedman Alice Kimm Architects—were waiting for what she calls “simpatico clients who would let us explore the curved forms we’ve used in the interiors of more institutional projects.” That’s precisely what they got when a couple with multicultural heritages— including North African and South American—commissioned a new home in Santa Monica, California. Blame it on the Bossa Nova. Well, not literally. But the clients’ respective backgrounds factored strongly in JFAK’s visualization and design process: Born in L.A. and raised mere blocks from the present site, the husband has European–Moroccan roots; the wife, a Brazilian, grew up in Rio de Janeiro, where her parents moved often, building homes along the way. Play a word–association game with those givens, and thoughts of whitewashed villages under intense blue skies, colorful tile work, and gracefully shaped buildings redolent of the samba, Brazil’s insinuating national dance–rhythm, spring to mind. But before the architects let such seductive imagery flood their creative imaginations, they had to establish a general floor plan. The house needed to be large—there were two young daughters to accommodate—but not a behemoth that overwhelmed the mid–block site. Besides, there had to be yard space in which the kids could play. JFAK determined that a two–story building of just under 4,000 square feet would be perfectly scaled for

the suburban neighborhood. It would also allow for appropriately spacious rooms and an efficient layout that flowed attractively. In part, the plan pays homage to traditional Opposite page: In the double-height living room at the front of the house, Moroccan houses: “They typically have a gatha teak-topped wall-mounted cabinet and freeform acrylic coffee table, both ering space next to the dining room where peocustom, are joined by a Charles and Ray Eames iconic rocker and an Isamu ple close to the family socialize before eating,” Noguchi floor lamp. Friedman, who was project lead, explains. “It is This page, from the left: The stair has a recessed handrail of stainless not the living room”—the classic salon marocain— steel. Several carefully positioned skylights throw dramatic shafts of sunshine on the living room walls. In the master bath, terrazzo tile flooring “which is a more formal space close to the front and custom lacquered MDF cabinetry join walls tiled in a wave pattern entrance and separated from the more private based on mosaic paving at Copacabana Beach. areas deeper in the house.” Following suit, JFAK located the family’s everyday quarters at the rear of the house, where the kitchen, den, and dining areas conjoin to create a convivial hang–out space that opens up via stacked sliding doors to the back yard and swimming pool. A double–height living room at the front of the residence provides an elegant environment for less casual entertaining, while a guest room with compact bath completes the ground floor. Upstairs, the master suite and terrace face the back yard; the children’s bedrooms and baths look out to the front and side. With the plan largely in place, the architects could concentrate on what the house would look like, inside and out. “Our decision not to put a second floor over the living room gave us freer rein in manipulating exterior and interior forms,” says Friedman, who was able to show the clients a number of options. Previous spread: Apart from an aquarium-like window and a glazed upper corner, the wood-and-plaster house presents a closed face to the street since the clients wanted limited fenestration and no conventional entry on that public frontage.

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“The 110

e not frivolous forms but relate to movement. There’s something joyful about them” y’r

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When the most biomorphic scheme was revealed—an undulating wood shell finished in brilliant white plaster—the wife zeroed in on it “with a huge smile,” Kimm reports. “They’re not frivolous forms but relate to movement,” she says of the interlocking curved volumes. “There’s something joyful about them.” The house presents its most rectilinear face—a geometric sculpture that incorporates a couple of rounded, swelling surfaces—to the street. Significantly absent is any fenestration beyond a large elevated picture window, protruding from the facade like an enormous TV monitor, and a single glazed corner even higher up. (The clients wanted privacy, the architects a bit of mystery.) There’s no conventional front door, either, just a side–entrance gate, painted the same celebratory shade of citrus–yellow as the inevitable two–car–garage door. If the curves are restrained at the front, they explode at the rear, where a plethora of sinuous lines, planes, and solids define, frame, and enfold the wide–open kitchen and family areas, creating an extraordinary degree of indoor–outdoor integration. Other curvilinear elements include a pergola of subtly undulating powder–coated aluminum slats that shelters the sunbaked terrace, and a deep, freeform soffit above an amoeba-shape granite–top table in the kitchen area. When it comes to the double–height living room, Friedman and Kimm add light and shadow to their arsenal of sculpting tools. A constellation of skylights creates a dance of sun and shade across the space, constantly affecting how it is experienced. The careful placement of these apertures reflects lessons learned from the masters: One washes the stair wall in bright illumination, a nod to Rafael Moneo, under whom they both studPrevious spread: A pergola of genied at the Harvard Graduate School of Design, tly undulating powder-coated alumi- while an idiosyncratic corner version owes num slats provides shelter from the inspiration to Pritzker Prize–winning Álvaro sun on the concrete back terrace. Siza, in whose Porto, Portugal, office Friedman Top, from left: An Anders Nørgaard worked for six months. sectional sofa, a custom acrylic and While finishes and furnishings are mostly stainless-steel coffee table, and a subdued and minimalistic—crisp white paint Moroccan-style rug gather under Clara von Zweigbergk’s pendant fixon the walls; gray–stained oak or lookalike ture in the family den area. A cusporcelain–tile planks on the floors; lacquered tom table of granite and teak— MDF cabinetry; a few classic pieces like the same wood as the base of the and Ray Eames’s rocker, a beanbag Charles neighboring solid-surfacing topped chair, an Isamu Noguchi lamp; plus some JFAK island—and Karim Rashid’s Oh chair custom designs—the architects went for full furnish the open kitchen area. tropical splendor in the bathrooms. The masBottom, from left: The exuberant ter bath is especially exuberant, its walls tiled rear portion of the house is as open and curvilinear as its more sober in an azure-and-white wave pattern based on front facade is closed and rectilinear. the mosaic that paves Copacabana Beach’s In an oblique nod to Brazil’s nafamous oceanfront promenade. The girl from tional sport, the hexagonal cementIpanema—or the kid from Casablanca—would tile pattern in a child’s sky-lit bathfeel right at home. room suggests soccer balls. PROJECT TEAM ALEX SOLBES, KYUNG-IL CHUNG, JIANXIN SUN, SHUANG XU: JOHN FRIEDMAN ALICE KIMM ARCHITECTS. GRACESCAPES DESIGN: LANDSCAPE CONSULTANT. FRANCESCHI ENGINEERING: STRUCTURAL ENGINEER. JMC2 CIVIL ENGINEERING + SURVEYING: CIVIL ENGINEER. MARINA WOODCRAFT: WOODWORK. BONOMO DEVELOPMENT: GENERAL CONTRACTOR. PRODUCT SOURCES [FRONT EXTERIOR] LA OVERHEAD GARAGE DOORS: CUSTOM GARAGE DOOR. [LIVING ROOM] CISCO HOME: SOFA, ARMCHAIRS, POUF, ACCENT TABLE, RUG, PILLOWS. RONNIE FUJINAMI AND ACRYLIC SPECIALTIES: CUSTOM COFFEE TABLE. ISAMU NOGUCHI: FLOOR LAMP. HERMAN MILLER: ROCKING CHAIR. [STAIRCASE] BONOMO DEVELOPMENT: CUSTOM HANDRAIL. [MASTER BATH] ZUMA COLLECTION: BATHTUB. KOHLER: SINK. GROHE: TUB FILLER, SINK FAUCET. CALIFORNIA FAUCETS: SHOWERHEAD. SUGATSUNE: CABINET HARDWARE. BRISTOLITE: SKYLIGHTS. TREND USA: FLOOR TILES. CLÉ: WALL TILE. [BACK TERRACE] IKEA: TABLE. KNOLL: CHAIRS. JOHN DUNNE: CUSTOM PERGOLA. HEATSCOPE: HEATING UNITS. [DEN AREA] BOCONCEPT: SOFA. HERMAN MILLER: ROCKING CHAIR. RONNIE FUJINAMI AND ACRYLIC SPECIALTIES: CUSTOM COFFEE TABLE. CISCO HOME: PILLOWS, RUG. LOUIS POULSEN: PENDANT FIXTURE. [KITCHEN AREA] UMBRA: CHAIRS. IKEA: STOOLS. JOHN DUNNE: CUSTOM TABLE. SUGATSUNE: CABINET HARDWARE. AVENUE LIGHTING: CEILING FIXTURE. WOLF: STOVE, OVEN. [CHILD’S BATHROOM] ZUMA COLLECTION: BATHTUB. CALIFORNIA FAUCETS: TUB FILLER, SHOWERHEAD. KOHLER: SINK. GROHE: FAUCET. TOTO: TOILET. SUGATSUNE: CABINET HARDWARE. BRISTOLITE: SKYLIGHT. APAVISA: FLOORING. CLÉ: WALL TILE. THROUGHOUT MARINA WOODCRAFT: CUSTOM CABINETRY. FLEETWOOD WINDOWS & DOORS: WINDOWS, GLASS DOORS, SLIDING DOORS. ITALGRANITI GROUP: FLOOR TILES. BENJAMIN MOORE & CO.: PAINT.

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In Dublin, Kingston Lafferty Design transforms a 200-year-old, stone-vaulted coach house into a thoroughly modern residence

the stable life text: michael lassell photography: barbara corsico

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Bolton Hall is a landmarked Georgian country house in Rathfarnham, a suburb of Dublin. In 2015 the building and its 4 ¾-acre grounds were bought by Homeland, a real estate developer that received permission to create 20 new luxury residences on the site. After building 17 townhouses, Homeland’s principals, Aoife and Neil Collins, turned their attention to the overgrown, partial ruins of the estate’s original vaulted stables and adjacent paper mill, with the notion of erecting three more units in and around the surviving 200-year-old brick and granite structures. To create the interiors for the largest of these conversions—the two-story, 3,000-square-foot Coach House—Homeland hired Kingston Lafferty Design, a Dublin firm founded by Róisín Lafferty, who had previously worked on one of the development’s townhouses. Happily, Lafferty was brought onto the project early enough to collaborate with Ferreira Architects on fundamental decisions of layout, materials, and finishes. Among the signature gestures she brought to the four-bedroom house were her frisky sense of color and irreverent brand of modernism. “To me,” she says, “the layout of the project was very much about creating an exciting and unexpected journey that gives people options for how they circulate through it.” Overall, the design—a mix of restored and newly built sections—is a study in balance. To contrast with the rough-hewn walls and overarching barrel-vaults, Lafferty chose floors of polished concrete, limed-oak parquet, and a wide variety of tile. In the kitchen, she juxtaposed new walls of polished plaster—which,

Previous spread: A playfully over-size Maison Dada pendant fixture hangs above the barrel-vault reading nook’s custom banquette and engineered-oak floor. Clockwise, from top: Custom steel-and-glass partitions flank a portal to the dining area where an Eero Saarinen table sits beneath Edizioni Design pendants. The formal living room features vintage midcentury pieces and dark high-gloss wall paint. An oak barn door separates the lounge from the kitchen area. Opposite: The nook’s arched end wall is completely filled by a mirror. 116

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Clockwise, from top: Italian geometric porcelain tiles enliven the walls and floor of a bathroom on the second floor. In the kitchen area, the custom island—made of Nero Marquina marble and lit by a French ’50s–style two-arm sconce—faces a new wall finished in polished plaster. A woodenbead chandelier dominates a guest bedroom. In a child’s bedroom, Alessandro Zambelli’s porcelain pendant fixture lights the headboard wall covered in graphic Moroccan tiles that beg to be colored in.

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she notes, “has an almost textural tonality to it and feels soft to touch”—with an imposing island of Nero Marquina marble. To define spaces, she subtly reined in the free flow of rooms with custom portals of mildsteel and rippled-glass. These industrial elements, set in a preindustrial environment, frame views that make moving from one space to another an event. By introducing such refined architectural flourishes, together with cosseting upholstered furniture, Lafferty created an appealing equilibrium between the rigorous and the relaxed, the masculine and the feminine, the old and the new. The decorator’s enthusiastic use of color also governs how the house is experienced. Apart from the kitchen/dining area, there are two main common spaces in the residence: One is the formal living room in the old section, the other a brighter lounge in the new part. The former’s walls are painted a dark “dirty teal,” applied over rough sand

and cement render, but in an unexpected high-gloss finish. For the lighter lounge, which can be closed off from the kitchen with a large oak barn door, Lafferty designed a lime-green velvet sofa to fit the room’s ample dimensions. “We wanted it to be strong yet whimsical,” she says. “Some people were skeptical about a big piece in such an assertive color, but I think it pulls the space together.” Lafferty also brought her love of tile to the project. “People think of it as cold and hard, for bathrooms and kitchens only,” she says. “But I like it in living and dining spaces and even in bedrooms.” In fact, she’s used it in various forms all over the house, from solid and decorative Moroccan tiles made in the traditional way to contemporary geometrics that recall the groundbreaking ceramics of Italian architect and designer Gio Ponti. She covered an entire corner of the kitchen in dark blue zellige tiles, which she also used on a cantilevered bench and moisture-resistant

timber table that extends through accordion windows onto a patio, maximizing the relationship between indoors and out. Another of Lafferty’s personal obsessions is lighting, particularly over-size ceiling fixtures. “The scale of most of the light fittings is bold and playful,” she reports, “but they’re quite refined in themselves.” A case in point: the Edizioni Design fixtures, hanging like giant hoop earrings over the dining table, are both enormous—3 feet in diameter—and delicate. The ultimate shockstar in this light galaxy, however, is a fantastical Maison Dada pendant—a 5 ½-foottall, bright-scarlet gobsmacker—suspended above a rosy-pink custom banquette in the barrel-vault reading nook. The nook itself summarizes a lot of the project’s design strategies. The banquette’s felt upholstery softens, feminizes, and modernizes the space: the solid color not only contrasts with the complex tonality of the surrounding walls but—thanks to the

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hue’s distinctly 1970’s vibe—also fast-forwards the antique brick- and stonework into the new millennium. Lafferty covered the entire arched end-wall of the barrel-vault space with mirror, creating an infinity effect that makes the nook seem endless. “We wanted to showcase the arches as much as possible,” she says. “Clients think big mirrors are too glitzy, but when they fill a whole wall, they’re quite invisible. They just extend the space.” As thoroughly appealing as the Coach House looks, Lafferty is most gratified by the way it feels. “It’s the nicest space I’ve ever done,” she says. “I think I probably put a bit of my heart into it. If I could have moved in myself, I would have.” PROJECT TEAM BECKY RUSSELL, AMIRA AL SHATER: KINGSTON LAFFERTY DESIGN. FERREIRA ARCHITECTS: ARCHITECT OF RECORD. SMC GROUP: CONCRETE SCREED. MOORE O’GORMAN JOINERY: WOODWORK. HOMELAND: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT MAISON DADA: PENDANT FIXTURE (READING NOOK). PORTMARNOCK FURNISHINGS: CUSTOM BANQUETTE. ATELIER ARETI: SCONCES. THE VINTAGE HUB: DINING CHAIRS (FORMAL DINING AREA). KNOLL THROUGH NEST: DINING TABLE. EDIZIONI DESIGN THROUGH ARTEMEST: PENDANT FIXTURES. CA DESIGN: SHELL CHAIR (LOUNGE). ORIOR: CUSTOM SOFA. ARTEMEST: ROUND COFFEE TABLE. BLUESUNTREE: METAL-WIRE SIDE TABLE. HABITAT: BLACK SIDE TABLE. HERMAN MILLER THROUGH NEST: PENDANT FIXTURES. IRUGS UK: VINTAGE PERSIAN RUG. ACQUIRED: VINTAGE SOFA (LIVING ROOM). MID-CENTURY ONLINE: VINTAGE TIERED BRASS COFFEE TABLE. INSCAPES DESIGN: PENDANT FIXTURE. MADE: WOOL RUG (LIVING ROOM), SCONCES, PILLOWS (GUEST ROOM). VILLEROY & BOCH: TOILET, BATHTUB (BATHROOM). ALAPE: SINK. PERONDA THROUGH BEST TILE: FLOOR AND WALL TILE. SELETTI THROUGH OUT THERE INTERIORS: PENDANT FIXTURE (CHILD’S ROOM). OUT THERE INTERIORS: WOODEN-BEAD CHANDELIER, LEATHER SIDE TABLE (GUEST ROOM). THROUGH BLUESUNTREE: GRAY THROW. THROUGH FERN LIVING: ROSE

Left: Vivid zellige tile covers the walls, cantilevered bench, and moisture-resistant timber table in a windowed corner of the kitchen area. Top left: By extending the tiled table through the accordion window onto a patio, Lafferty created an outdoor eating area, where the floor and built-in benches sport the same brightly patterned encaustic cement tile. Top right: The cement tile on the pantry floor recall the geometric designs of Gio Ponti.

THROW. BY LASSEN: OAK BAR STOOLS (KITCHEN AREA). BLUESUNTREE: TWO-ARM SCONCE. ARMOURCOAT: POLISHED WALL-PLASTER. HABITAT: CONCRETE STOOLS (INDOOR/ OUTDOOR DINING AREA). HICKEN LIGHTING: SCONCES. MOSAIC FACTORY: BLUE ZELLIGE TILE. THROUGHOUT BEST TILE: MOROCCAN ENCAUSTIC CEMENT TILE

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text: ted loos photography: matthew millman

hawaii’s new wave

Traditional meets contemporary at a Kona Coast compound by Walker Warner Architects and Philpotts Interiors

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Given a truly spectacular oceanfront site on Hawaii’s Big Island—set along an ancient footpath, atop a hardened lava flow, with views of sky, sun, and water for days—you would think that the design team could just lay back and chill. How could you screw it up? A hut would nearly suffice. Turns out it took nearly three years to perfect a Kona Coast vacation home on just such a plot for a couple based in Portland, Oregon. The clients’ wait was rewarded with spectacular results. Architecture and interior are ultramodern and yet rely heavily on traditional materials and touchstones. Old and new ebb and flow as easily as the tides right outside the home's copious sliding-glass doors. Principal Greg Warner of Walker Warner Architects and Philpotts Interiors partner Marion Philpotts-Miller approached the project in a thoughtful and methodical manner. “We call it the 'Village,'” Warner says of the unusual arrangement, a grouping of four separate structures linked by a lush courtyard and a series of walkways and patios. Indeed, traditional Hawaiian villages, typically organized in loose clusters, inspired both the site plan and the daring architectural style, an angular composition of canted steel columns, steep-pitched roofs, and rhomboidal window and door openings. “The structures represent a contemporary interpretation of early hale shelters,” Warner says. “They’re like modernist lean-tos.” The clients wanted to use the compound to entertain friends and family. But they also desired privacy. So, Warner located the volumes housing the master suite and the main living areas on the site’s ocean side. Set back deeper in the property are pods containing the two guest suites and communal relaxation areas. Bedrooms open onto concrete-walled private courts for additional seclusion. The parcel of land isn’t huge—around 1 ½ acres—and the buildable area is much smaller; in total, interiors encompass approximately 4,800 square feet. But the arrangement (not to mention the sweeping views) makes the three-bedroom residence feel expansive.

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The rugged rock walls of historic Mokuaikaua Church, located in nearby Kailua, inspired the primary building materials: lava rock and other stones mortared with lime putty. Warner and his former colleague, senior project manager David Shutt, also chose durable Western red cedar as the dominant wood—both for cladding and the roof shingles—since it resists heat, moisture, and insects. Inside, stained and lightly polished concrete flooring keeps things cool during the day. As for the decor, Philpotts-Miller and her team were inspired by what she describes as the “adventurous nature” of the clients. Accordingly, “the use of color is very playful and dynamic,” she says. In the rec room, for instance, custom surfboards are mounted on the wall like artworks. Otherwise, the scheme is no-frills, simple, and airy, with a midcentury vibe that Philpotts-Miller explains was inspired by the work of Hawaiian modernist Vladimir Ossipoff. And the rooms aren’t stuffed to the gills with furnishings. “Because the architecture is so thoughtfully put together and there’s so much natural texture, we didn’t need to load up the interiors,” Philpotts-Miller continues. She is particularly proud of how the living room riffs on an abstract oil on canvas by Lee Kelly. “We really let

Previous spread: The cedar-enclosed main living pod is one of four structures comprising a residential property on Hawaii’s Kona Coast by Walker Warner Architects and Philpotts Interiors. Opposite top: The master suite’s study culminates in a sitting area with a Charles and Ray Eames lounger offering Maui views. Opposite bottom: The kitchen’s island and table are topped in honed Cararra marble. Bottom: A Lee Kelly oil on canvas animates the living room’s assemblage of Christian Liaigre furnishings, including an oak lamp and sofa and wenge lounge chairs; the ceiling slats are bleached Douglas fir.

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Opposite: The volume housing the master suite, with a custom bed by Philpotts Interiors, was built of traditional lava stone and lime putty; windows are framed in stained sapele mahogany. Top left: A koi pond is the focal point of the courtyard between the main living and master suite pods. Top right: The master bedroom’s bench is walnut. Bottom: Custom surfboards—one hand-painted, the other crafted of paulownia—hang above the rec room’s Eero Saarinen table.

that piece define the palette,” she says. Note the neutraltoned Christian Liaigre oak sofa and wenge lounge chairs, plus a custom wool-cotton rug in a funky orange hue. “All the furniture is in harmony and set up to celebrate the view,” she summarizes. The master bedroom is likewise grounded with earthy, timber-toned accents—whitewashed wood wall paneling, a walnut bench—and also lifted via a sky-blue rug and throw pillows. Philpotts-Miller and her team designed the project’s biggest pieces, including the master suite’s clean-lined bed with raffia and white-oak headboard, as well as the living room’s cocktail table in butterfly-jointed Australian mahogany. By design, there’s very little barrier between indoors and out. Sapele-framed sliders glide open to the elements, and operable windows swivel to coax in the breeze and encourage cross ventilation. “The living room unfurls to become porchlike,” Warner adds, noting the continuity of floor and ceiling materials between interiors and adjacent alfresco spaces. The degree of openness led Philpotts-Miller to favor “indestructible” solution-dyed acrylic upholstery for much of the casual furniture. SUMMER.19

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“Because the architecture is so thoughtfully put together and there’s so much natural texture, we didn’t need to load up the interiors”

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Opposite: The compound is surrounded by a field of lava and native grasses. This page: Concrete walls and cedar slats enclose the custom castconcrete tub standing in the courtyard off the master bathroom. SUMMER.19

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The home is built to rest gently in the landscape but also to last for generations. “We execute enduring archi tecture—in the sense of material quality but also livability,” Warner says. “We have high hopes for the legacy of this project.” PROJECT TEAM ROB CAMPODONICO, ANJA HÄMÄLÄINEN, BOYCE POSTMA, RINA WIEDENHOEFT: WALKER WARNER ARCHITECTS. RON UYESUGI: PHILPOTTS INTERIORS. DAVID Y. TAMURA ASSOCIATES: LANDSCAPING CONSULTANT. LIGHTING & ENGINEERING INTEGRATED: LIGHTING CONSULTANT. HAYES STRUCTURAL DESIGN: STRUCTURAL ENGINEER. MARK MORRISON MECHANICAL ENGINEERING: MEP. KONA WAI ENGI NEERING: CIVIL ENGINEER. ARC WOOD & TIMBERS; NA KALAI LA’AU WOODSHOP: WOODWORK. OAKES MANAGEMENT: GENERAL CONTRACTOR. PRODUCT SOURCES PATIO KETTAL: DINING CHAIRS. STUDY HERMAN MILLER THROUGH DESIGN WITH IN REACH: CHAIR. KITCHEN MC GUIRE: TABLE, CHAIRS, STOOLS. PERENNIALS: CHAIR FABRIC. FLEXFORM: PENDANT FIXTURE. LIVING ROOM CHRISTIAN LIAIGRE: SOFA, LOUNGE CHAIRS, TABLE LAMP. GLANT TEXTILES: SOFA FABRIC. RAOUL TEXTILES:

SOFA PILLOW FABRIC, LOUNGE CHAIR BACK FABRIC. POLTRONA FRAU: ARMCHAIRS. MIKE RILEY WOODWORKS: CUSTOM COFFEE TABLE. D E SOUSA HUGHES: CUSTOM BENCH. NOBILIS: BENCH CUSHION FABRIC. INDICH COLLECTION: CUSTOM RUG. MASTER BEDROOM KONA COAST UPHOLSTERY: CUSTOM HEADBOARD PANEL. PER ENNIALS: HEADBOARD FABRIC. JIM THOMPSON: BED THROW FABRIC, PILLOW FABRIC. MADELINE WEINRIB: RUG. NIDO LIVING: BENCH, SIDE TABLE. THROUGH DESIGN WITHIN REACH: SCONCE. B&B ITALIA: CHAIR. VICTORIA MORRIS POTTERY: CUSTOM LAMP. REC ROOM KNOLL: TABLE. THROUGH DESIGN WITHIN REACH: DINING CHAIRS. DEDON: ROCKING CHAIRS, OTTOMAN. HESS SURFBOARDS: CUSTOM SURF BOARDS. CHILEWICH: RUG. NIDO LIVING: SIDE TABLE. BATHROOM CONCRETE WORKS: TUB. NIDO LIVING: SIDE TABLE. SONNEMAN—A WAY OF LIGHT: SCONCES. GUEST BEDROOM HERMAN MILLER: BENCHES. JIM THOMPSON: PILLOW FABRIC. DESIGN WITHIN REACH: FLOOR LAMP, SCONCES. GALBRAITH & PAUL: PILLOW FABRIC. ROSEMARY HALLGARTEN: CUSTOM COVERS. ANTHROPOLOGIE: CHAIR. TUCKER ROBBINS: SIDE TABLE. THROUGHOUT SUN VALLEY BRONZE: DOOR HARD WARE. BENJAMIN MOORE & CO.: PAINT. MAUI CUSTOM WOODWORKS: CUSTOM BEDS.

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Opposite top: The oceanfront property encompasses 1â&#x20AC;&#x2030;Â˝ acres. Opposite center: Flooring in the master bathroom and throughout is polished, stained concrete. Opposite bottom: A niche in the master bedroom features a chair by Naoto Fukasawa. Below: The larger of the two guest suites, furnished with a white-oak headboard and a pair of George Nelson benches, opens onto a private courtyard.

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B O O K s edited by Stanley Abercrombie Ehrlich Yanai: Outside-In: New California Modernism by Nancy Griffin New York: Monacelli Press, $60 240 pages, 220 color illustrations The firm of Ehrlich Yanai Rhee Chaney Architects was founded by Steven Ehrlich in 1979. It was named the AIA’s California Council Firm of the Year in 2003 and its 2015 National Firm of the Year. The practice occupies a repurposed 1917 dance hall in Culver City and a more conventional office in San Francisco. Of the variety of commercial, educational, and residential projects the firm has taken on, 15 houses by Ehrlich and partner Takashi Yanai are shown in this book. One is in Houston, all the others in California. “Nature is welcomed in Several have views of the Pacific, and one of the literally and visually” Silver Lake Reservoir. One is on a craggy mountain near Palm Springs, another sits on a wooded hilltop in Napa County, and yet another occupies a verdant Beverly Hills canyon. Even those on urban sites have strong connections to enclosed gardens. When that was not possible, houses instead have pools reflecting the sky, internal courtyards, or— inspired by the Japanese tokonoma—alcoves for the contemplation of plants and art. Everywhere possible, interior and exterior merge. Matthew Millman is credited with a majority of the photography, much of which, including the cover, is in highly effective one-point perspective. The quietly handsome book design is by David Blankenship. Zahid Sardar’s graceful, cogent introduction is titled “The Nature of Houses,” but it could well have been called “The Houses of Nature.”

Creative Living: Bohemian Interiors Around the World by Robyn Lea New York: Abrams, $40 288 pages, 192 color illustrations While not literally from “around the world,” here are 20 striking interiors from locations almost equally divided among the United States, Italy, France, and Australia. (The book was first published last year by Thames & Hudson Australia.) These are not works by professional designers but by owners compelled to DIY, sometimes to obsessive extremes. Among them are Italian designer Piero Fornasetti’s son (still living in the family home), the granddaughter of Marc Chagall (still working at his desk), and the Italian expressionist/surrealist painter Francesco Clemente. Also represented are bee“I can’t relax in a sterile environment” keepers, goldsmiths, dressmakers, ceramicists, and many nonconformists who defy categorization. Most of them are collectors—of sewing kits, kitchen implements, ceramic birds, hat pins, vintage dress collars, antique dolls, lacquer bowls, children’s mittens—whatever happens to delight them. And almost all of them are artists in one way or another, displaying a multitude of media and styles (but not including minimalism). These wonderlands are presented chiefly in full-page color photographs, all framed in multicolored borders, for extra chromatic dash.

What They’re Reading... “Years ago, my older brother gave me a copy of this novel and it quickly became my favorite. It has played a significant role in shaping my outlook. I’m now re-reading it with my fiancée, Jessica, to whom my brother also gave it when we moved into our new house: More than a century old, the masonry building was used as a milk depot, and later as a mechanic’s garage. One of the first things we did when we moved in was install a claw-foot tub beside our bed, and now both are surrounded by plants and illuminated by a refurbished antique Spanish chandelier. One of us sits in the tub while the other reads. The protagonist, Barney, is a brilliant and wildly flawed art-loving romantic with dementia who made a fortune in television production. Because he had means, he ended up being more of a patron to his brilliant but struggling friends than a true creative. He made it possible for projects to happen that would have otherwise never come to life. This always stuck with me for some reason and influenced the type of studio I would later run. While I identify as a creative, first, the book really underscores the importance of business acumen. I have Jeffrey always wanted Stacklab to be more of a vehicle for collaboration than a cult of personality— Forrest as some design offices can be. Stacklab has allowed for some tremendous collaborations. Founder of Stacklab We recently designed acclaimed Instagram photographer Elie Kimbembe’s (@elie) first solo exhibition. This novel absolutely influenced my approach to the project. Barney was a bit of an old boy and offered hilarious and scathing criticisms of all kinds of new age fads. Similarly, our response to @elie’s brief was a bit reactionary. We resisted the temptation to translate the digital experience, but rather ‘criticized’ it by creating a space where our audience would engage genuinely with each other and the work.”

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Barney’s Version by Mordecai Richler New York: Vintage Books, $16 417 pages

C O N TAC T s DESIGNER IN CROSSLINES

PHOTOGRAPHERS IN FEATURES

Mario Romano (“The Ripple Effect,” page 27), marioromano.com.

Barbara Corsico (“The Stable Life,” page 114), barbaracorsico.com. Benny Chan/Fotoworks (“Santa Monica Samba,” page 106), fotoworks.cc.

DESIGNER IN AT HOME Studio Piet Boon (“Piet Boon’s Multitasking Nature,” page 35), pietboon.com.

Jimmy Cohrssen (“A Floating World,” page 84), jimmycohrssen.com. Joe Fletcher (“Metropolitan Life,” page 96), joefletcher.com.

DESIGNER IN SKETCHBOOK Tiago Do Vale Arquitectos (“Blue-Sky Thinking,” page 38), tiagodovale.com.

Matthew Millman (“Hawaii’s New Wave” page 122), matthewmillman.com. Roger Davies (“Natural Selection,” page 74), rogerdaviesphotography.com.

DESIGNERS IN OPEN HOUSE Best Practice Architecture (“Keeping Up With the Joneses,” page 63), bestpracticearchitecture.com.

PHOTOGRAPHERS IN OPEN HOUSE Ken Hayden Photography (“Making a Point,” page 55), kenhayden.com.

GAFPA (“Keeping Up With the Joneses,” page 63), gafpa.net. Hybrid Architecture (“Keeping Up With the Joneses,” page 63), hybridarc.com. Jennifer Post Design (“Making a Point,” page 55), jenniferpostdesign.com. Maria Giuseppina Grasso Cannizzo (“Keeping Up With the Joneses,” page 63), maggc@tin.it.

DESIGNER IN INTERVENTION Felipe Assadi Arquitectos (“A Study in Scarlet,” page 135), felipeassadi.com.

PHOTOGRAPHER IN INTERVENTION Fernando Alda (“A Study in Scarlet,” page 135), fernandoalda.com.

TC Plus (“Keeping Up With the Joneses,” page 63), info@tc-plus.be. Interior Design (USPS#520-210, ISSN 0020-5508) is published 18 times a year, monthly except semimonthly in March, May, June, and 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 916156479. TELEPHONE TOLL-FREE: 800-900-0804 (continental U.S. only), 818-487-2014 (all others), or email: subscriptions@ interiordesign.net. POSTMASTER: Send address changes to INTERIOR DESIGN, P.O. Box 16479, North Hollywood, CA 916156479. Publications Mail Agreement No. 40624074.

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Authenticity comes from passion, builds community, and ensures designâ&#x20AC;&#x2122;s future. Stay Original. Be Original Americas. â&#x20AC;&#x201C; John Edelman, President, Be Original Americas

Help protect the history of design and the future of innovation. Visit beoriginalamericas.com for more information.

I N T ER vention A cherry-red residence by Felipe Assadi Architectos keeps with tradition in San José de Maipo, Chile, where homes are often found painted the distinctive hue. That said, it might not occupy the mountainous region forever. The compact 936-square-foot structure comprises four prefab modules— two per floor—meaning the house is poised for relocation, even though it was assembled on-site. To hone the sculptural form, the Santiagobased studio started with a simple cube design and carved out various elements, creating not only a cavernous double-height entryway and sloping roof but also floorto-ceiling windows and a terrace conducive to indoor/outdoor living. Even the porch is only partially covered; apertures in the roof and adjacent facade usher daylight through the east-facing windows. Interiors are red-hot, too. Fiery cabinets and a concrete island populate the kitchen, which maintains one side of the open-plan living space. Upstairs, a symmetrical floor plan accommodates sleeping and bathing areas, bridged by a slim walkway that suggests the possibility of future additions. These could be fabricated in a factory, then transported to the construction site to be affixed via crane—and, presumably, colored accordingly. —Colleen Curry

a study in scarlet

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