Interior Design Fall Homes 2019

SEPT. 21, 2019

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CONTENTS FALL, 2019

VOLUME 90 NUMBER 11

fall1.9 ON THE COVER In an apartment renovated by Archiplan Studio in Mantua, Italy, Renaissance frescos adorn the dining room leading to living and sleeping areas. Photography: Helenio Barbetta/ Living Inside; styling: Chiara dal Canto.

FEATURES 72 THE MERCHANTS

OF COOL

by Kurt G. Stapelfeldt

Designer Sabine Marcelis and architect Paul Cournet’s artful loft brings low-key glamour to a dockside neighborhood in Rotterdam, the Netherlands.

82 THE SHAPE OF WATER

by Raul Barreneche

Architect David Jameson’s house in Bethesda, Maryland, evokes childhood memories of vapor rising from a dark pond.

90 MORE IS MORE

by Suzanne Wales

Estudio Vilablanch and TDB Arquitectura take Casa Burés in Barcelona, Spain, from Art Nouveau to right now.

DOUBLESPACE PHOTOGRAPHY

98 TOP-SHELF TALENT

by Stephen Treffinger

In the hands of global makers, ceramic takes on varied guises.

108 SMART BY NATURE

by Joseph Giovannini

Digital technology is put to environmentally friendly ends in a Hudson Valley, New York, country retreat by Hariri & Hariri Architecture.

118 WORKING IN CONCERT

as told to Jen Renzi

Interior Design Hall of Fame member and NBBJ consulting partner Rysia Suchecka recounts how she and her husband reinvented a centuries-old farm in Larroque-SaintSernan, France, as a modern private residence and cultural compound for art and music.

128 OVER LAND AND SEA

by Georgina McWhirter

Rural, alpine, and beach houses from Chile to Canada are at one with their remote surroundings.

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CONTENTS FALL, 2019

VOLUME 90 NUMBER 11

fall1.9 at home

35 KIKI & JOOST’S LIFE ON

THE FARM

by Kurt G. Stapelfeldt

open house 53 THE INSIDE STORY

by Chiara dal Canto 59 STAY AWHILE

by Georgina McWhirter

departments 19 HAPPENINGS edited by Annie Block

27 CROSSLINES

by Tate Gunnerson

The Curating Eye

Seamlessly integrating architecture, interior design, and fine art, Suzanne Lovell crafts three-dimensional narratives that reflect her diverse clients.

30 TRENDING edited by Rebecca Thienes

59

39 MARKETPLACE

edited by Rebecca Thienes 66 DESIGN INSIDER

by Joseph Giovannini The Tilted Line

A new book on French architect Claude Parent, prophet of the oblique, showcases his extraordinarily expressive drawings.

138 BOOKS

by Stanley Abercrombie

140 CONTACTS 143 INTERVENTION

by Edie Cohen

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e d i t o r ’ s welcome Follow me on Instagram

thecindygram

This soon-to-be-printed issue of Homes took me by complete surprise as I was crossing the T’s and dotting the last I’s. And while it didn’t do a complete runner on me, it has, to be sure, taken on an identity somewhat unexpected. Rather than the orderly anthology of novel ideas and unique design languages that we always set out to offer, this roudup highlights as chief protagonist contrast with a capital C. That’s fine with me, BTW—vive la différence and all that. As evidence has always had it, though, contrast assumes its primary characteristic from its context: in politics, it generates debate; in ideology, it often means “look out below”; and socially, it can broadcast one’s standout qualities. But for the arts in general, and for design in particular, contrast can just be…delicious! And there happens to be a whole lot of yumminess stocked inside, lovingly purveyed by veritable high priests of contrast.

The extraordinary Art Nouveau Casa Burés in Barcelona by Estudio Vilablanch and TDB Arquitectura suavely pairs ornamentation and modernism. David Jameson’s rigorous “don’t muck with me” black stainless-steel home in Bethesda, Maryland, masterfully opens up to radiant light and vaporous surfaces. The Hariris’s gravity-defying lines pit up perfectly against exacting squares in a revelation of a retreat in the Hudson Valley. Oh, and there’s our cover story in Mantua, Italy, deftly designed by Archiplan Studio with in-your-face, past-meetsnow attitude. This particular transformation shows how one breathes and achieves with opposites, and how unpredictably joins in so we don’t forget that the name of the game is solving, building, growing. Being particularly sensitive to what’s not obvious, or often hidden, or seemingly conflictual can be an exceptional tool for creativity, an invaluable asset for tackling any problem, and perhaps even the most essential ingredient of success...in design as in pretty much everything else.

Let me be your yang ;)

opposites attract

MONICA CASTIGLIONI

P.S. I didn’t include Hall of Famer Rysia Suchecka’s modern reinvention of a centuries-old farm in my welcome, simply because her “hideout” is not only a luminous example of contrast mastery—and frankly, mastery of everything else, including art, music, and culture—but also because it is a self-evident, clear indictment of the very notion of retirement…a state some should never indulge.

See for yourself what I mean... ;)

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DAYTIME VIEWS with NIGHTTIME PRIVACY create WAVES

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h e adl i n e rs

Studio Sabine Marcelis “The Merchants of Cool,” page 72 founder: Sabine Marcelis. firm site: Rotterdam, Netherlands. firm size: Six architects and designers. current projects: MSGM flagship store, Milan; a solo show in Barcelona, Spain. honors: The Design Prize 2019, Best Design Newcomer; Elle Deco International Design Awards 2019, Young Design Talent of the Year. role model: The late Austrian architect and designer Hans Hollein for the diversity of his practice ranging from jewelry to buildings. on the slopes: From ages 16 to 21, Marcelis trained to be a professional snowboarder, spending back-to-back winters in New Zealand and the U.S. on the sofa: These days, her favorite pastime is watching How It’s Made, the Discovery Channel series showing the manufacturing processes behind a wide variety of products. sabinemarcelis.com

CHRISTOFFER REGILD/LIVING INSIDE

“My working method allows me to intervene in the manufacturing process, using material research and experimentation to achieve new and surprising visual effects” FALL.19

INTERIORDESIGN HOMES

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TDB Arquitectura

Thom Filicia

“More Is More,” page 90 founder: Juan Trias de Bes. firm site: Barcelona, Spain. firm size: 16 architects and designers. current projects: Hotel Ronda St. Antoni and apartment buildings, all in Barcelona.

“Smart by Nature,” page 108 principal: Thom Filicia. firm site: New York. firm size: 16 architects and designers. current projects: A commercial tower in Tampa, Florida; a resort in Turks & Caicos; and private residences in Montana, New York, and New Jersey.

home: Trias de Bes lives in a house of his own design. away: He just got back from a tour of Japan that included stops in Tokyo, Kyoto, and Osaka. tdb-arquitectura.com

Rysia Suchecka “Working in Concert,” page 118 architect: Rysia Suchecka, IIDA, Hon AIA. firm site: Larroque-Saint-Sernan, France, and Orcas Island, Washington. current projects: Advising on London City University entrance and other projects in the U.K. as an NBBJ consulting partner (and the firm’s former design studio director).

sterling touch: Filicia has a growing collection of silver, including a pair of peacocks inherited from his grandmother by way of his mother. stealth student: As a budding designer in sixth grade, Filicia would lift his realtor mom’s pass key to go check the layouts of her listed houses. thomfilicia.com

David Jameson Architect

“More Is More,” page 90 co-founder: Agnès Blanch. co-founder: Elina Vilá. firm site: Barcelona, Spain. firm size: 14 designers. current projects: Houses in Barcelona, Priorat, and Colera, all in Spain. young: Blanch started designing furniture at just 13. fun: Vilá enjoys contemporary dance, jazz, and opera. vilablanch.com

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“Smart by Nature,” page 108 co-founder & principal design director: Gisue Hariri. co-founder & project architect:

Mojgan Hariri. firm site: New York. firm size: Eight architects and

designers. current projects: Private equity firm

offices, real estate management offices, Upper East Side residential renovation, all in New York; an apartment building in Tehran, Iran. fresh memories: The Hariris just returned from La Biennale di Venezia, which this year is titled “May You Live In Interesting Times.” future experiences: The sisters’ next overseas pleasure jaunt will take them to Lisbon, Portugal. haririandhariri.com

loving nature: Suchecka is totally committed to land and tree conservation. making notes: She’s passionate about classical music, the piano in particular.

Estudio Vilablanch

Hariri & Hariri Architecture

“The Shape of Water,” page 82 principal: David Jameson, FAIA. firm site: Bethesda, Maryland. firm size: Four architects. current projects: Houses in Menlo Park, California; Arlington, Virginia; Washington, DC; and Hanoi, Vietnam. family fun: Jameson does as much as he can with his wife and two kids, including taking a recent hiking vacation in Zion National Park, Utah. family games: The tennisloving Jameson clan will all travel to Queens, New York, this month for the 2019 US Open tournament. davidjamesonarchitect.com

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happen ings edited by Annie Block

over the moon Space-agey French fashion has landed in New York. Just in time to coincide with the 50th anniversary of Apollo 11’s lunar voyage.

“Pierre Cardin: Future Fashion,” at the Brooklyn Museum, traces the seven-decade career of the 97-year-old fashion designer. The retrospective includes some 170 objects dating from the ’50s to today. Of course, Cardin’s clothing is on display, from his iconic 1966 Target dress and Cosmocorps men’s suit from 1968 to his 1992 Parabolic gown. But, alongside archival photographs, sketches, and runway footage, are his lesser-known super-mod furniture designs. In a case of full immersion, Norm, the museum’s café, has been temporarily transformed into a stateside popup of Maxim’s de Paris, the legendary restaurant that opened in 1893 and Cardin purchased in 1981 and still owns today.

interiordesign.net/pierrecardin19 for images of his furniture pieces TERRY O’NEILL/ICONIC IMAGES

A 1970 photograph of Raquel Welch wearing a vinyl miniskirt and necklace and a Plexiglass visor appears in “Pierre Cardin: Future Fashion,” at the Brooklyn Museum through January 5.

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Beyond bath fixtures…

A master’s in architecture…

It informs Erin O’Keefe’s abstract yet dimensional photography. In fact, it’s translating 3-D space into a 2-D image, and the distortion that comes with it, that’s the “central issue” in her work. Pink Ground, an archival pigment print, exemplifies that leitmotif. It’s appearing alongside O’Keefe’s 11 other new pieces in “Seeing Things,” at Denny Dimin Gallery in New York from September 6 to October 26.

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From September 26 to October 3 at Unix Gallery, “Textiles Revealed,” part of the fourth annual New York Textile Month, co-curated by Interior Design Hall of Fame member Lidewij Edelkoort, will showcase 11 contemporary Belgian textile designers. Among the installations, sustainable furniture, tapestries, and rugs by the likes of Alice Leens, KRJST Studio, and Geneviève Levivier will be the wool A Traverser

by Ani Bedrossian and Flavien Servaes of BedrossianServaes, whose work is researchdriven and experimental.

London, Paris, New York…

H A PPE N ings

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Belgian flair…

Founded by architects Ian Flood and Chris Prosser, Skyline Chess sets are composed of miniature versions of noteworthy buildings in those cities— from the Shard by Renzo Piano to Frank Lloyd Wright’s Guggenheim—hand-crafted of quality materials. Now San Francisco has entered the game, with William Pereira’s Transamerica Pyramid as queen and César Pelli’s Salesforce Tower as king.

The figures in the Premium Metal version shown are cast in resin mixed with aluminum or iron and play on a screen-printed Carrara marble board.

CLOCKWISE FROM TOP LEFT: RICH MACIEJEWSKI/COURTESY OF THE LENORE G. TAWNEY FOUNDATION, NEW YORK, AND THE JOHN MICHAEL KOHLER ARTS CENTER; COURTESY OF BEDROSSIANSERVAES; COURTESY OF SKYLINE CHESS; COURTESY OF ERIN O’KEEFE AND DENNY DIMIN GALLERY

The John Michael Kohler Arts Center, a nonprofit museum in Sheboygan, Wisconsin, promotes the work of self-taught and contemporary artists through original exhibitions, particularly championing artist-built environments.

“Lenore Tawney: Mirror of the Universe,” running October 6 to March 7, is one such show. 1961’s The Judge, in linen, and The Bride, 1962, linen and feathers, will be among the over 120 works by the influential fiber artist who died at age 100 in 2007, along with hundreds of components from her studio.

r ich ar d f r in ier. com

bl ips

To coincide with the centenary of women’s suffrage, the Center for Art in Wood in Philadelphia is presenting “Making a Seat at the Table: Women Transform Woodworking,” from October 4 to January 18. The 43 female artists range from the established—

celebrating 40 years of award-winning design I furniture | textiles

It’s been 100 years…

FROM TOP: MATTHEW STAVER; MICHELLE GIVEN; L. GNADINGER

designer and RISD president Roseanne Somerson among them—to the emerging, and their work showcases traditional techniques alongside those more techno­ logical. Laura Kishimoto, for example, employed freeform vacuum-bag lami­na­ ting for her circular Yumi Chair II. Annie Evelyn steam-bent the spindles holding real blossoms in her Windsor Flower Chair. But Katie Hudnall cites dumpster diving as the process behind her reclaimed-wood Spirits Cabinet.

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c r o s s lines

the curating eye Seamlessly integrating architecture, interior design, and fine art, Suzanne Lovell crafts three-dimensional narratives that reflect her diverse clients

From top: Chicago architect Suzanne Lovell poses in a Miami Beach, Florida, residence she designed, beside Iván Navarro’s Come to Daddy, 2015. In the same apartment, Portrait Warhol, a mixed-media collage by French artist Joseph, joins a set of Donald Judd chairs and Lee Broom’s Hanging Hoop.

ERIC PIASECKI

Architecture underpins all great design, and it has certainly proven a solid foundation for Suzanne Lovell. The multifaceted Chicago-based design professional honed her skills at Skidmore, Owings & Merrill—“a fantastic bootcamp,” she says, “that taught me about the intersection of all the different disciplines and trades, including HVAC, lighting, and plumbing”—before launching her eponymous residentially focused firm in 1985. In the ensuing decades, Lovell has taken on tony estates, palatial beachfront homes, sleek Manhattan penthouses, and recently, her first superyacht. In 2011, Lovell authored a glossy tome, Artistic Interiors: Designing With Fine Art Collections, which testifies to the centrality of painting, sculpture, photography, and other mediums in her work—an approach she’s abetted by integrating a dedicated fine-art advisory service, directed by colleague Kristin Murphy Romanski, into her practice. Lovell talks us through her interests and inspirations.

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c r o s s lines

How do your architecture, interior design, and fine-art advisory teams work together?

Our integrated process ensures projects are conceived holistically.

When reviewing architectural materials for a client—a certain stone, concrete, cerused oak—we’ll also review furniture and fabrics for those rooms. Art placement opportunities are included in that conversation. It’s all interwoven from the inception.

How is acquiring art for a client different from creating an interior?

At an architecture/interiors firm, you source and buy to create a certain aesthetic.

The art world is 180 degrees different: You have to prove that you’re not decorating with the art; otherwise they won’t show you the really good stuff or allow you into private sales.

Kristin and I might take somebody to a show to find art for their residence—or simply to educate them.

People want experiences.

If they have a phenomenal experience putting together

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their house, and if they can walk a guest through it and tell a story about it, how fabulous is that? Building a house can be an experience too, and it can be really fun.

What does the fine-art advisory service encompass?

It’s a very complex business.

We frequently collaborate with auction houses and galleries and work on clients’ existing collections: logging the pieces, coordinating appraisals…that sort of thing.

We also help clients bequeath art to museums; we’re very

tied into what the museums are hoping to add to their collections.

At the same time, I think it’s fascinating that a lot of collectors today are creating their own museums because they want visitors to have an experience with their art— rather than donating it to a museum where it might sit in storage for 10 years.

What are you excited to be working on now?

We have a big residential project in upstate New York.

We’re gutting the interior and

taking a very DanishNorwegian approach: white plaster, Andes black granite, and clean, raw oak. The house overlooks an incredible garden.

Your work takes you all over the world. What upcoming trips are you most anticipating?

Kristin and I are planning a trip to Cork, Ireland, to visit Joseph Walsh, an exceptional maker who engineers bentwood pieces into furniture and sculpture. I had a long conversation with him

CLOCKWISE FROM TOP LEFT: FOREST JOHNSON (2); COURTESY OF SUZANNE LOVELL INC.

“In the art world, you have to prove that you’re not decorating with the art; otherwise, they won’t show you the good stuff!”

Top, from left: Eternity, a 65m Codecasa superyacht. The yacht’s main deck. Lovell sits in a Donald Judd chair, near Anne Lindberg’s unfold 13, 2016. A Candida Höfer photograph graces the living room of a Scarsdale, New York,

CLOCKWISE FROM BOTTOM RIGHT: ERIC PIASECKI (4); TONY SOLURI (BOOK COVER PHOTOGRAPHY)

about integrating his bentwood into architecture; I’m excited to continue that discussion at his studio.

What impact has being headquartered in Chicago had on your business?

Chicago is a special place.

I don’t think we could have built this kind of business in New York or L.A. There are a lot of really loyal people here—our team has worked together for a long time and is very good at communicating with each other—and not a lot of big egos.

I understand that you recently designed your first superyacht. What was that like?

You don’t have the luxury of space on a superyacht! It requires incredible accuracy and organization. Every element has to be very tight and well-articulated. That coordination intrigues me.

Your work runs the gamut from traditional to modern, with many projects blending elements of both. What does this say about your approach?

I never want people to say,

“Oh, that’s a Suzanne Lovell house.” I like to honor what people enjoy. I had a client who really wanted a knottypine house. That was her character, and it was really fun to put it together. During a walk right after we got the job, I saw a great big tree mushroom and pulled it off.

Those became her sconces, albeit made out of resin.

You created a penthouse concept for Vista Tower, the Jeanne Gang skyscraper currently under construction in Chicago. Did you enjoy

designing a space with no client per se?

It was super fun. Drone footage allowed us to see exactly what the 360-degree views will look like at that level—and how much noise there’d be up there. You can buy a view, but then you have to make it a place that holds you and gives you moments of peace. We had to figure out ways to turn in toward the core and the artwork. Art is what gives you the memorable moments.

—Tate Gunnerson

residence. Artistic Interiors, published by Stewart, Tabori & Chang in 2011.

Bottom, from left: A scale model of the penthouse at Chicago’s Vista Tower, featuring artworks by Christopher Wool, Joan Mitchell, Ingrid Donat, and Pae White, among others. Tommy Clarke’s Jolly Beach, 2016, hangs in a Miami Beach, Florida, residence. Outside of the same apartment’s master suite, Callum Innes’s Exposed Painting—Oriental Blue, 2013, and Peter Tunney’s Courage (Definition), 2014, join a sculpture from the client’s collection and a Hervé Van der Straeten console.

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cane crush Contemporary takes on the tropical mainstay reboot tradition For their Cane collection by Thailand’s Atelier 2+, Industry West co-founders Jordan and Anne England revisit the Southeast Asian tradition of weaving cane—the bark from rattan stems—into intricate webbing. The craft dates back to the 17th century and reached its apex in Victorian times but translates well to contemporary furniture shapes.

Case in point: a cabinet that pairs an arched ash frame with a woven-cane inlay, the unit perched atop twiglike legs. industrywest.com

T R E N Ding edited by Rebecca Thienes

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T R E N D ing

1

“The fineness and transparency of cane makes it poetic” —Robert Highsmith, Workstead

2

4

1. Volare lounger in Manau rattan

with epoxied-metal legs by Vivere. viverecollection.com 2. Cane sofa with ash frame and

5 Workstead’s custom cabinetry, with cane panels by woodworker Clay Richardson, graces a carriage house the studio renovated in Charleston, South Carolina. workstead.com

woven-cane inlay by Industry West. industrywest.com 3. Capitol Complex chairs, an

homage to Pierre Jeanneret, in black-stained oak and Viennese cane by Cassina. cassina.com 4. Meghedi Simonian’s Split folding screen in teak, rattan, and oak and Bi Grey teak daybed upholstered in heathered fabric by Kann Design. kanndesign.com 5. Frame II pendant and Frame

sconce with lacquered-metal frames, rattan inlays, terrazzo details, and glass globes by Utu Soulful Lighting. utulamps.com

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BOTTOM RIGHT: JEFF HOLT

3

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

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FURNITURE

LIGHTING

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INTERIORS

For most of the 20th century, Eindhoven was home to electronics giant Philips, which made the Dutch city a center of innovative technology and design. And so it remains today—two decades after the multinational shuttered its factories, leaving unemployment and empty real estate in its wake—thanks not only to smart public/private entrepreneurial partnerships that have repurposed vacant buildings but also to the presence of Design Academy Eindhoven, one of the world’s most respected schools.

Two DAE graduates, Kiki van Eijk and Joost van Bleiswijk, exemplify the city’s rich design culture. Partners in business and life, they work individually or jointly as Kiki & Joost, their brand of furniture, textiles, lighting, and other products. The couple’s studio/ workshop/showroom sprawls over 9,600 square feet in a former Philips laboratory, an appropriate setting for the kind of research and experimentation their design involves. “The building is filled with creative people and companies,” van Eijk reports, “everything from DJs to fabricators.” Kiki & Joost even does some of its production on site.

The couple’s home—amid fields 20 minutes away—is also reclaimed: a dilapidated but landmarked 19th-century brick-and-timber barn, much of which had to be reconstructed.

“Basically, we built a new house inside an old shell,” van Bleiswijk explains. “Most of the interior—walls, doors, even the steel staircase—was done by us in our workshop.”

Open and flowing, the 4,520-square-foot, two-story residence centers around a doubleheight living area with an enormous window wall overlooking the artfully unkempt back garden—van Eijk’s domain—and the countryside beyond. The light and airy interiors are furnished with a who’s-who of contemporary Dutch design. “It’s a combination of our own prototypes and pieces we’ve swapped with other designers, some vintage and industrial items, and things we’ve found while traveling—really personal stuff,” van Bleiswijk says. “But it’s a family home, not a showroom. With two young boys, above all it has to be a comfortable house.” —Kurt G. Stapelfeldt

VALENTINA SOMMARIVA/LIVING INSIDE; PRODUCTION: ALICE IDA SALERNI

kiki & joost’s life on the farm From top: Dutch product designers Kiki van Eijk and Joost van Bleiswijk in their Eindhoven studio. The living area of the couple’s residence, a renovated 19th-century barn 20 minutes away.

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1. The residence occupies a landmarked 19th-century barn, whose dilapidated interior had to be completely rebuilt.

2. The carved wood sculpture, Chinese Still Life, is by Emile van der Kruk.

3. Van Eijk designed Hydrangea—a biomorphic-shape hand-knotted wool-andviscose rug—for Nodus.

VALENTINA SOMMARIVA/LIVING INSIDE; PRODUCTION: ALICE IDA SALERNI

4. A vintage storage unit is repurposed as a vanity in the master bathroom.

5. The stainless steel NSNG candelabrum by van Bleiswijk is part of his No Screw No Glue series, pieces constructed without fixatives of any kind.

6. A portrait of van Eijk by photographer Sabine Pigalle presides over the dining area’s Heavy Metal table and Spartan chairs, both by van Bleiswijk.

7. The master bedroom has many pieces by van Eijk, including her wool-andviscose Townhouse rug for Nodus on the floor, Knick Knack ceramic pots on the dresser, Soft Table Shade ceramic lamps on the nightstands, and Memories of a Panorama textile hanging on the wall.

8. The Construction series of floor lamps that van Bleiswijk designed for Moooi evoke vintage erector sets.

9. Housed in a former Philips laboratory, Kiki & Joost’s studio and workshop features an amusing enfilade of smashed doors by van Bleiswijk.

10. Van Eijk’s ceramic Soft Pot Green is also available in black, bronze, and white.

11. A pair of statuettes the couple found when visiting the Philippines.

12. A window wall opens onto the back garden, which is intentionally kept in a state of elegant dishabille.

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hats off It was the jaunty tilt of a wide-brimmed picture hat worn

by 1930s screen siren Myrna Loy that sparked Ladies & Gentlemen Studio’s gestural light fixture, appropriately named for the movie star. The perforated blackened-aluminum shade balances from a cantilevered arm—wall-mounted on a steel support—whose sliding counterweight adjusts the “chapeau” up or down. Founders Dylan Davis and Jean Lee enlisted Seattle glassblower John Hogan to craft the diminutive creamyglass globe (also available in bronze and gray), its satin luster giving the LED source a dreamy glow. The studio first imagined the sartorial fixture as a commission for—and in collaboration with—New York interior design firm Studio Giancarlo Valle. ladiesandgentlemenstudio.com

edited by Rebecca Thienes text by Colleen Curry, Mark McMenamin, Georgina McWhirter, Rebecca Thienes, and Stephen Treffinger ROBIN STEIN

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Stephanie Beamer, Hillary Petrie, and Crystal Ellis of Egg Collective

Stephanie Symns of Antipod Workshop

Ilse Crawford for Hästens

Sarah Ellison for Hawkins New York

product Howard standout Balanced on sleek

product A Thought-Enchanted

Silence

product Being standout The design star’s

blackened-walnut feet, the company founders’ sink-right-in club chair with wrap arms is COM-ready. eggcollective.com

standout The Vancouver-based textile artist broke out earth-tone dyes to create a playful “quilt painting” in organic cotton and linen. antipodworkshop.com

all-natural bedding collection comprises elegant linens and a hemp slipcover that snuggles over the manufacturer’s headboard. hastens.com

product Halston standout The Australian stylist

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turned designer chose rattan with hints of brass to give her collection a relaxed, resort-like feel. hawkinsnewyork.com

TOP LEFT: HANNAH WHITAKER; BOTTOM, SECOND FROM RIGHT: PETER GUENZEL

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TOP LEFT: PIERRE EVEN; MIDDLE LEFT: DANIELA TROST

Christophe Delcourt of Delcourt Collection

Caroline Z Hurley for Schumacher

Nate Berkus for Kravet

Eduardo Villalón and Alberto Sánchez for Coordonné

product Air standout Curvy seats that segue

product Tiasquam standout The subtle variations

product Well-Traveled standout An international roster

product Grids standout A crisply striped wallpaper

into backrests top otherwise rectilinear brushed-oak stools imagined by the studio founder.

of step-and-repeat patterns on this linen—suited to window treatments or light upholstery— mimic block printing.

of museum exhibits and archives informs a worldly collection by the celebrity interior designer and globetrotter. kravet.com

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by the Mut Design Studio founders honors the pioneering aesthetics of Josef Albers and Charles Rennie Mackintosh. coordonne.es

fschumacher.com

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new in town In 1979, Brian and Rosie McGuigan left their furniture-

making careers in Denmark and returned to Northern Ireland to launch Orior, named for the street on which Brian grew up. The couple designed and manufactured their wares in the city of Newry, selling furniture to the likes of Harrods and Liberty in the U.K. Forty years on, the McGuigans’ son Ciaran has taken the reins, relaunching the brand with a showroom in Tribeca, New York, and 22 pieces, including six of his father’s earliest designs (the modular sofa Canyon among them). Other standouts include Hex, a hand-planed oak screen offered in a pattern individual to each customer; Pop, a melding of Irish and Scandinavian sensibilities inspired by Arne Jacobsen’s Egg chair; and Nero, an oak table on a base of locally sourced green Connemara marble. Pieces are made to order in Orion’s four Irish workshops. oriorfurniture.com

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®

Sofa: FENDER Table: MONETTI REQ. Rug: BRUGE Ottoman: POW! shown in Ultrasuede® Made in Los Angeles

DESIGN BY TINA NICOLE

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“The organic forms used throughout the collection echo our body language”

FUSION

RAPHAEL NAVOT

The human body has hardly changed in 200,000 years, the Jerusalem-born, Paris-based designer Raphael Navot mused. Yet the design world is constantly looking for new methods of expression.

Determined to get back to basics, Navot—the man behind the IRL version of filmmaker David Lynch’s Silencio nightclub— crafted Nativ, a furnishings collection for Roche Bobois that posits organic shapes as a universal and embodied language. To wit: Identities, a family of five upholstered chairs with dome backs, and Fusion, a handknotted rug in a natural wool blend that depicts overlapping shadows. Molded of polyurethane with a stonelike finish, Primordial “is reminiscent of

PRIMORDIAL

organic modernism a tribal artefact,” he explains—“like a bookshelf built from clay and dirt thousands of years ago.” roche-bobois.com

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roomandboard.com

HENRI MATISSE, 1947 AEROMATICOLOR

BOUROULLEC SERIES

There’s a party honoring one of

France’s most iconic painters—and everyone is invited. To celebrate the 150th anniversary of Henri Matisse’s birth, Maison Matisse —an enterprise dedicated to perpetuating his legacy—is releasing a limited-edition series of glazed ceramic vases imagined by three renowned designers.

(The project was spearheaded by Jean Matthieu Matisse, a fourthgeneration descendent.) Ronan & Erwan Bouroullec, Jaime Hayon, and the late Alessandro Mendini were given carte blanche to design and produce pieces channeling whatever they found most inspirational in Matisse’s work. Mendini focused on curves and color in Sinuoso, while Hayon riffed on the North African influences of crowded medinas and fragrant blossoms for Aeromaticolor. The Bouroullec brothers interpreted an open window, a theme in Matisse’s work, via three elements: a cylindrical vase on a brick “window sill” backed by a glimmering aluminum-sheet sky. Joyeux anniversaire! maison-matisse.com

found in translation SINUOSO

“Maison Matisse offers a three-dimensional interpretation of the artist’s universe”

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TOP LEFT: ARCHIVES HENRI MATISSE; TOP RIGHT: JÉRÔME GALLAND

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“Block printing gives the fabrics a certain irregularity”

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ELISE DJO-BOURGEOIS

MIDDLE: THÉRÈSE BONNEY/MÉDIATHÈQUE DE L’ARCHITECTURE ET DU PATRIMOINE

When the archives of 1870s textile company Maison Maurice Lauer were acquired by Pierre Frey, the treasure trove revealed an unsung virtuoso: Elise Djo-Bourgeois. Amid a groundswell of female modernists to emerge following World War I, the textile designer never achieved the renown of her contemporaries, having abandoned her career following the 1937 death of her husband and frequent collaborator, designer Georges Djo-Bourgeois. Her striking geometrics now find a new lease on life in nine reissues, block-printed on cotton percale—just as it was done in the twenties. The technique causes slight imperfections across patterns like 1723, an assembly of triangles and broken lines, and 1746, the 1746 1723 triangles meeting parallelograms.

Earlier this year in Hyères, France, an exhibition at Villa Noailles—a Robert Mallet-Stevens house with interior design by Djo-Bourgeois’s husband—showcased the vivid collection against archival black-andwhite photos, underscoring color as the quintessence of her oeuvre. pierrefrey.com

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“Natural light is a luxury —it makes everything look better— which is why window treatments are such an important part of a room”

—Rebecca Atwood

REBECCA ATWOOD

art class Brooklyn’s in the house ... or at least on the windows.

Hunter Douglas has collaborated with New York textile

designer Rebecca Atwood for its inaugural featured-artist series, part of the company’s new one-stop-shop Design Studio program. The collection encompasses 36 fabrics designed by Atwood in her unique hand-painted style and is available as side panels, drapery, and roller and Roman shades. Everything works together in harmony and allows for serious combining—and integration with the company’s existing core line. Layer in a little or a lot: everything from soft, traditional florals to bolder statement prints. hunterdouglas.com

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collection VANGUARD pattern patter n EXPRESSIONIST

866 943 2783 sales.usa@arte-international.com www.arte-international.com

ope n house

the inside story firm: archiplan studio site: mantua, italy

The principal frescos in the dining room, which depict scenes of wildboar hunting, are attributed to the School of Giulio Romano, the famed Renaissance artist and architect who spent the preponderance of his career in Mantua.

HELENIO BARBETTA/LIVING INSIDE; STYLING: CHIARA DAL CANTO

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Clockwise from top left: The tiny galley kitchen has a custom stainless-steel sink, counter, and backsplash. The living area’s custom sofa bed can be used for eating and working as well as sitting and sleeping. The dining room is three steps below the living-sleeping room.

A contemporary portrait by Damiano Groppi hangs in the living area. Custom millwork in the dining room includes a slatted frame that conceals the air conditioning system.

HELENIO BARBETTA/LIVING INSIDE; STYLING: CHIARA DAL CANTO

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Mantua, one of Italy’s most beautiful small cities, abounds in architectural and artistic treasures. Many of them— the elegant Palazzo Te

by Giulio Romano, for example, or Andrea Mantagna’s brilliant Camera degli Sposi frescos—were commissioned by the Gonzaga family who ruled the provincial capital for more than three centuries. But along with its public masterpieces, the city offers more intimate aesthetic delights in many of its private residences.

Such was the case with a small apartment for sale in a 16th-century building overlooking the Piazza Broletto in the centro storico. When archivist Sara Cazzoli and her husband saw its vivid Renaissance frescos, ceiling medallions, and original terra-cotta tile floors, they knew they had to buy the place—even though they already owned a historical apartment and were unsure what to do with another one. Then they hit on the idea of renovating it as a short-term rental to allow visitors to

experience an inimitable Mantuan interior.

To transform the 860-square-foot apartment into a functional modern home without destroying its authenticity, Cazzoli turned to architect Diego Cisi, cofounder with Stefano Gorni Silvestrini of local firm Archiplan Studio.

Cisi envisioned three small spaces—entry, kitchen, and bath—and two bigger ones: a dining room with School of Romano frescos and terra-cotta floors; and, three steps up, a large room with a painted ceil-

ing from the late 18th century. The latter volume, created by knocking down a wall, incorporates living and sleeping areas.

Leaving the historical elements completely untouched, Cisi has made all necessary modern interventions light and unassertive. Almost everything is custom, from ash or birch furnishings to light fixtures in the same woods—“natural materials we like for residential design,” Cisi notes. Unfrescoed areas of dining-room wall are painted light green,

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Top, from left: In the bath, as elsewhere, copper pipes are exposed. Under the living area’s late 18thcentury painted ceiling, a Max Frommeld coffee table joins custom wood furniture.

Window frames original to the house are repurposed as doors for the sleeping area’s custom wardrobe.

—Chiara dal Canto

FROM FRONT DAVIDE GROPPI: FLOOR LIGHTS (DINING ROOM).

DESIGN MOOD: DINING TABLE. MOORMAN: COFFEE TABLE (LIVING AREA). FALEGNAMERIA BUGANZA: CUSTOM WARDROBE (SLEEPING AREA). THROUGHOUT EBANISTERIA ARREDO MONTANARO: WOODWORK.

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HELENIO BARBETTA/LIVING INSIDE; STYLING: CHIARA DAL CANTO

Bottom: The custom birchand-cane partition that separates the sleeping and living areas replaces a demolished wall.

“a shade that exudes contemporaneity but also belongs to the original palette,” he reports.

And copper pipes for both wiring and plumbing run on top of the walls, “to avoid cutting into them,” Cisi explains, thus “becoming an opportunity to transform a technological element into an aesthetic one.”

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Raw meets refined in a trending trio of homes marked by beguiling materiality

stay awhile A built-in bed crafted of knotty spruce offers a cozy sleeping nook in a residence

by Mjölk Architekti in Liberec, Czech Republic. See page 62 for more.

AKUB SKOKAN AND MARTIN TŮMA/BOYS PLAY NICE

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lilitt bollinger studio and buchner bruĚˆndler architekten site Nuglar, Switzerland

RORY GARDINER/PHOTOFOYER

recap Enormous circular apertures and Brutalist concrete surfaces recall the lyrical modernism of Louis Kahn in this 1968 warehouse/ distillery turned residence and workshop. The raw concrete pairs with sympathetic planes of sea pine and spruce: built-ins, doors, and furniture fabricated by a carpenter on site.

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RORY GARDINER/PHOTOFOYER

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mjölk architekti site Liberec, Czech Republic

AKUB SKOKAN AND MARTIN TŮMA/BOYS PLAY NICE

r e c a p At the property’s edge, a concrete-panel wall buffers the din of traffic from the busy road to the Jizera Mountains. A pair of tarpainted larch structures behind are supported by century-old granite foundations belonging to the site’s former dwelling. One is a Nordicindustrial abode for a couple and their daughter; the other, a smaller guesthouse for the son, a sailor who spends most of the year helming transatlantic ships.

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PHOTO ANDREA FERRARI | STYLING STUDIOPEPE | AD GARCIA CUMINI

Maxima 2.2 Design R&D Cesar

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mork ulnes architects site Sonoma, California recap The Corten steel enveloping this wine-country retreat nods to regional rural buildings as well as the red clay indigenous to the hillside site. But the base housing the carport and entry is concrete— as is the majestic stair ascending to the great room, capped by three angled roof planes demarcating the kitchen, living area, and master suite. —Georgina McWhirter

BRUCE DAMONTE

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A new monograph, Claude Parent: Visionary Architect, breaks the blood-brain barrier that has long sealed America off from French architecture in general, and from one of France’s great visionaries in particular. Claude Parent (1923– 2016) never exported himself or his message. Emerging after World War II, he established a Paris-based practice that became well-known thanks to a national house competition. In 1966, Parent achieved wider notoriety when he and his partner, theorist Paul Virilio, published a manifesto, The Function of the Oblique, announcing that the horizontal belonged to classical architecture; the vertical, to modernism; but that the future was oblique. By throwing the human body into a state of constant instability, they argued, the architectural incline raises its users to full consciousness. In an overwhelmingly Cartesian culture, they posited heresy.

Parent explored the thesis with magisterial drawings done, counterintuitively, according to the classical drafting techniques he had mastered at the École des Beaux-Arts.

This visionary portfolio of sci-fi worthy “architectural fictions” caused French architect Jean Nouvel, who worked in Parent’s office in the late 1960s, to call his mentor “the French Piranesi.”

the tilted line

Clockwise from top left: Claude Parent’s Villa Drusch in Versailles, France (1963–1966), realizes his theory of the oblique. The architect in 2014, aged 91.

Anger 8 – Gentle Insertion, 1982. Black Tide, 1990.

Choked City, 1990. Future of the City, 1990. BridgeCities II, 1972. Claude Parent: Visionary Architect, edited by Chloé Parent, New York, Rizzoli, $65.

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FROM TOP: CHRISTIAN SCHAULIN; CLAUDE PARENT ARCHIVES

A new book on French architect Claude Parent, prophet of the oblique, showcases his extraordinarily expressive drawings

FROM TOP: EMMANUEL GOULET; CLAUDE PARENT ARCHIVES

But unlike Piranesi, whose constructed work was limited, Parent built a number of seminal projects. In 1966, he completed the startling Villa Drusch in Versailles, the living room housed in a tilted cube, poised on a single edge (although the floor inside is flat). Backed by theory, his innovative work anticipated the Deconstructivists of the 1980s (Zaha Hadid, Coop Himmelb(l)au, Rem Koolhaas, Odile Decq, Thom Mayne) and later the digital avantgarde (Asymptote Architecture, Reiser + Umemoto): Parent’s complex pencildrawn topological fantasies prefigured their complex digital landscapes. During his long career, Parent emerged as a de facto dean of the profession in France, much like Philip Johnson in the U.S., though with a talent, integrity, originality, and vision that largely escaped the socially and institutionally powerful American.

Edited by Chloé Parent, the architect’s daughter, Claude Parent is a historically corrective monograph that introduces a major figure who should have entered American architectural literature and architecture’s international time line decades ago. The volume, which fills a serious gap, is a career narrative told as a mosaic of texts written by a half dozen architects, curators, and critics, including Frank Gehry, Odile Decq, and fashion designer Azzedine Alaïa. The short but pointed essays are interspersed with images from Parent’s prodigious oeuvre of speculative drawings, many published for the first time. (The final section comprises handsome black-and-white photographs of his buildings.) Gravity is about the only constant in architectural speculations that escape Euclidean and Cartesian geometries in favor of vast open shapes drawn at the scale of landscapes. He breaks the box at every level, including gridded cities where pedestrians walk up and down sloped ramps, their bodies awakened by the differential tugging of the earth.

That Parent, whose father was an early aeronautical engineer and amateur car designer, was partial to Lamborghinis, Rolls-Royces, and pin-striped suits masked a born radical. In early-career incarnations as a commercial illustrator working successively in fashion, advertising, and publishing, he put the tradition-bound graphic skills he’d learned at the BeauxArts to less-than-classical use. He even drew as a cartoonist and caricaturist.

In the 1950s, Parent started escaping architecture’s diktats by partnering with artists who introduced him to Russian Constructivism, Neo-plasticism, and Elementarism, leading him away from Le Corbusier’s Functionalism, which was then the law of the land in France and elsewhere. Parent’s drafting skills served artists as he translated their architectural ideas on paper, culminating in a 1958 collaboration with Yves Klein, who proposed making architecture out of thin air—walls

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and roofs, beds and chairs all shaped by pneumatic forces.

Parent captured Klein’s ideas in pen and ink, as though there was nothing strange about treating gas as brick.

But after a disappointing experience at the 1970 Biennale di Venezia—he felt his oblique design for the French pavilion was not fully appreciated by the participating artists—Parent stopped acting as an amanuensis for others and began using drawing as a vehicle of his own expanding vision. He drew everything from individual buildings to entire landscapes, all featuring instability-inducing, consciousness-raising inclines.

Parent often joked that the oblique set his practice on a downward slope. It certainly limited his client base and earned him the “animosity of his peers,” as contributor Donatien Grau notes. His persistent belief in embracing the future—including the latest American ideas on retail malls and atomic energy—only increased the angle of decline. The unpopularity of several “oblique” shopping centers, which the French elite thought too commercial, and several nuclear power plants, pushed

D E S I G N insider

Top: Volcanic Outgrowth – Perspective 2, 2011. Center: Villa Bloc (D), 2011. Bottom: Open Limit (2nd Sequence, V) Urban Incision, Solar Penetration, Horizon, 2012.

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CLAUDE PARENT ARCHIVES

his career into partial eclipse just as the Deconstructivists emerged in the 1980s.

Later that decade, Parent was “rediscovered” by museum curator and director Frédéric Migayrou, one of the authors of the book, and then by a digital generation. Jean Nouvel based his recent, monumental Philharmonie de Paris on the oblique. He dedicated the buiding—a mountainous work shaped like one of Parent’s landforms—to his mentor. At a time of the moon walk, Parent was an intrepid explorer of a terrestrial outer space. Claude Parent is an invaluable introduction to the bravery and intelligence of this singular architectural Magellan. —Joseph Giovannini

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Everything is illuminated...

JOSÉ HEVIA

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the merchants of cool Designer Sabine Marcelis and architect Paul Cournet’s artful loft brings low-key glamour to a dockside neighborhood in Rotterdam, the Netherlands

text: kurt g. stapelfeldt photography: christoffer regild/living inside 72

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If Coolhaven—the name of a waterfront district in Rotterdam, the Netherlands—suggests an oasis of cutting-edge chic, a tour of designer Sabine Marcelis’s elegantly restrained neighborhood loft only reinforces the impression. But the Dutch moniker translates to Coal Harbor, which gives a truer sense of the area’s character: “It used to be quite rough but has changed massively in the three years since we moved here,” Marcelis says. Even so, her 2,800-square-foot apartment, housed on the second floor of a four-story building, overlooks the heavily trafficked Schie river. The cool quotient is mostly inside.

“The place was originally a paper warehouse, built in the 1920s, and then bank offices before being completely abandoned in recent years,” Marcelis continues. “It was in ‘take it or leave it’ condition when we came along.” But the floorthrough offered Marcelis and her boyfriend, Paul Cournet, an architect at Office for Metropolitan Architecture, the opportunity to design their own home from scratch. “The renovation was supposed to take three months, but ended up lasting more than a year,” she adds, ruefully.

First, the couple split the floor in half lengthwise, creating two rental units on one side while reserving the other side for themselves. They broke through the rear ceiling, bringing in lots of natural light and turning what had been interior square footage into a new back terrace. Apart from a narrow row of enclosed spaces—a guest room, bathroom, powder room, spare room, closet, and storage—they eschewed building any internal walls, leaving the rest of loft entirely

Previous spread: Dominating the loft’s central living area, a Pierre Paulin sofa snakes past a mirrored-steel and concrete Diamond table by the Danish artist FOS; the Offround Hue mirror on the wall is a collaboration between Sabine Marcelis and Brit van Nerven.

Top: The sofa is flanked by one of the loft’s five freestanding columns and a totem-like pigmented-concrete sculpture by Norwegian designer Magnus Pettersen next to a stainless-steel wire chaise by the Belgian design duo Muller Van Severen. Bottom: The custom kitchen’s materials palette includes polished stainless steel, acrylic, and River Gold granite.

Opposite: Custom stainless-steel shelving by the Netherlands-based British designer Phil Procter anchors the more formal sitting area, which includes a Martin Visser daybed, a vintage Radboud van Beekum FM60 cube chair, and a freeform Impose saddle seat by Handmade Industries.

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open and, except for a couple of rows of slender columns, unencumbered. “We use floor-to-ceiling curtains when necessary to create different zones for sleeping, living, and dining—there’s even a ‘cinema,’ a specific area where we project movies on the wall,” Marcelis reports. “But when all the curtains are drawn back, the zones revert to one continuous space.”

This flexible arrangement allows Marcelis and Cournet to conjure a variety of moods in the loft.

A new, poured-concrete floor and exposed-brick walls keep the original building’s light-industrial vibe. But the all-white palette gives the bright-andairy interior the look of a contemporary art gallery, though that was not the couple’s intention: “The aim was to create a clean, uncluttered, and inspiring environment, not a gallery or museum,” Marcelis explains. “We’d rather think of it as an ‘antihome,’ a setting where our daily life is mixed with design and art pieces by our friends. Keeping the space neutral allows us to fill it with different objects that retain their distinct identities.”

Although the loft includes a handful of Marcelisdesigned production items—“There’s a mirror of mine,” she notes, “and some cast-resin cube prototypes, one of which has been repurposed as a planter”—she has been careful not to turn it into a showroom of her eponymous studio’s output. Born in the Netherlands but raised in New Zealand, she returned to her native country to study at Design Opposite: The two sets of curtains encircling the bed are made of fabrics—one translucent, one opaque—normally used to control light in commercial greenhouses; the Elgar sconce on the column is by Sammode Studio.

Top: Marcelis made the dining table from a sheet of glass leftover from a previous project, while she and Paul Cournet designed the foam-and-resin stacked-slab stools gathered around it. Bottom: For One Yellow Line, a mural in the guest room, artist Thomas Trum created a giant felt-tip pen, which he dragged across the wall in a single motion; the carved wood stool is by FOS.

Academy Eindhoven, graduating in 2011. Since then, her work on products, interiors, and installations for a broad swath of clients—Céline, Opening Ceremony, and Isabel Marant among them—has garnered favorable attention, as have her various collaborations with OMA, including a dazzling Paris flagship for the Italian jeweler Repossi.

Marcelis’s collaborative, curatorial, and improvisatory skills are evident throughout the apartment: She turned a leftover slab of tinted glass into an ethereal dining table supported on a trio of glass cylinders; she and Courant designed the stools— sculptural stacks of foam-and-resin slabs—that surround it. The couple also co-designed the kitchen, a simple wall-counter and opposing-island arrangement made distinctive by sleek materials (polished stainless steel, glossy acrylic, River Gold granite) and bold forms (cylindrical range hood, trumpetvalve bar stools, floating-slab countertops). It’s their favorite part of the loft: “Everything happens in the kitchen—we seem to spend all our time there,” Marcelis reports. “Even when we have dinner parties, we often don’t make it to the dining table but just hang around the kitchen island.”

Much of the loft’s furniture and art was acquired through trades with the couples’ artist and designer friends. Most spectacular is a pink-upholstered FALL.19

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Pierre Paulin sofa—the Osaka, a serpentine marvel named after the site of Expo 70, where it was first exhibited—an exchange with the designer’s son Benjamin. Almost as arresting is a double chaise made of stainless-steel wire, a low-lying ghostly presence by the Belgian design duo Muller Van Severen. The nearby sculpture, a totem-like assemblage of pigmented concrete blocks, is the work of Norwegian designer Magnus Pettersen, although the blank square of plaster on the wall behind it, which looks like a piece of white-on-white Suprematist art, is actually the “cinema” screen.

If the art and furnishings provide color and texture in the main space, it’s the walls themselves that have aesthetic impact in some of the enclosed rooms: The large storage closet, which is sheathed floor-to-ceiling in plywood, has the glow of an Olafur Eliasson light installation; clad in large concrete tiles, the bath in one of the rental apartments channels the quiet power of Brutalist architecture; and, most audaciously, the powder room is lined with Finnish designer Jonas Lutz’s handmade ceramic tiles, whose salmon-pink embossed surface looks startlingly like cerebral matter. “Our friends do call it ‘the brain room,’” Cournet admits. But that descriptive could be applied just as well to the engagingly thoughtful apartment as a whole.

PRODUCT SOURCES FROM FRONT LA CIVIDINA: SOFA (LIVING AREA). THROUGH ETAGE PROJECTS: STEEL AND CONCRETE TABLE, MIRROR, CARAFE AND GLASSES (DINING AREA), WOOD STOOL (GUEST ROOM). MULLER VAN SEVEREN: STAINLESS-STEEL CHAISE (LIVING AREA).

PHIL PROCTER: CUSTOM SHELVING (FORMAL SITTING AREA). HANDMADE INDUSTRIALS: SADDLE SEAT. SPECTRUM: DAYBED. RENS: RUG. SAMMODE: SCONCES (SLEEPING AREA, TERRACE). STUDIO JONAS LUTZ: CUSTOM TILE (POWDER ROOM).

JENNY NORDBERG: SILVER MIRROR.

Top left: On the terrace, created by removing the ceiling from an interior space, a vintage F303 fiberglass chair by Pierre Paulin joins a glass box, a Marcelis prototype for the Dutch pavilion at the 2017 Cannes Film Festival.

Top right: Rookpaal, a colorful glazed-stoneware totem, is by the couple’s friend, the young Dutch artist Koen Taselaar. Bottom: The powder room is lined with distinctive hand-embossed tiles by Finnish artist Jonas Lutz; the mirror was created by Swedish artist Jenny Nordberg using 19th-century glass-silvering techniques.

Opposite: A tinted mirror, repurposed from one of Marcelis’s commercial projects, joins concrete tiles cladding the walls and floors of the Brutalistinspired bathroom in one of the rental apartments.

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low-country luxe Dutch designer Sabine Marcelis’s pure and elegant Rotterdam loft is a good introduction to her sensibility, even though there’s not much of her own work in it. Raised in New Zealand, Marcelis returned to the Netherlands to study at Design Academy Eindhoven before founding her own firm—“a studio for material, installation, and object design,” as her website puts it, “forever in search of magical moments within materiality and manufacturing processes to create unexpected experiences”—in 2012.

Since then, working mostly with pigmented resin, glass, and neon, Marcelis has produced a range of seductive objects in which perfection of form and lusciousness of surface are privileged over conventional function. Not to say that pieces like Candy Cubes—gorgeously colored blocks of highly polished cast resin—are not useful side tables, but it’s the spellbinding way their translucent edges appear to dematerialize that touches the imagination.

Similar through-the-looking-glass effects attend Offround Hue, a family of tinted mirrors in hand-drawn shapes that provide playfully unexpected reflections. They are part of Seeing Glass, an ongoing collaborative project with fellow Eindhoven graduate Brit van Nerven, in which industrial glass manufacturers allow the designers to explore methods of working, coloring, and layering the material.

Lighting is another Marcelis preoccupation. In the Dawn Lights series, a single white neon tube embedded in a resin disc conjures the time of day when sun, sky, and clouds create an intense yet fleeting spectacle. Totem Lights continue the exploration of illuminative effects by threading glowing neon ribbons through stacked blocks of resin. And light—in the sense of wit and charm—pervades such pieces as Lazy Susan, a collaboration with her boyfriend, architect Paul Cournet, that’s a luxe marble-and-resin take on the old communal-table standby.

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PIM TOP (1, 8); SABINE MARCELIS (7, 9)

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E T c.

JEROEN VERRECHT (2); PIM TOP (3); SABINE MARCELIS (4, 5); DENNIS DE SMET (6)

1. Totem Light (detail) in resin and neon for Side Gallery 2. Light installation at the 2018 Biennale Interieur in Kortrijk, Belgium.

3. Lazy Susan in resin and marble by Sabine Marcelis and Paul Cournet from Etage Projects.

4. Prototypes in Studio Sabine Marcelis, Rotterdam, the Netherlands.

5. Candy Cubes in polished cast polyester-resin from Etage Projects.

6. Offround Hue mirror by Sabine Marcelis and Brit van Nerven from Etage Projects.

7. The studio.

8. Totem Lights.

9. Dawn Light in resin and neon for Victor Hunt Designart Dealer.

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text: raul barreneche photography: paul warchol

the shape of water

Architect David Jameson’s house in Bethesda, Maryland, evokes childhood memories of vapor rising from a dark pond FALL.19

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It started with a poplar tree. Architect David Jameson and his family had been happily ensconced in a Midcentury Modernist house on a hilly wooded site in Bethesda, Maryland, when disaster struck—or providence intervened. The 1950s residence was designed by Charles M. Goodman, a prolific architect known for experimental aluminum and prefab projects as well as Modernist developer-houses in the postwar Washington suburbs. In short, it had an entirely suitable pedigree for the home of one of the capital’s most inventive and rigorously modern design talents.

While on a ski trip in Utah, Jameson got a phone call from a neighbor. “There’s a tree on top of your house,” he informed the vacationing architect. An ice storm had felled a large poplar, which crushed the building. Jameson knew there was no going back. “I didn’t want to rebuild the house,” he explains.

“But I could create a whole new property for my growing family. So I said, ‘Let’s rebirth it.’”

Jameson is no stranger to formalist invention. His past designs include houses based on the molecular structure of salt, the manifolds of vintage Italian scooters, and the crisp, gabled sheds that are the stock-in-trade of the vernacular-modernist architect Hugh Newell Jacobsen, with whom Jameson worked before launching his own firm in 1998. But in reimagining his own home, he decided to let experiential qualities drive the design—form following emotion, not just function.

The process led Jameson to rekindle childhood memories of the small, rural town on Maryland’s Eastern Shore where he grew up, in particular the freshwater pond by his family home. “It was dark, mysterious, and murky,” Jameson recalls.

“I wanted to create something that captured those ephemeral qualities of water—like the memory of steam or fog coming off the pond.” Aptly, Jameson christened the property “Vapor House.”

The five-bedroom, 7,000 square-foot residence, which Jameson built as well as designed, offers two distinct personalities: one public, one private. Solid panels of rippling black stainless steel, arranged in a running bond pattern that suggests oversized metallic bricks of indeterminate scale, clad the outward-facing exteriors of the L-shaped main house and adjacent pool pavilion. On the private back side of the house, taut expanses of precisely engineered floor-to-ceiling glass overlook a pool terrace and the forested landscape beyond. It’s not a pure courtyard plan; two- and three-story glass boxes wind around the pool, stepping back and cantilevering out in a lively, organic flow that echoes the layout of the property’s original Goodman-designed house. Softly reflective bead-blasted stainless steel 84

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Previous spread: Crisp glazed volumes pop from the house’s rough-hewn stainless-steel facade.

Opposite top: The double-height family room features a Vilhelm Lauritzen sofa, a Flemming Lassen lounge chair and ottoman, a pair of Finn Juhl Pelican chairs, and a Poul Kjaerholm daybed; the breakfast table, surrounded by Hans Wegner chairs, is by Ru Amagasu, George Nakashima’s grandson. Opposite bottom: Beyond the lap pool and spa is a two-story pool house.

Top: Sliding doors in the glass facade open the family room to the pool terrace. Center: The kitchen, which has a 22-foot-high ceiling, features custom lacquered cabinetry resembling waxed steel and a book-matched marble backsplash. Bottom: A welded steel staircase floats dramatically in the double-height cedar-clad entry hall.

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wraps fascias and soffits along the glazed facades. The metal bands take on a powdery, pewter sheen that smoothly transitions between the glass and blackened stainless steel.

To craft panels that would bring to life childhood recollections of light playing off water, Jameson worked with Zahner, a Kansas City–based metal fabrication company known for its work with a global who’s-who of architects, including Zaha Hadid, Herzog + de Meuron, and Frank Gehry, a longtime collaborator. The rippled texture was created by pressing stainless steel into metal molds. A coating process similar to one utilized on the iridescent, psychedelic skins of the Gehry-designed Museum of Pop Culture in Seattle imbues the panels with their highly distinctive, silvery-black luster.

Like the undulating surface of a dark-bottomed pond, the metallic skin refracts light and reflects the surrounding landscape of earth and sky in endlessly changing, miragelike ways. “On a foggy day, it’s whitish gray; on a bright one, it pops, becoming a reflective white,” Jameson reports, calling to mind photographer Hiroshi Sugimoto’s luminescent seascapes.

The glass window-and-door system is equally bespoke—“1,000 percent custom,” as Jameson puts it. He tried to blur boundaries between indoors and outdoors as well as divisions between panels of fixed glass and retractable windows and doors. From outside, those facades read as a smooth, continuous skin of flush glazed surfaces framed in blackened steel. The glass-clad sections of the house complement the textured metallic portions—like the smooth mirror of still water versus the spangled dance of a choppy lake.

Top: A monumental abstract canvas by the Washington-based artist Steven Cushner dominates the dining room as seen from the pool terrace at night. Bottom: A pair of pivoting glass panels separates the double shower from the rest of the master bath.

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Clockwise from top: The living room’s lounge chair, folding stool, sofa, and coffee table are all

by Kjaerholm. African mahogany wraps structural columns and window frames in a child’s room. The ground-glass tiles of the master bath’s shower wall, which features Carlo Scarpareminiscent showerheads by Franco Sargiani, were crafted from recycled computer monitors.

In lieu of walkway lights or exterior wall fixtures, illumination for the front door is provided by ceramic-fritted glass panels backlit from inside the house.

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Inside, solid-sawn sapele (a kind of African mahogany) wraps the hefty steel columns tucked behind the window frames, concealing the home’s structural support system. In contrast with the finely crafted mahogany, Jameson clad interior walls, ceilings, and soffits in unfinished cedar, creating an interplay between refined and raw elements. “The cedar is left the way it came out of the lumber yard.

You can see rotary saw marks,” Jameson says. “There’s a machined part to the house and an organic part.”

That duality also speaks to Jameson’s admiration of Italian Modernist Carlo Scarpa’s poetic interplay of precision and craft, visible here in the kitchen’s handtroweled marble-plaster walls, the asymmetrical pattern of a book-matched marble backsplash, and the master bath’s cascading rain showerheads. “Scarpa is definitely one of my dudes,” Jameson says. “In his work, the hand of the artisan is everywhere.” Just as the eye of a thoughtful and meticulous architect is evident everywhere in the Vapor House.

PROJECT TEAM PATRICK MCGOWAN, ALEX STITT, ALEXANDRA WOJNO: DAVID JAMESON ARCHITECT. DKT LIGHTING AND DESIGN: LIGHTING CONSULTANT. CASAPLEX: AUDIOVISUAL CONSULTANT. LINTON ENGINEERING: STRUCTURAL ENGINEER. FOLEY MECHANICAL: MEP. CAS ENGINEERING: CIVIL ENGINEER. BASWA ACOUSTIC: ACOUSTICAL ENGINEER. ALLY DC: GENERAL CONTRACTOR.

PRODUCT SOURCES FROM FRONT METAL SPECIALTIES: PLANTER WALL (EXTERIOR). BRDR. PETERSEN: SOFA (FAMILY ROOM).

FINN JUHL: ARMCHAIRS. FLEMMING LASSEN: LOUNGE CHAIR AND OTTOMAN. FRITZ HANSEN: DAYBED. RU AMAGASU: BREAKFAST TABLE. THROUGH WRIGHT: DINING CHAIRS. KNOLL: CHAISE LONGUES (POOL TERRACE).

LEWIS AQUATECH: CUSTOM POOL. BOFFI: MARBLE BACKSPLASH (KITCHEN), ISLAND SOLID SURFACING, SINK FITTINGS, CUSTOM CABINETRY (KITCHEN, MASTER BATH, CHILD’S ROOM), TUB (MASTER BATH). MAXALTO: CABINET (ENTRY HALL). DULLES GLASS: SHOWER WALLS AND DOORS (MASTER BATH). MICROMOSAICO: WALL TILE. FANTINI: SHOWER FITTINGS. THROUGHOUT LUCIFER LIGHTING COMPANY: RECESSED LIGHTING. RIMEX METALS: FASCIA CLADDING. STONE SOURCE: PAVING, FLOOR TILE. TRADEWOOD WINDOWS & DOORS: WINDOW WALLS. TW PERRY: CEDAR WALL AND CEILING CLADDING. BENJAMIN MOORE & CO.: PAINT. ZAHNER: STAINLESS STEEL CLADDING.

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more is more

Estudio Vilablanch and TDB Arquitectura take Casa Burés in Barcelona, Spain, from Art Nouveau to right now

text: suzanne wales photography: josé hevia

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Previous spread, from left: A Rick Tegelaar pendant fixture hangs from the living room’s restored and repainted ceiling. The skylight over the main stairway, refurbished in a specialist workshop, is attributed to Antoni Bordalba, who was known for rendering pastoral and bucolic scenes in stained glass.

Top: From the original 10 apartments, 26 have been created, ranging in size from 1,300 to 5,400 square feet and connected by a single stairway and elevator. Bottom: Each of the stairway’s glazed tiles, a common feature of Modernista design, was either restored or replaced with an exact copy.

Opposite: The apartments on the top three floors of Casa Burés, always intended to be rented out to tenants, feature original Nolla mosaic flooring, named after the industrialist Miguel Nolla, who produced the tiles in a factory near Valencia.

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The Eixample neighborhood in Barcelona, Spain, lays claim to the highest concentration of Art Nouveau architecture in Europe. The district, which sprawls northwards from the medieval town, was laid out in the late 19th century as a perfectly calculated grid of avenues with wide pavements and distinctive chamfered corners.

Within that matrix, architects and artists were awarded a blank slate in which to work from the ground up. As the Eixample progressed, so did Modernisme, the Catalan term for Art Nouveau.

Modernisme was much more than an artistic style in Catalonia. It was a cultural movement that involved, among other things, Catalan national-

ism; a love of Wagner operas; a respect for nature; an interest in medieval history; a renaissance in Catalan music and literature; and a high appreciation of artisanal skills, which were considered under threat from the encroaching industrial age.

Ironically, it was the industrialists of the period—owners of the machinery and technology pushing Spain into the modern age—who were the most interested in expressing the values of Modernisme through arts and crafts. One such was Francesc Burés i Borràs, who, like many of his class, made a fortune in Catalonia’s textile industry. In 1900, Burés commissioned the architect Francesc Berenguer i Mestres—a collabora-

tor with Antoni Gaudí, Modernisme’s most celebrated son—to build a house for his family in the most fashionable part of the Eixample.

While unusually large, the five-story Casa Burés is not as flamboyant as many of its neighbors, though it does exhibit neo-Gothic flourishes then in vogue. The overall plan is standard for the period: ground-floor offices for the Burés business; a grand, first-floor pis noble where the family lived; rental apartments on the three upper floors; and attic spaces for servants. The design, however, was far from ordinary, even by the standards of Catalan Art Nouveau with its more is more philosophy and love of representation and

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Top: Bathrooms, which were originally miniscule, were relocated and built anew. Center: The roof now features a basalt deck and pool. Bottom: Charlotte Perriand’s Mexique table graces a bedroom.

Opposite: The dining area’s table and chairs are by Finn Juhl.

fantasy. Berenguer i Mestres never completed his architectural degree since his real passion was decoration and the applied arts. Unlike Gaudí, who was more interested in bending structural norms to create his famously fluid buildings, Berenguer i Mestres used arts and crafts to drive form.

“When we visited Casa Burés for the first time, the impression was that we were standing inside an enormous work of art,” Bonavista Developments founding partner Jacinto Roqueta says. His company, which specializes in acquiring historic mansions and converting them to modern, luxury apartments, bought Casa Burés in 2014. At that point the building was more than four years abandoned and in a lamentable state, with most of its stained glass, sculptural figures, hand-painted murals, florid mosaics, and countless other decorative elements damaged or ransacked. Thieves had taken off with the copper pipes, leadlight lamps, and an elevator motor.

And a giant stone bear guarding the main staircase had lost its front legs.

“We were aware of the difficulties the project presented,” Roqueta continues.

“But also knew that it was a once-in-alifetime opportunity.

The transformation of Casa Burés

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required two firms. Despite being shuttered for so long, the building has been landmarked since 1979, so every piece of both the exterior and 80,000-squarefoot interior had to be documented and the historic elements categorized. TDB Arquitectura, led by founder Juan Trias de Bes, then devised plans to carve 26 apartments out of the original 10, including the pis noble; added a rooftop terrace with a pool; and put a gym and private club area in the basement. They also installed heating and cooling systems behind the exquisite hand-painted and hand-carved original walls and ceilings, which were painstakingly restored.

“One of the most important aspects of the project for us was witnessing the experience and knowledge the artisans brought to their restoration work,” Trias de Bes says. “We loved the opportunity of being able to make full use of those skills.”

A second firm, Estudio Vilablanch, took care of the interior design throughout, including the kitchens, bathrooms, and lighting. They also furnished the model apartment in their “timeless” signature style, which emphasizes clean, modern lines and textures (think Charlotte Perriand, Finn Juhl, and Vincent Van Duysen): “That allows the period

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details in the building to ‘breathe,’” co-founder Agnès Vilablanch says.

“We wanted to be very honest with what we found but avoid making it look like a museum.” Adds co-founder Elina Vilá: “With so much color and ornamentation already there, we aimed at serenity.”

Only a decade or so after Casa Burés was completed, Art Nouveau fell out of favor in most of Europe to be replaced first by Art Deco and then International Style Modernism. More than a century later, the transformation of Casa Burés is a reminder of a time when the decorative arts were at one of their highest plateaus, and excess was a sign not of decadence but of imaginative energy and renewal.

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PROJECT TEAM

PAINTING CONTRACTOR. CONSTRUCCIONES

VANESSA SURÍS, JESPER PUCHADES, DAVID

DEPORTIVAS CONDAL: POOL CONTRACTOR.

BLANQUÉ, ANNA GÜELL, ANNA SORET, MAITE PÉREZ,

TEULES 2001: ROOF CONTRACTOR. OPROLER;

MARIA FORTEZA, DANA ULEA, JOWITA BARTOSZ,

URCOTEX: GENERAL CONTRACTOR.

EDU COVELO, LEONARDO VALLEJO Y IRENE PÉREZ:

PRODUCT SOURCES

ESTUDIO VILABLANCH. MARTA PASCUAL, FERNANDO

FROM FRONT LIVING DIVANI: COCKTAIL TABLE

HERRERO, RICARDO VILLORIA, JORDI PERRAMÓN,

(LIVING ROOM). TATO: FLOOR LAMP. SERGE MOUILLE:

MIREIA FIGUERAS, MACIÀ PARES: TDB

SCONCE. CASSINA: SOFA, SHELVING, RECTANGULAR

ARQUITECTURA. JM BONET VITRALLS: RESTORATION

SIDE TABLES (LIVING ROOM), TABLE (BEDROOM).

WORK, GLASSWORK. LLEDÓ ILUMINACIÓN: LIGHTING

MOOOI: CHANDELIER (LIVING ROOM), TABLE LAMP

CONSULTANT. BIS STRUCTURES: STRUCTURAL

(BEDROOM). ONE COLLECTION: CHAIRS (LIVING ROOM,

ENGINEER. ARAU ACÚSTICA: ACOUSTICAL ENGINEER.

DINING AREA), TABLE (DINING AREA). BULTHAUP:

JG INGENIEROS: MEP. DECO GROUP 35; D’EPOCA

CUSTOM CABINETRY (KITCHEN). ANTONIO LUPI:

RESTORATION; LLORENS; RUTGERS MAX HERNAN

SINKS, SINK FITTINGS, TUB FITTINGS, SHELVING

LAZLO: WOODWORK. FRANCISCA IZQUIERDO CANAS;

(BATHROOMS). ZANOTTA: BED, CHAIR (BEDROOM).

JORDI GUAL RAFECAS: GLASSWORK. ARCOVALENO

DE LA ESPADA: BOOKSHELF. IVANO READELLI:

RESTAURO; CANTERAS VALSAN; MARMOLES Y

BEDDING. ALBA DE OLUCE: PENDANT FIXTURE.

GRANITOS TIJERAS; MÁRMOLES HNOS MORATONAS;

DAVIDE GROPPI: TABLE LAMP. GOFFI: FLOOR

SORREJATS HURACÀ: STONEWORK. CERÁMIQUES EST;

LAMP. IITTALA: VASES (DINING ROOM). E15: STOOL

PROARTIS RESTAURACIÓN CONSERVACIÓN:

(BATHROOM). MOLTENI & C: BED (BEDROOM). TATO:

TILEWORK. MAPE MONTAJES METÁLICOS:

PENDANT FIXTURE. POLTRONA FRAU: VALET STAND.

METALWORK. MASTERS PINTORS INDUSTRIALS:

Top, from left: Philipp Mainzer designed the bathroom’s oak stool. A bedroom’s glass wardrobe is by Vincent Van Duysen.

Bottom, from left: Neo-Gothic flourishes, popular in fin de siècle Barcelona, can be seen in the main entrance’s carved limestone staircase and load-bearing vaults. A Lorenza Bozzoli pendant fixture hangs above a Ron Gilad bed.

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text: stephen treffinger

top-shelf talent

See page 104 for more on Maddalena Selvini’s artistry in Pietra Ollare and ceramic.

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LEA ANOUCHINSKY/LIVING INSIDE

In the hands of global makers, ceramic takes on varied guises

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LEA ANOUCHINSKY/LIVING INSIDE

Clockwise from left: Vincenzo D’Alba and Mauro Melissano, two of the three co-founders.

The brand’s ceramic plates have evocative names such as Getaway and Dreamer.

Inspiration for contemporary riffs on ancient Greek architecture. Tiles are made via a decal technique. Imagery ranges from abstract graphics to whimsical figuration.

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kiasmo

Somewhere at the intersection of artistic handiwork and contemporary design lies Kiasmo, an Italian brand launched in 2011. The co-founders—CEO Mauro Melissano, creative director Francesco Maggiore, and designer Vincenzo D’Alba—come from varied disciplines. Accordingly, Kiasmo’s output encompasses myriad genres: architecture, art, design, fashion. Ever conscious of materiality and local craftsmanship, the trio produces collectible-quality limitededition objects. A series of dishes and tiles reflect Mediterranean history and culture as seen through a modern eye. Pieces made via a decal technique playfully translate geometric solids into elements such as doors, windows, and labyrinths. Ceramic vases are based on Greco-Roman originals, but with 3-D surfaces and added layers of copper and brass. There are also sculptures, drawings, and T-shirts that reiterate the witty interplay of the classic and the contemporary. kiasmo.it

LEA ANOUCHINSKY/LIVING INSIDE

“Handcraft’s imperfection is beauty’s perfection” FALL.19

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east fork

While many dinnerware manufacturers in the U.S. have shuttered in recent decades, the story of East Fork is just beginning. Sort of. It kicked off in 2009 on an old tobacco farm outside Asheville, North Carolina, when potter Alex Matisse (yes, that Matisse, although he’s working to break free from the shadow of his name) built a large kiln and started throwing stuff on the wheel. Around that same time he met Connie (the two are now married) at a farmer’s market where she was selling cheese. And when potter friend John Vigeland came for a weekend visit a few years later, the three decided, over wine and poetry, to go into business together. Fast forward to today: The growing operation is making lovely, useful objects from locally sourced stoneware clay, in 10 colors of semimatte glaze—and meant for a lifetime of use. The team also gives back, providing well-paying jobs to people in marginalized communities as well as engaging in a range of social and environmental initiatives. eastfork.com

COURTESY OF EAST FORK

“It’s a wild world out there, but a tender, beautiful one, too, made ever more sacred by our daily rituals of eating, drinking, and coming together around the table”

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Clockwise from right: Four sizes of plates in new colorway pollen.

Pieces being rolled to the kiln at the North Carolina factory.

Stacked bowls in celery and pollen. Vessels fresh from firing.

Co-founders John Vigeland, Connie Matisse, and Alex Matisse.

The Mug, a signature item.

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LEA ANOUCHINSKY/LIVING INSIDE

“The S.Pot project was inspired by times when we would warm our hands with a cup of tea and gather around the chimney”

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maddalena selvini Probably not many thirtysomethings long for a time before central heating, but Milan-based Maddalena Selvini thinks we’ve lost something in the process of modernization. Once, we gathered around a stove for warmth and kinship; now, we waste money and energy by cranking the room heat to over 70 degrees. “Worst of all,” she says, “we then forget it’s actually cold outside, and end up being completely detached from our surroundings and ourselves.” Selvini, whose eclectic background encompasses jewelry, metalsmithing, and product design, graduated from Design Academy Eindhoven’s department of Man and Well-being. The core of her modular S.Pot system is a large stone cooking vessel for warming food (and hands). From the stone waste used to manufacture the pot, she creates a line of ceramics. The stone itself, called Pietra Ollare, comes from Valtellina in the Italian Alps. Its heat-retaining properties aren’t limited to the kitchen: She also makes a bed warmer from the stuff. maddalenaselvini.com

Clockwise from bottom right: A technician making a tea filter, which works by falling inside the cup and pressing down the leaves.

Selvini in the studio. The designer holds an aroma diffuser. Her large stone cooking pot, in two sizes with optional lid, can be used like an old-fashioned stove. Ceramic finish samples. Ceramic vessels made from manufacturing waste.

A closeup of the aggregate-like material. Her hot stone bed warmer.

LEA ANOUCHINSKY/LIVING INSIDE

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Long before there were “makers” (air quotes intended), there was Mud. For 25 years, the Australian company has offered a beautifully colored range of handmade porcelain plates, bowls, serve ware, and more exhibiting a minimalist aesthetic and an artisanal soul. The company was founded in 1994 by Shelley Simpson, who continues to act as designer. “Our studio in Marrickville operates like a family, with a number of talented ceramicists who are committed to the art of handmaking.” Fans have long enjoyed the brand’s signature look: stonelike matte finish on the outside, glossy on the inside, in 20 colors and myriad shapes. Sizes range from a small pickle dish to a generous serving vessel. Products are made from clay sourced in Limoges, France, and tinted with pigment at the slip stage rather than painted on later, the way most ceramics are produced.

(Everything is dishwasher and microwave safe.) The unglazed exterior becomes smooth when handled over time, so the pieces continue to evolve. And so does the company: For its silver anniversary, Mud is introducing a new all-matte finish. us.mudaustralia.com

BOTTOM: S.WILSON; TOP, SECOND FROM RIGHT: NIKKI TO

mud australia

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Clockwise from right: Vessels showing off Mud’s extensive palette. Clear glaze being applied to the interior of a large bowl. Hat pendant lights are available in all 20 of the company’s colors. A string of glaze sample charms, sometimes used to decorate the ribbon on gift-wrapping.

Founder Shelley Simpson in the studio. A series of bowls ranging from about 5 to nearly 20 inches across.

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smart by nature Digital technology is put to environmentally friendly ends in a Hudson Valley, New York, country retreat by Hariri & Hariri Architecture 108

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text: joseph giovannini photography: eric laignel

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Previous spread: An elegant wood sculpture by Hudson Valley–based artist Christopher Kurtz marks the entrance to the two-bedroom guesthouse.

Clockwise from top: The compound sits on a slight rise near a low rock outcropping surrounded by meadow. A Lindsey Adelman chandelier hangs over the dining area’s custom lacqueredbamboo table. A mix of custom and vintage furniture gathers on the living area’s hand-knotted hemp-and-jute rug in front of the slate-tiled fireplace, while distinctive surfaces in the dining area include marble flooring, Brazilian walnut siding on an angled wall, and woven grass cloth on some other walls and part of the ceiling.

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In a world gone digital, we’re all staring at screens. But when sister architects Gisue and Mojgan Hariri set out to design a country house in the Hudson Valley, three hours north of New York, they thought analog, even though their client makes his living in IT and wanted a smart house he could manage by pushing buttons back in Manhattan.

So the Hariris, co-founders of Hariri & Hariri Architecture, started the design process by walking the wooded 140-acre property. “We wanted to see what the site had to offer,” Gisue says. “The materials, the juxtaposition of things, the poetry.” The architects put on their boots to wade into what had been, judging by rocks piled in rows, a farm long since reclaimed by nature. Gradually decisions about where the house would best be sited added up to a master plan that structured access, views, and the placement of features like meadows.

Then there was the issue of character, just how the house should feel and make common cause with the landscape. The wrinkled bark of the property’s many centenarian trees hinted that any building should have tactile surfaces. “The textures were gorgeous, down to the bunches of mushrooms sprouting on fallen trunks,” Gisue says. “We didn’t want to make an elaborate structure that looked as if

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Top left: Honed Pietra Cardosa counter tops and custom blackened-steel cabinets outfit the kitchen. Top right: An angled ipe-clad wall on one end of the guesthouse evokes neighboring farm buildings listing with age.

Bottom: The compound’s three principal buildings—the main house, guesthouse, and gym pavilion—pinwheel around the gravel motor court.

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it had been beamed from the moon.” The architects looked at surrounding farms where outbuildings mixed with houses and barns in a friendly klatch of structures. Older buildings tended to list under the strain of years and bales of hay.

Listening to the land, reading its forms, and acknowledging vernacular buildings, the Hariris avoided the notion of a house that dominated the land like a McMansion. As a bachelor, the client didn’t need a big family home, but to scale the place down even further, the architects divided the residence into components, organizing what they called “pods” into a cluster of shapes that reduced its overall profile.

To the sound of gravel crunching under tires, owner and guests now arrive at the center of a wagon train of one-story, wood-paneled buildings that pinwheel around a motor court. On one side, there’s the 4,500-square-foot main house, which includes the living and dining areas and kitchen, with an attached master bedroom, guest room, and garage, the parts hyphenated to each other by a connecting structure with a slightly lower roof. Two outbuildings—a 1,100-square-foot, two-bedroom guesthouse and a combination gym and equipment pavilion—complete the circle of buildings.

Abstracting rather than mimicking the shapes of neighboring vernacular buildings, the Hariris designed straightforward, boxlike sheds with open ends and corners. These offer plate-glass views toward the 18 acres of meadow they staked out on the original site, tagging trees they and the owner wanted saved. The low-roof connector between the boxes gives the ensemble a second, more intimate scale. One wall per shed leans at an angle, which recalls lapsing farm buildings while 1 MOTOR COURT 2 ENTRY

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bringing dynamism to the composition with a contemporary gesture. The architects also abstracted the textures of the surrounding woods, cladding the sheds in ipe, a rich, dark Brazilian walnut, and wrapping the two fireplaces—one in the living area, the other in an open loggia next to the pool—with interlocking panels of stacked slate.

For the interior, the client turned to Thom Filicia, a Manhattan-based designer who also has a weekend place in upstate New York. He reinforced the house’s relationship to the landscape with colors and textures that established an indoor-outdoor kinship. “We wanted to make sure the interior was clean and simple enough not to fight the architecture or the views,” Filicia says. “We mixed natural materials—stone, wood, woven grass cloth—to create a layered, organic look that makes the house feel warm, comfortable, and inviting.”

But these days, nature is no longer simple and local. The house that looks so appropriate for the site also fits into a larger, greener picture. The architects tapped into geothermal wells for heat and, with a Minimalist eye, arrayed a bank of large solar panels at the edge of the meadow. They used sustainable materials and passive building techniques to reduce the carbon footprint; computers monitor temperature; and the compound generates enough electricity to give back to the grid.

Centuries ago debate raged about whether nature is better cultivated or left to its own devices. Today, in a time of global warming, building architectural smarts into a project is a tool of sustainability, so the house the Hariris designed draws not only on nature but on IT. Their country retreat may be more natural than nature because they deployed technology to achieve a deep working relationship Top left: A Collar chair by Skrivo pulls up to the study’s custom desk. Top right: A faux-ivory frame mirror hangs above the powder room’s one-of-a-kind carved stone sink. Bottom left: In the master bath, a custom wire-mesh pendant fixture presides over a custom vanity with hammered-zinc doors and stone surround. Bottom right: A custom leather-upholstered headboard and screen-printed linen curtains furnish the master bedroom.

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Bottom: The main house fronts a dipping pool traversed by stepping stones and set in a terrace paved with sandblasted marble.

Inset left: A rope-wrapped chandelier hangs over the media room’s mohair-covered custom sectional sofa and pair of Gerrit Rietveld–style side chairs.

Inset right: A large window in the master bedroom’s stacked-slate wall looks onto a partly enclosed terrace with a hot tub.

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with the environment, creating a smart ecosystem within the sensitive larger one. For anyone driving into the motor court, the ipe and slate may signal the environmental intentions of the house, but for the gentleman pushing the buttons back in Manhattan, the house is green down to its fastest chip.

PROJECT TEAM MARKUS RANDLER: HARIRI & HARIRI ARCHITECTURE. MELANIE DENNIS: THOM FILICIA. WAGNER HODGSON LANDSCAPE ARCHITECTURE: LANDSCAPING CONSULTANT. PRECISION AUDIO VISUAL: AUDIOVISUAL CONSULTANT. ROBERT SILMAN ASSOCIATES: STRUCTURAL ENGINEER. IP GROUP: MEP. PATRICK J. PRENDERGAST: CIVIL ENGINEER. M.J. LARKIN & CO.: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT DORIS LESLIE BLAU: RUGS (LIVING AREA, MASTER BEDROOM). HOLLY HUNT; DONGHIA: SOFA UPHOLSTERY (LIVING AREA, MEDIA ROOM). DENNIS MILLER: BENCH (LIVING AREA). LEE JOFA: BENCH UPHOLSTERY. THROUGH 1STDIBS: VINTAGE ARMCHAIR. JA DESIGNS: ARMCHAIR UPHOLSTERY. MOS DESIGN: COFFEE TABLES. CHRISTOPHER O’HAYRE: ANDIRONS. HOLLY HUNT: CHAIRS (DINING AREA). DONGHIA: CHAIR UPHOLSTERY. LINDSEY ADELMAN: CHANDELIER. WYETH HOME: CUSTOM TABLE. BDDW: SIDEBOARD. LOBEL MODERN: LAMP. AMUNEAL: CUSTOM CABINETS (KITCHEN). ELKAY: FAUCET. JULIEN: SINK. SEDGWICK & BRATTLE: CUSTOM LIGHT FIXTURE (MASTER BATH), NIGHTSTANDS (MASTER BEDROOM), SINK (POWDER ROOM), TABLE LAMP, CHANDELIER (MEDIA ROOM). LEPERE: CHAIR (STUDY). THE FUTURE PERFECT: PENDANT FIXTURE. HYGGE & WEST: WALL COVERING. BRIGHT GROUP: MIRROR (POWDER ROOM). CABA COMPANY: WALL COVERING. PHOENIX CUSTOM FURNITURE: CUSTOM BED (MASTER BEDROOM).

MOORE & GILES: BEDHEAD LEATHER UPHOLSTERY. ZOFFANY: CURTAIN FABRIC. WALTERS WICKER: CHAISE LONGUES (POOL TERRACE).

AMERICAN POOL: POOL, SPA. AERO: SIDE CHAIRS (MEDIA ROOM). SABA: LOUNGE CHAIR. KRAVET: COFFEE TABLES. THROUGH OLIVIER FLEURY: CABINET. FRENCH ACCENTS: AREA RUG. STUDIO FOUR: CUSTOM PILLOWS. JIM THOMPSON: CURTAIN FABRIC. THROUGHOUT ABS WOOD: SIDING, RAINSCREEN. ARTISTIC TILE: TILES. ARCADIA: WINDOWS. CARDINAL GLASS INDUSTRIES: GLAZING. ALFREDO SALVATORI: FLOORING, COUNTERTOPS. PHILLIP JEFFRIES: WALL COVERING.

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working in concert

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Interior Design Hall of Fame member and NBBJ consulting partner Rysia Suchecka recounts how she and her husband reinvented a centuries-old farm in Larroque-SaintSernan, France, as a modern private residence and cultural compound for art and music as told to: jen renzi photography: eric laignel

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My first introduction to Gers, a province in the South of France, was via a fellow architect with very discriminating taste. He told me about the unspoiled, authentic working farms there, with amazing stone structures dating from the 15th century.

So, my husband, John Warburton, and I checked it out and…yes, it was all that.

We visited the area in the early ’90s to house hunt. Most important for me was that my future residence have abundant trees and a traditional pigeonnier—a pigeon-roosting tower—which was designed to collect droppings for use as fertilizer in the fields. (The homeowners also ate the eggs and, in lean times, the pigeons themselves!) We looked at probably 20 properties and ended up purchasing the one that was in the worst condition, but that had intact trees, five acres of surrounding fields, and a panoramic view of the Pyrénées. It also had a smattering of limestone structures: a main house, a farmhouse, three barns, a small wine-pressing facility, and my coveted pigeon tower, which I intended to use as a studio. The 17th-century buildings had sat unoccupied for 50 years and were totally dilapidated,

Previous spread: A former barn, one of three on the property, was converted into a salon used for entertaining and for hosting concerts.

A Krzysztof Krzywoblodzki artwork sits on the fireplace mantle.

Opposite: A hay loft was removed to gain ceiling height for the salon, crisscrossed in centuries-old hand-carved oak beams that were painstakingly restored.

This page, clockwise from top right: The custom dark-stained oak dining table in the grand salon spans 16 feet. In the farmhouse guest bedroom, as in all rooms throughout the property, Tolomeo lights serve as reading lamps. The exterior of the farmhouse, which was connected to the adjacent cow barn during the renovation.

with leaking roofs, missing windows, and no electricity or plumbing. Some had dirt floors, and the pigeonnier was covered in bird droppings.

We restored the maison de maître and attended to the landscaping.

We planted 200 bushes and 380 trees, from fig and fruit varieties to oak and maples, as well as almond and walnut orchards. Some 80 plane trees alone line the half-kilometer allée leading to our house. I think we supported every nursery that existed within the surrounding villages!

Called Nautucat, the property was primarily a vacation place until 2015, when we started to spend seven months a year there (and the other five on Orcas Island in Washington state).

At that point, we decided to restore the remaining structures, with the intention of giving them back to the community in some form.

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Top, from left: Works by a student artist Suchecka discovered in a Seattle gallery hang above an antique Chinese chest in the farmhouse main bedroom. As in all the structures, the 30-inch-thick stone walls in the farmhouse corridor were restored and rerendered using lime-based mortar (which expands more consistently with stone than does typical cement). Custom steel and oak shelves house and display essentials in the farmhouse kitchen.

Suchecka designed the custom mirror and stonetop console in the master bathroom.

Bottom, from left: The cow barn was converted into a gallery for hosting art classes and exhibitions.

The farmhouse kitchen has a view of the verdant five-acre property, once a working farm.

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Supporting the local community has in fact been a driving force at all stages of the now completed restoration.

All interior elements were custom designed by me and made within 10 miles of the property, and every subcontractor—from the stonemason to the ébéniste—was local. Our ambition was to avoid going to Paris, Bordeaux, or Toulouse to source anything: We live in the countryside and wanted to support the life of the people here.

When we fixed up the main house in 1997 we’d used a general contractor, but for this phase, we were the general contractor, with John, an environmental engineer, playing the role of project manager. It was a challenge! Here we are in a foreign country, trying to do everything in a foreign language. John and I both speak better technical French than “normal” French—although the uniform language of drawings is how we get on the same page and make sure nothing is lost in translation.

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Top: Near the main house, the terrace garden has a custom stone fountain modeled on a horse’s trough. Bottom left: Drawings and aquarelles hang in Suchecka’s studio. Bottom right: A Christian Werner Prado sofa and secondhand Marcel Breuer Cesca chairs furnish the pigeonnier lounge.

Opposite top: A custom steel staircase—crafted by a metalworker who more typically restores combines and farm equipment—ascends form Suchecka’s ground-floor studio to the sitting area. Opposite bottom: An exterior view of the pigeonnier, a fixture of area estates, which once housed pigeons used to generate fertilizer for crops.

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First, we redid all the barn roofs, which were in such bad condition that the walls were in danger of collapse.

Then we ran out of money. Later, we made structural openings to connect the farmhouse and the barn. Then we ran out of money again. Finally, a few years ago we said, “Let’s do it all!”

Around the same time, I decided I needed a new challenge: to learn to play the piano. So, I bought a Pleyel—the type of instrument Chopin used—and hired a teacher. I started at zero! I love listening to music, but I’d never read or played it before. I’m not a quick study, but I am determined, and I practice three hours daily. I went completely cuckoo for piano! Next, I bought a beautiful old concert Steinway, and basically built another house for it: We rebirthed the old farmhouse as guest quarters and as a venue for chamber music concerts, produced in collaboration with a local association, TerrOpera. The texture of the stone walls and the room’s high volume make for superb acoustics.

“In collaborating with craftspeople and fabricators, we were not looking for perfection; we were looking for the right thing.This is not a corporate job with quarter-inch reveals; it’s a farmhouse!”

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I also had an opportunity to take a drawing class in Italy—and fell in love with that art form, too. Music freed me to draw more lyrically, liberating me from constipated little architectural renderings. I had the best teacher, so I invited her to come to France: “We have a great space that we’re refurbishing; bring your students here!” We restored the cow barn for public use as an art center. People come for a week to take classes in drawing, painting, and sketching. The course culminates in a vernissage to share the work produced with the local residents.

In your mature age, you want to give back, and to follow your passions for as long as you live. It was so nice to combine those two aims with this project, an offering to our beloved community.

PROJECT TEAM JOHN WARBURTON: PROJECT ENGINEER. AUDREY MAURENS; ORDAN LARROQUE: FRENCH AUTHORITIES LIAISONS. ANDRZEJ WILK: STONEMASON. CHRISTOPHE DEBERDT: METAL ARTISAN. RUSSELL HEWITT: CUSTOM WOODWORK. BERNARD CADEILLAN: ELECTRICAL/ LIGHTING. SEBASTIEN DUCHAMPS: SOLAR/THERMAL CONSULTANT. FREDERICK VILAS: STONE OPENINGS. JEANPIERRE DREVIT: STONE CUTTER. XAVIER COUFFIGNAL:

FIREPLACE AND FOUNTAIN (MAIN HOUSE). FRANCK MOVIA: AUDIO/COMMUNICATIONS CONSULTANT. LUIS CUNHA: WINDOWS AND EXTERIOR DOORS. SARDA: GENERAL CONTRACTOR (MAIN HOUSE, PIGEON TOWER).

Clockwise from right: A Karim Rashid chair and a desk by Danish designer ARDE carve out a cozy workplace in the main house’s library. A custom oak bed and cabinetry fabricated by menuiserie Jean-Francois Laporte garnish the main house master bedroom. Oil paintings

by Adele Sypesteyn hang in a hallway of the main house Opposite top: In the main house living room, a wool rug anchors a pair of Nomade 2 sofas by Didier Gomez.

Opposite bottom: The exterior of the main house, which dates to the 17th century.

PRODUCT SOURCES FROM FRONT LIGNE ROSET: SOFAS (SALON, LIVING ROOM, PIGEON TOWER), GRAY SIDE CHAIRS (SALON). NANCY CORZINE: EASY CHAIRS (SALON). PETER DAVID: CUSTOM COFFEE TABLE. BEAUTIFUL HALO: SCONCES (GALLERY, PIGEON TOWER). SCARABEO: SINK (BATHROOM).

AQUARINE: BATHTUB. ONDYNA: BATH FITTINGS. CEDEO: SINK (KITCHEN). GROHE: FAUCET. PHILLIPPE MICHELETTI: CUSTOM STAIR (PIGEON TOWER); CUSTOM BEDSIDE TABLES (MASTER BEDROOM). JONATHON LOOP: CUSTOM STOOL (PIGEON TOWER). BO CONCEPTS: BAR STOOL (PIGEON TOWER); DESK, CHAIR (LIBRARY). JEAN FRANCOIS LAPORTE: CUSTOM CLOSET, CUSTOM BED (MASTER BEDROOM). B&B ITALIA: EASY CHAIR. THROUGHOUT ARTEMIDE: TASK LIGHTS. SAINT MACLOU: RUGS. ROBERT S.A.: SPOTLIGHTS. SIDV: BATH SUPPLIER. JEAN-PIERRE DREVET THROUGH GRAN DE PIERRE: FIREPLACE AND KITCHEN COUNTERTOP STONE, FOUNTAIN. MEUBLES CEREZO, ANDIAMO: LOCAL SHOWROOMS.

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SERGIO PIRRONE

See page 84 for more on this holiday house by WMR Arquitectos in Puertecillo, Chile.

over land and sea

Rural, alpine, and beach houses from Chile to Canada are at one with their remote surroundings text: georgina mcwhirter FALL.19

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mackay-lyons sweetapple architects site Upper Kingsburg, Canada recap In an agrarian Nova Scotia landscape, a trio of gabled structures echoing local vernacular buildings are made modern through their Corten cladding, sleek fenestration, and minimalist detailing. Two of the volumes—the living pod and the sleeping quarters—are anchored by a plinth of granite, the same stone that comprises the lounge’s mammoth fireplace with five-ton live-edge mantle. photography Doublespace Photography

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“At a time when so much is in flux, this is a project about enduring archetypes rather than novelty or fashion”

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“The house is shaped like a cross inscribed in a square, with terraces in the four corners”

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wmr arquitectos site Puertecillo, Chile recap Built entirely of local pine, this easy-breezy coastal abode for a couple and their two children, located three hours southwest of Santiago, embraces oceanside living via the firm’s signature move: terraces shaded by peekaboo canopies arrayed in intricate geometric grids. photography Sergio Pirrone

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geza gri e zucchi architettura site Tarvisio, Italy recap Alpine architecture tropes receive a makeover in this house consisting of intersecting barnlike buildings. Like their predecessors, the structures are skinned in wood—here in the form of a contemporary brise-soleil with larch fins, ideal for solar control and energy saving. A moody painted-oak kitchen completes the exercise. photography Gianni Antoniali

“We took inspiration from traditional Alpine Walser houses, with balconies surrounded by larch racks used to dry hay”

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“The intent was to give the apartment new identity by introducing new materials” —Giuliano Andrea dell’Uva FALL.19

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cristiรกn izquierdo site Matanzas, Chile recap Chilean cherry treated with oil containing a touch of white pigment forms this three-bedroom vacation house overlooking a local windsurfing hot spot. Views of the Pacific Ocean are best captured from the circular roof terrace, which is punctuated by a grid of 174 tiny skylights that bathe the interior below in a uniform, saturated wash of daylight. photography Roland Halbe

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“The terrace and house are superimposed one on the other, seemingly without touching, thus preserving their formal integrity”

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BOOKs edited by Stanley Abercrombie

New Nordic Houses

by Dominic Bradbury New York: Thames & Hudson, $60 320 pages, 435 illustrations (345 color)

White Houses

by Philip Jodidio New York: Thames & Hudson, $50 288 pages, 268 illustrations (224 color) Before I actually saw this book, its title suggested many possibilities: igloos, Colonial Revival houses, 1600 Pennsylvania Avenue. The book itself is something else. Author Philip Jodidio, well known for his monographs on Tado Ando, Norman Foster, Richard Meier, Jean Nouvel, and Zaha Hadid, has given himself some serious restraints: There is nothing earlier than the present century; no more than one project per designer; and an ambitious cosmopolitanism whereby the 43 houses shown are from 19 different countries, none of them the U.S. Not surprisingly, the best-known architect represented, Richard Meier, has designed the best house—an example in Oxfordshire, U.K., that is completely under his masterful control—while more than a few others flirt with chaos. Also outstanding, by a curious coincidence, perhaps, are three white houses in Spain: the Gallarda house in Almería by JFGS Architects; the “White is the light” Cela house in Madrid by Alberto Campo Baeza; and the AA house in Barcelona by OAB - Carlos Ferrater Partnership. In every case, the value of whiteness is made clear. As Jodidio phrases it, “More than any color, white is capable of. . .subtle change in appearance, borne by shadows, sky, or a nearby tree.”

A very modern list of architects gives only the names of the firms and their Website addresses. But the book’s otherwise fine (uncredited) design has been torpedoed by the senseless separation of floor plans from photographs and descriptive texts. If this is a trend, let’s hope it ends soon.

Here is a welcome gathering of 43 houses from Norway, Sweden, Finland, and Denmark. Though divided into four types (rural cabins, coastal retreats, town houses, and country homes) they all share a common sensibility. Prolific author Dominic Bradbury contrasts this sensibility with that of the International Style designers “concerned with universal, rather than specific, solutions” and finds a “softer” vein of Modernism in the relative modesty, informality, and warmth of the Nordic house. He attributes this less-severe direction largely to work by Alvar Aalto of Finland, Bruno Mathsson of Sweden, and Arne Jacobsen of Denmark, early masters of the genre.

“Materials play a The style’s relationship to Scandinavian geography crucial part” and weather is key to its character. As Bradbury writes in his introduction, “Set within a climate that can be cold and challenging, as well as bracing and beautiful, the idea of a warm, welcoming home assumes particular power and resonance.” Contributing to this character are view-focused windows, saunas, verandas, window seats, and—most important of all—fireplaces.

This is attractive work, attractively presented, with one annoying exception: All the drawings—plans, sections, elevations, and a few that are axonometric—are clustered together as an appendix rather than shown with the photography and texts. One might have hoped this would at least have enabled some interesting comparisons, but even that is impossible because the drawings are at many different scales, and no ratios are given.

It’s a puzzling flaw in an otherwise delightful book.

England’s Thousand Best Houses “Out of print but quite affordable on Amazon, this book is an endless source of interior design and decorating inspiration

by Simon Jenkins capturing a long history of distinctive English domesticity.

London: Allen Lane The excellent descriptive skills of the author and the opportunity 950 pages, 257 color illustrations to become aware of the personalized houses of a diverse group of extraordinarily talented homeowners also make it greatly appealing.

As the stylist editor at my partner David Mann’s firm MR Architecture + Decor, I am frequently called on to reorganize libraries for clients, which entails rearranging and displaying their personal objects and books. This book is an amazing reference for creative and beautifully unexpected ways to organize such possessions. I refer to it repeatedly for both inspiration and specific problem solving.”

Fritz Karch Former editorial director of collecting at Martha Stewart Living

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BOTTOM LEFT: MARK SELEEN

What They’re Reading..

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c o n tac t s DESIGNER IN CROSSLINES Suzanne Lovell Inc. (“The Curating Eye,” page 27), suzannelovellinc.com

DESIGNER IN AT HOME Kiki & Joost (“Kiki & Joost’s Life on the Farm,” page 35), kikiandjoost.com

DESIGNERS IN OPEN HOUSE Archiplan Studio (“The Inside Story,” page 53), archiplanstudio.com Buchner Bründler Architekten (“Stay Awhile,” page 59), bbarc.ch Lilitt Bollinger Studio (“Stay Awhile,” page 59), lilittbollinger.ch Mjölk Architekti (“Stay Awhile,” page 59), mjolk.cz Mork Ulnes Architects (“Stay Awhile,” page 59), morkulnes.com

DESIGNERS IN SPECIAL FEATURE GEZA Gri e Zucchi Architettura (“Over Land and Sea,” page 128), geza.it Cristián Izquierdo (“Over Land and Sea,” page 128), cristianizquierdo.cl MacKay-Lyons Sweetapple Architects (“Over Land and Sea,” page 128), mlsarchitects.ca WMR Arquitectos (“Over Land and Sea,” page 128), wmr.cl

PHOTOGRAPHERS IN FEATURES Doublespace Photography (“Over Land and Sea,” page 128), doublespacephoto.com Roland Halbe (“Over Land and Sea,” page 128), rolandhalbe.eu José Hevia (“More Is More,” page 90), josehevia.es Eric Laignel Photography (“Smart By Nature,” page 108; “Working in Concert,” page 118), ericlaignel.com Sergio Pirrone (“Over Land and Sea,” page 128), sergiopirrone.com Christoffer Regild/Living Inside (“The Merchants of Cool,” page 72), livinginside.it Paul Warchol Photography (“The Shape of Water,” page 82), warcholphotography.com

Interior Design (USPS#520-210, ISSN 00205508) 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 91615-6479. 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 91615-6479.

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DESIGNERS IN INTERVENTION

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Brooks + Scarpa (“Anything But Common,” page 143), brooksscarpa.com Studio Dwell (“Anything But Common,” page 143), studiodwell.com

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design

annex Edition Modern

Industrial Chic Kitchen

Handcrafted in the Los Angeles atelier of French modernist devotee Denis de la MÊsière, Edition Modern pays homage to iconic designers Pierre CHAREAU, Jean ROYERE and others with scrupulous attention to detail and materials that are faithful to the timeless spirit of their original masterpieces. editionmodern.com

A contemporary take on the industrial ethos, the Descanso Kitchen Series features textured knurling on the handles and distinctive hex nut accents. Matching accessories harmonize the look. Handcrafted in Huntington Beach, CA, and available in 28 artisan finishes. californiafaucets.com

Interior Design Subscriptions Subscribe to Interior Design today and receive complimentary on-the-go digital access. Visit interiordesign.net

Whiting & Davis Digitally Printed Metal Mesh The Stack stove, a colorful hearth product hand crafted by La Castellamonte of Italy. This fun ceramic stove has both super modern and artsy appeal. Available in four base models and two heights 45" & 54" and in a variety of vibrant glazes.

Please contact us at 914.764.5679 or visit wittus.com

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T H E ART OF T H E PAT IO BUILT TO OU TCOM FO R T & OV E R L A S T |

WO O DA R D - F U R N I T U R E . CO M

anything but common For its first Windy City project, SoCal firm Brooks + Scarpa went native. Principal Lawrence Scarpa chose Chicago common brick, manufactured locally and ubiquitous in area architecture, to build a 2,800-square-foot courtyard residence in suburban Evanston, Illinois. The variegated mudbrown modules, he explains, “are unattractive, cheap, and an abundant resource typically used in places obscured from sight.” Think rear-facing walls and structural supports.

Leave it to Scarpa and partner-wife Angela Brooks, collaborating with local firm Studio Dwell, to turn things inside out— literally—by using common brick for the front and side walls. The street facade appears predominantly solid or void depending on the viewing angle: Bricks rotated to form twisting columns create a moiré-like screen that confers privacy to the interior courtyard and conjures a pas de deux of sunlight and shadow. (Dance is an apt analogy, as Scarpa was influenced by choreographer William Forsythe, a fellow University of Southern California professor.) Though the structure has a distinct object quality, standing out from its more traditional neighbors, Scarpa’s effort “to reveal the extraordinary within the ordinary” in his first-time use of brick elevates the residence to experiential artwork status. “Memory,” he concludes, “is based more on how we experience something than on its appearance.” —Edie Cohen

I N T ER vention FALL.19

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