Interior Design Winter Homes 2019

DECEMBER 21, 2019

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2019 AT L A S PE N DA N T S

CONTENTS WINTER 2019

VOLUME 90 NUMBER 15

winter1.9 ON THE COVER In Espoo, Finland, a R2K Architectes house with aspenshingle ceilings wraps around a concrete hearth.

Photography: James Silverman; stylist, Pauline Algeröd.

FEATURES 86 TIME OUT OF MIND

by Edie Cohen

Massimo Adario Architetto takes an elegantly ahistorical approach to design when renovating a storied apartment in Florence, Italy.

94 NATURAL SELECTION

by Jeff Book

Taking cues from the surrounding trees, Leeton Pointon Architects and Allison Pye Interiors give organic form to a family villa in Melbourne, Australia.

102 STRICTLY BALLROOM

by Michael Lassell

LAURA FANTACUZZI AND MAXIME GALATI-FOURCADE

Carol Kurth Architecture and Laura Bohn Design Associates team up to create a huge family house with its own tango studio for dance-crazy clients in Connecticut.

112 A ROOM OF ONE’S OWN

by Jane Margolies

On Manhattan’s Upper East Side, SheltonMindel combines two apartments into a vibrant triplex home for a blended family.

120 WEATHERING HEIGHTS

by Michael Lassell

In Amagansett, New York, architect Scott Glass has left the cypress cladding on his family’s weekend house unfinished so it will age gracefully to silver-gray in the sea air.

128 STAR BRIGHT

by Georgina McWhirter

and Wilson Barlow

Eye-catching residences across the globe beguile with bold and eccentric forms.

138 ENCHANTED ISLAND

by Ian Phillips

Agence DL-M conjures a grand apartment on Paris’s magical Île Saint-Louis.

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CONTENTS WINTER 2019

VOLUME 90 NUMBER 15

open house 39 A WHOLE NEW VIEW

by Rebecca Dalzell 47 ROOM TO BREATHE

by Georgina McWhirter

departments 21 HEADLINERS 25 HAPPENINGS

edited by Annie Block 30 SKETCHBOOK

by Ab Rogers 33 CROSSLINES

by Jen Renzi Double Vision

39

Architect and former realestate creative exec Roy Kim embraces a yin/yang philosophy in designing his downtown and upstate New York homes.

56 TRENDING

edited by Rebecca Thienes 63 MARKETPLACE

edited by Rebecca Thienes 148 BOOKS

by Stanley Abercrombie 149 CONTACTS

winter1.9

ERIC LAIGNEL

151 INTERVENTION

by Colleen Curry

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P H O N E

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

e d i t o r ’ s welcome

breaking in!

An opulent three-bedroom in Paris, a Florence masterwork, a family-villaas-sculpture in Melbourne, a colorfully curated triplex on Manhattan’s UES, a contemporary weekender in the Hamptons, and a Connecticut compound dancing the tango (you’ll see)...boy, it really seems we are reporting on the 0.1 percenters in this Winter issue of Homes, doesn’t it?!!!! Well now, one might say the aforementioned ultra-wealthies do give back when they partner with you architects and designers ;). The fruits of those unions are always-innovative ideas and solutions and a mighty shove to our design envelope.

And if that’s not enough of an excuse for our coverage (or doesn’t ring true to you), the following should be: Even though the trickle-down economy has been established as pure BS (bovine scatology), design blooming uphill does abundantly flourish thereafter, everywhere else. And it particularly does when Robin Hoods of style like us execute their breaking-andentering routines diligently. In this issue, that we did. Unrestrained, unshackled, and totally guilty, we’re showing the finest and most progressive examples of resi design on a global scale. Just take a gander at our featured roundup, in which design is pushing beyond all boundaries— including the bucks—to bring us purely into the future next door. Anyhoo, here it is; get inspired and grab some loot inside!

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H E ADL I N E RS “Projects are very different from one another. That comes from context: the building, the city, the client, and other specific elements”

Massimo Adario Architetto “Time Out of Mind,” page 86 principal: Massimo Adario. firm site: Rome. firm size: 10 architects and designers. current projects: Houses in Sorrento and Capri in Italy; an industrial building outside Rome; stores in Los Angeles, Miami, Beirut, and Paris. role model: The Italian master architects—Achille Castiglioni, Carlo Scarpa, Franco Albini, and Gio Ponti, to name a few—for meeting the needs of the market with functional and sophisticated design in a uniquely Italian way. when in rome: Adario was born, raised, went to school, and now practices in the Eternal City. foreign shores: The young graduate architect’s further studies and first professional experiences were in Spain and the Netherlands. massimoadario.com

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Agence DL-M “Enchanted Island,” page 138 principal: Damien Langlois-Meurinne. firm site: Paris. firm size: 10 architects and designers. current projects: Apartments and town houses in Paris. role model: Carlo Mollino, who like many other great Italian designers of his era, was also an architect with a global approach to projects at all scales.

SheltonMindel

in the swim: Langlois-Meurinne is passionate about kite surfing because, like designing, it involves searching for the perfect curve. off the grid: The designer has just built a vacation house in northern Brazil that’s so remote it can only be reached by boat. dl-m.fr

Laura Bohn Design Associates

Carol Kurth Architecture

Leeton Pointon Architects + Interiors

“Strictly Ballroom,” page 102 “Strictly Ballroom,” page 102 “Natural Selection,” page 94 principal: Laura Bohn. principal: Carol Kurth, FAIA, principal: Michael Leeton.

ASID. firm site: New York. firm site: Melbourne, Australia. firm size: Seven. firm site: Bedford, New York. firm size: Five architects and designers. current projects: Houses and firm size: Seven architects and

“A Room of One’s Own,” page 112 principal: Lee F. Mindel, FAIA. firm site: New York. firm size: Nine architects and designers. current projects: Apartments in New York; a home renovation in Kentfield, California; and a beach house in Southampton, New York. honors: Interior Design Best of Year Award; NYCxDesign Award; Chicago Athenaeum International Architecture Award. role model: Architect Louis Kahn, for his supreme command of mass and space. knowledge: Mindel’s greatest hobby is satisfying his curiosity. imagination: For the architect, home is a place where you can dream. sheltonmindel.com

Guerin Glass Architects

apartments in New York.

designers.

current projects: Residences in

role model: Joseph D’Urso, my

current projects: Houses in

professor at Pratt Institute, who opened my eyes on how to move through space and capture the view.

Southampton, Carmel, and Bedford, all in New York. honors: ASID NY Metro Design Excellence Award; AIA Westchester + Hudson Valley Design High Honor Award. role model: Nature, because each site is unique, creates awe, and provides inspiration.

Melbourne and on the Mornington Peninsula, Australia. role model: Intuition, because as a designer you should never underestimate what you already know or what you have in your collective unconscious. honors: Victorian Architecture Awards, Residential Commendation; IDEA Interior Design Excellence Award.

the old: Bohn and her construction manager husband, Richard Fiore, recently built a country retreat in Bucks County, Pennsylvania. the new: The couple is moving to France for their next joint project—the renovation of a château. lbda.com

h e a d l i n e rs

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just back: Kurth recently returned from Iceland, an incredible journey viewing natural formations, astonishing waterfalls, and amazing glacial sites. headed to: The architect’s next trip is to Bilbao, Spain, to explore the region’s art, cuisine, and culture. carolkurtharchitects.com

WINTER.19

other half: The Pointon in the firm’s name is Leeton’s wife, architect Kate Pointon. single state: He likes projects on which the distinction between architecture and design dissolves. leetonpointon.com

“Weathering Heights,” page 120 principal: Scott Glass. firm site: Brooklyn, New York. firm size: 25 architects and designers. current projects: Lift One Lodge in Aspen, Colorado; a lakeside residence in Coeur d’Alene, Idaho; and a medical services building in Brooklyn, New York. honors: AIA Merit Awards. role model: Vladimir Ossipoff, Hawaii’s great modern architect, for his beautifully understated work that is specific to place. solo sport: Glass loves surfing, though he didn’t start until he was in his late 30s. team player: He spends his weekends shuttling his three kids to soccer matches all over the Northeast. gueringlass.com

edited by Annie Block text by Annie Block and Nicholas Tamarin

happen ings Night and Day 206, a 10-inch-tall, glazed stoneware lamp by Jos Devriendt, is at New York’s Demisch Danant gallery through December 14.

gilded hour

COURTESY OF JOS DEVRIENDT AND DEMISCH DANANT

He has formally studied ceramics and sculpture.

Belgian designer Jos Devriendt has also devoted ample time considering mushrooms—not their hallucinatory affects but their forms. His first solo show last year at Demisch Danant in New York presented dozens of what he calls “functional sculptures,” all in porcelain handcrafted in shapes derived from the fungi. Today “You Are Gold,” his second exhibition at the gallery, presents 30 new stoneware lamps in similar silhouettes but now glazed in gold or bronze. “What made the collaboration right is the alignment of Jos’s design philosophy with our interest in minimalist form, technical innovation, and research,” Suzanne Demisch states.

Indeed, the works are the result of Devriendt’s 20-year exploration of not only the mushroom, but also how the passage of time can transform the perception of objects and their context and the distinctions between day and night.

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sweet dreams ZigZagZurich is striving to perfect the art of rest with its latest Artist Bedding Collection, a three-pattern series all in handspun Italian cotton sateen. The bold colors and forms in Casso, by collagist Brian De Graft, derive from the abstract paintings of Pablo Picasso. For the exotic Escorial, Pintura Studio, the fabric and wall-covering outfit founded by Christine Isles and Edward Rollins, utilized hand-cut stencils to create its jungle-themed expanses, which were then transferred to silk screens. And the man that brought the team together, ZigZag creative director Michele Rondelli, contributed the dramatic Panama, in moody gray with swaths of blue. “Art became a reserve for everything that no longer had a place in an industrialized society: mastery in handcraft, mythical thinking, and self-reflection,” Rondelli says. “Brian, Christine, Edward, and I embrace it all.”

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Clockwise from top left: ZigZagZurich’s Artist Bedding Collection includes Escorial, a pattern by Pintura Studio.

Michele Rondelli’s Panama, in cotton sateen, as is the entire collection. Casso

by German collagist Brian De Graft.

H A PPE N ings

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yaddo by the sea From bottom: Master builder Randy Polumbo has turned Orient Light, a six-story, sparkplug lighthouse built in 1899 on Oyster Point Reef, ⅓ mile off Orient Point, Long Island, into Plum Gut Grotto, an artist’s residency that’s also occasionally open to the public. The grotto with its 4-by-20-foot banquette and ceiling of English-wheel and hand-hammered mirror-polished aircraft aluminum. The spinning “oracle,” a 4-foot-diameter foam and wire ball of marine epoxy, crystals, silvered mirror, glass beads, and color-changing LEDs.

Internet shopping has reached a whole new level with Plum Gut Grotto. Sculptor Randy Polumbo was searching government websites for old fuel tanks for a future project and ended up purchasing Orient Light, a 19th-century lighthouse off Long Island listed on the National Register of Historic Places that he’s spent five years converting into an artist’s residency.

“It’s my micro philanthropy, where someone can come stay a few weeks and write the great American novel.” And they can do so entirely off the grid. Polumbo, a Cooper Union alumnus who creates towering “lodestars” and immersive “grottos,” has updated the structure with USB ports, outlets, appliances, and a composting toilet, all of which run on energy generated from a newly installed windmill and solar panels—techniques he’s mastered in his other profession, founder of the eco con­struction company Plant (clients include Santiago Calatrava, Lee Mindel, and Maya Linn).

Of course, there’s one of his signature sparkling galaxy of a grotto with a vast “topographical human habitat,” or built-in banquette, and an illuminated crystal-clad ball spinning outside, like a beacon to boaters and creatives alike.

RANDY POLUMBO

interiordesign.net/randypolumbo19 for more images of and to donate to the Plum Gut Grotto artist’s residency

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S K E T C H book

“I tend to work in color blocks so I can explore spaces both horizontally and vertically”

rainbow connection

beginning of a project; my drawings at the initial stages are intentionally quite crude. I love the ambiguity of soft pencil. The architectural convention of using hard pencil to me just shows a need for control. With soft lines I can discover and learn much more about a project. I also love gridded sketchbooks: each square can represent a unit of space. As a designer, it’s important to get away from the computer and to sketch in different media—to mold clay, touch wood, and feel stone.

Ab Rogers Design is very much a team enterprise. For over 15 years we have collaborated with studio member Yosuke Watanabe, who’s a master at conveying spaces in both two and three dimensions. Drawing in both pencil and watercolor, he has the capacity to evoke a space with lightness and a minimal number of lines in a way that’s so much more direct than a cold render. His sketches are tools not only for describing and presenting, but also for designing and discovering.

Color is an important aspect of our practice. When we sketch, we use color both diagrammatically, to describe different functions, and to explore the actual hues in which we’ll materialize the project. To depict the model apartment in Balfron Tower, a recently renovated Brutalist landmark in East London, we wanted a soft blue as a surface to walk upon, white for the apartment walls (so they could be personalized with art and knickknacks), and bright red for the ceiling—to stimulate the eye and create ‘puddles’ of secondary hue.”

Top: A rendering of the Balfron Tower model apartment by Ab Rogers Design’s Yosuke Watanabe.

Bottom: Rogers’s own preliminary sketch of the project.

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TOP: YOSUKE WATANABE FROM AB ROGERS DESIGN; BOTTOM: AB ROGERS

Color is a key component of London designer Ab Rogers’s “I like to sketch in a combination of work—and his studio’s sketching practice soft lead and chalky pencils at the

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double vision

Architect and former real-estate creative exec Roy Kim embraces a yin/yang philosophy in designing his downtown and upstate New York homes

c ross lines Architect Roy Kim and his partner, Clayton Crawley, pose with Georgia, a Chihuahua mix, in front of a Todd Norsten artwork at their Financial District threebedroom apartment in New York.

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Clockwise from top left: To gain additional square footage for the apartment’s living room, Kim converted an outsized third bedroom into a smaller study, with Arne Jacobsen Drop chairs.

An artwork by James Nares hangs in the master bedroom. The design of the master bedroom demonstrates Kim’s preference for a headboard wide enough to backdrop the nightstands, too. A Bassam-Fellows side table, Kvadrat-covered Finn Juhl chair, and custom coffee table commandeer the living room.

EDUARDO MACARIOS

c r o s s lines

When Roy Kim moved from San Francisco to New York in 2016, he could not comprehend the phenomenon of weekending away. “I remember thinking, Why would you ever want to leave the best city on the planet?!” the architect recalls. “But after living in Manhattan for a while, you realize you need to escape it.” So, a few years after purchasing and renovating a Financial District threebedroom, Kim and his partner, Clayton Crawley, bought a farmhouse upstate in Ancramdale. “It’s nice to have a home for the busyness of work life, and a home that’s a refuge from all that,” Kim says.

No wonder Kim needs a refuge: He is a former SVP of Design for Extell Development, where his projects included One57 and the Lucida, and he has held similar titles at Corcoran Sunshine Marketing Group and Douglas Elliman. He also sits on the governing board of Open House New York, an organization he helped elevate during his tenure as president. Now Kim is spearheading a development of his own—a spec house upstate—and acts as a strategic matchmaker among his Rolodex of top developers, suppliers, and designers. Naturally, many of the latter figure in both his abodes, despite the homes’ contrasting personalities.

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Your homes have the same vibe, but different characters.

It’s a story of opposites. The Financial District apartment, despite having a lot of natural light, reads dark and edgy, whereas the country house is light, white, and airy—very Scandinavian and cozy/casual, with views of rolling hills and old oaks.

When I designed the city place, in 2012, I was SVP of design for Extell, working on the highest-end urban condos, so I was really immersed in that world. Four years later, when my partner, Clayton, and I bought the house upstate, my mind was on refuge.

The layouts are polar opposites, too.

The city apartment is open plan while the Ancramdale house, called Southfield Farm, is a collection of rooms. I’ve found that I like both layouts, but for different reasons. Working in the real-estate industry, one thing I always found hilarious was hearing things like, “open kitchens are the hottest new trend!” And then, “closed kitchens are in.” In reality, those things are not “trends” in the same sense that neon sneakers are a trend; they are lifestyle preferences.

How did your own lifestyle preferences inform the design?

I wanted the country house to be easy to take care of, with low-maintenance finishes. For instance, the dining table in New York is waxed rolled steel, which is prone to marks from skin oils, while its country counterpart is ebonized red oak with a waxy finish that repels water and can be wiped down. And our living room sofa in Ancramdale is slipcovered and very deep: 43 inches.

We climb inside and eat popcorn and watch movies. The city sofa, in contrast, features a special leather whose color seems to change with the light—from gray to purple to blue to black. The first few years it was a rule to not drink red wine on it.

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Also, our city kitchen is a bit more pristine, with a Calacatta Gold marble countertop and cabinets that have finger reveals instead of pulls— which I love the aesthetic of, but now that I cook, I prefer handles.

Did you approach both renovations similarly?

We lived in the Ancramdale house for a while first and then renovated incrementally. Whereas the apartment we renovated completely prior to moving in. Working in the high-end development world, in which each square foot costs so much money, I became really good at scrutinizing floor plans, squeezing every possible square inch of usability out of a space. The apartment layout was a hodgepodge; the primary move was to create more streamlined circulation and to double the size of the living room by converting the oversized third bedroom into a study.

There are pros and cons to both scenarios—live there first or renovate first—but there’s something to be said for giving yourself a deadline and just getting it done. The heartwood pine floors were the last thing we redid in the country; I didn’t love the golden-orange color, and was thrilled to learn that it could be stained a light hue akin to white oak.

But that meant we had to move all the furniture out, which was a pain!

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EDUARDO MACARIOS

The baths are all quite spalike.

Talking to luxury homebuyers all day, you really learn how people live, and I’ve found that bathrooms are especially personal and idiosyncratic. For instance, I like having medicine cabinets to the side, so you don’t have to reach over the sink.

And Clayton and I prefer bathrooms with an enclosed space for the toilet…but then you need to have a door on the shower for visual balance. In the city I used ribbed glass doors, which admit light while allowing privacy, and have the added benefit of obscuring hard-water splotches.

The very first project in which I used ribbed glass was One57—after which I saw it everywhere!

Your homes are a who’s-who of top artists and designers.

I try to champion and commission up-and-coming talents. We also really love collaborating with our friends in the industry and giving them exposure. We have plasterwork

by Yolande Batteau of Callidus Guild, lighting from David Weeks and Omer Arbel, pieces by BassamFellows, and seating by Niels Bendtsen, whom I met during my first year of architecture school. In the country we have furniture by Neri&Hu; I love how their work bridges Shaker and Asian.

Your residences have a real soul.

We live in a very dark time; there’s a lot of pain and chaos in the world.

Having a city home and a country home provides places to harness both yin and yang energies. As designers, it’s our job to balance both the darkness and the light.

—Jen Renzi

Clockwise from top left: A Kenneth Harrison oil painting of Moraine Lake in Banff, Canada, is mounted above the Ilse Crawford Companions bed in the master bedroom of the country house. A Stickley bureau anchors a guest bedroom. The master bath features Alexis Azul counters and a soaking tub. Kim designed the coffee table and cowhide rug in the living room; on the rear wall hangs a traditional good luck knot from the coastal Carolinas. Exposed rafters define the porch.

c r o s s lines

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INTERIORS

ope n house

a whole new view firms: span architecture and waowig studio site: new york ERIC LAIGNEL

In the dining room of the town house, a pair of Julio Alan Lepez oils on canvas preside over a custom goatskin-covered table.

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ERIC LAIGNEL

Clockwise from top left: A pushpin portrait by Diana Beltrán hangs in the living room. In the foyer, Pablo Pardo’s acrylic-and-steel fluorescent bench sits under a Marcos López photograph. Rift and quartered solid white oak floors the house. Sliding tempered-glass doors framed in blackened aluminum enclose the eat-in kitchen, with leathered-granite countertops. Moises Esquenazi designed the lacquered-rosewood coffee table and wool-and-brassthread rug in the living room.

From the outside, historic town houses seem like enviable places to live. But their inhabitants admit that there are drawbacks: Deep lots create dark interiors, bottom floors receive little natural light, and ceilings are often low. Such was the case at a Federal-style town house in New York’s West Village. The project developer hired Peter Pelsinski and Karen Stonely, principals of SPAN Architecture, to convert the 1820s building from apartments into a singlefamily home. “It was hobbit-like in scale and had a strong sense of interiority,” Pelsinski remembers. With few period details to restore, the architects planned a gut renovation.

The site had one major perk: a 60-foot backyard. It was such a deep lot that the architects could extend the first two floors by 30 feet and still have plenty of room for landscaping. To open up the relationship to the garden, SPAN removed the back facade, added a second-floor terrace, and installed full-height windows facing north. “The design respects the lines and proportions of the surrounding historic houses, but is also very modern,” Stonely observes.

Another quirk was that the building had no cellar. The SPAN team excavated to create one and also leveled the roof to

gain nearly 8 feet of interior height. “We had to restack the ceilings while preserving the front facade,” says Pelsinski.

“It was a game to make sure the windows landed in the right spot floor by floor.” The 5,800square-foot four-bedroom now has five levels and over 10-foot ceilings on the parlor floor, but looks untouched from outside.

The interior similarly balances old and new. Since it was a spec project, Pelsinski and Stonely developed a neutral palette.

White oak floors create a comfortable flow between spaces, while baseboards, trim, and crown moldings subtly reference the past. The steel-and-oak staircase looks traditional, though there’s no nosing, and matches the original footprint.

Skylights overhead carry daylight all the way downstairs. “We gave the house an extroverted character,” Pelsinski notes.

Those qualities appealed to the young family that bought the property. To decorate the house, the couple turned to Moises Esquenazi, principal of Waowig Studio, whom they’ve known for years. The clients largely gave him free reign to design approachable spaces that showcased their art collection. Their easy relationship allowed Esquenazi to take risks he wouldn’t have normally dared.

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Clockwise from top left: A Benedini Associati–designed soaking tub anchors the master bathroom, where Calacatta Aurora marble tops the vanity. A toy piano and Esther MacRae’s mixed media on foam core fill a top-floor niche. The master bedroom’s blackened-steel windows open onto a terrace.

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R E L E V É

66W X 19D X 30H - Shown with fumed & figured eucalyptus doors, walnut case.

C R E D E N Z A

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knowltonbrothers.net

To wit: the fuchsia den. “It’s the first room you see when you walk in, so I thought to do something fun and lively,” Esquenazi says. The color sets a bold, funky tone for the rest of the house, which mixes contemporary Latin American art with pieces by Milo Baughman, Pierre Guariche, and Tobia Scarpa. Esquenazi designed many of the furnishings, like a custom lacquered-goatskin dining table that’s one of many 1970s references.

Two years after the family moved in, they called SPAN back in to give the conventional kitchen a sleek, modern makeover and to enlarge the master bath into a spalike oasis—a fitting coda to the decade-long project. The house itself is now bright and open, knit into the city, but with room to breathe.

—Rebecca Dalzell

COFFEE TABLE (LIVING ROOM); RUGS (LIVING ROOM, MASTER BEDROOM); SOFA (DEN). PABLO PARDO THROUGH DESIGN WITHIN REACH: BENCH (FOYER). SCIOLARI THROUGH REWIRE: LIGHT PANELS. COLE AND SON: WALLPAPER. W INDUSTRIES: STAIR (LOWER STAIR HALL). USAI LIGHTING: SPOTLIGHTS. CASSINA THROUGH WADE ALLYN HOME: SOFA (LIVING ROOM). BOLIER & COMPANY THROUGH DENNIS MILLER ASSOCIATES: CHAIRS. FOSCARINI: FLOOR LAMPS. LUMINII: LINEAR ILLUMINATION (KITCHEN). MIELE: COOKTOP, HOOD, OVEN. BLANCO: SINK. KWC: FAUCET. TRE-PIÙ, ARCLINEA; THROUGH ON MADISON PARK: CUSTOM SLIDING PANELS. DORNBRACHT: FAUCETS, TUB FILLER, TOWEL BAR (MASTER BATHROOM). LACAVA: SINK. AGAPE: BATHTUB. MARVIN THROUGH SUPER ENTERPRISES: WINDOWS (MASTER BATHROOM, DEN). PHILIPS THROUGH LUMENS: SCONCES (POWDER ROOM). LIGNE ROSET: MIRROR. BLU DOT: SIDE TABLES (DEN). SONNEMAN—A WAY OF LIGHT THROUGH LUMENS: WALL LAMP. STILNOVO THROUGH GATTINATOR76: PENDANT FIXTURE. STARK CARPET: RUG. THROUGHOUT I. J. PEISER’S SONS: WOOD FLOORING. JAG FINISHING: MILLWORK. SDA LIGHTING: LIGHTING DESIGN SPECS.

FROM FRONT THROUGH 1STDIBS:

PANORAMIC: CUSTOM WINDOWS AND

VINTAGE CREDENZA, VINTAGE CHAIRS

SKYLIGHT. BENJAMIN MOORE & CO.: WALL

(DINING ROOM). MOISES ESQUENAZI FOR

PAINT. ABC WORLDWIDE STONE: STONE

WAOWIG STUDIO: TABLE (DINING ROOM);

SUPPLIER.

From top: Skylights create an atrium over the new steel-and-oak staircase.

A Michael Koenig mirror shares the powder room with a Floria Gonzalez photograph. Lou Blass’s steel-rod sculpture hangs above a Lecce stone fireplace in the den, illuminated by a midcentury Pierre Guariche chandelier.

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CHANGE THE PATTERN

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A world free of child labor.

GoodWeave works in close proximity to producer communities, brings visibility to hidden supply chains, respects the rights of workers, and restores childhoods.

Look for the GoodWeave label – the best assurance that the carpets and home textiles you purchase are made free of child labor.

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Design: Addison. www.addison.com Photo Credit: Nitin Gera

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Vernacular architecture and modern minimalism combine in a quartet of considered abodes

room to breathe A pre-patinated zinc roof distinguishes a home in Chorrillos, Chile, by WMR Arquitectos. See page 50 for more.

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ammor architecture, darren brown interior design, and studio 250 design site Jackson, Wyoming

GARRETT ROWLAND

recap Rugged materials claim the exterior of this gut renovation, like the rustic lumber siding salvaged from Montana corrals. The palette gets increasingly refined as you migrate inside; see the living room’s colorful Italian 1950s multi-arm pendant and Charlotte Perriand–inspired cabinetry, as well as the newly expanded windows that frame painterly American West views.

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wmr arquitectos site Chorrillos, Chile recap A family home consists of a barnlike structure with a crisp, gabled roof in pre-patinated zinc. The abode is sited along the east-west axis of its acreage, pulling in views of the coast and rolling hills through spectacular full-height glazing. Inside, its pine trusses are exposed—another nod to rural vernaculars.

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ccy architects site Aspen, Colorado

DRAPER WHITE

r e c a p An 1880s Victorian— restored to include charred rafters and studs from a long-ago fire—is joined by a simpatico contemporary addition affectionately dubbed the Music Box and designed to accommodate recitals as well as guests. Fittingly, the addition's aluminum facade is custom perforated in a pattern derived from Chopin’s Nocturne in E-flat major, Op. 9, No. 2, the client’s favorite piano composition.

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tux creative and guillaume kukucka site Eastern Townships, Canada recap A compound near Quebec’s Vermont border is reminiscent of a farm, with a central courtyard and four outbuildings.

The interior application of materials traditionally used as cladding, like corrugated sheet metal (here painted yellow-gold), subtly recalls being alfresco.

“You get the same effect as camping, feeling a part of nature yet protected,” explains Tux partner Laurent Guez.

—Georgina McWhirter

MAXIME BROUILLET

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True luxury doesn’t follow convention.

In the Litze® Bath Collection by Brizo, artful details like finely crafted knurling texture and a stunning Luxe Gold™ finish co-exist with stripped-down modern minimalism—for an elevated take on style that’s anything but expected.

Available exclusively in showrooms. brizo.com

ripple effect Wavelike forms are washing up everywhere, from furniture to fixtures

tre nd ing edited by Rebecca Thienes

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Encouraging a tactile escape from the ever more digital world, Robert Sukrachand’s Coved Torus table boasts a scalloped ash stave base bisected by smooth bronze glass. The structure references classical architectural columns as well as the less, ahem, authentic iterations found today: “I was inspired by the faux Doric columns that often line the porches of suburban houses and wanted to bring those graphic elements to life in a refined piece of furniture,” the New York designer/woodworker says. The resulting design is like a fidget spinner for the sofa set. Turn the page for more wavy, fluted forms. sukrachand.com

DESIGNED TO BE PERSONALIZED Mix and match styles + finishes for handles, stems, and rosettes | emtek.com

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1. Cloud coffee table in concrete and recycled styrofoam with smoked-glass top by Patrick Cain Designs. patrickcaindesigns.com 2. Medium Wave barrette in gold-plated stainless steel by Preview Wear. previewwear.com 3. RBS #2 lamp in resin-bonded sand with glass shade by Steven Haulenbeek. stevenhaulenbeek.com 4. Yonoh Estudio Creativo’s Kolos tables in glazed ceramic by Miniforms. miniforms.com 5. Lorenzo Zanovello’s Chouchou glazed

ceramic stool in marble white by Pulpo. pulpoproducts.com 6. Tubular 7M chair in steel and

rubber by Ara Thorose. arathorose.com 7. Forum side and coffee tables

in reinforced concrete by Phase Design. phasedesignonline.com

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“Semicircles, waves, ripples — shapes we draw or play with in block form as children — are immediately resonant to our adult brains” —Robert Sukrachand

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Bespoke Wall KnollTextiles introduces Bespoke Wall, a made-to-measure Type II wallcovering featuring a non-repeating 5-color ombre pattern that is custom printed to meet the specification of each project. Available in 10 impactful color options.

May we send you a sample? knolltextiles.com

winners announced live at the party of the year join us at interiordesign.net/boytickets

Skye Pendant

B E S T. DECISION. EVER. For projects of any size, perfection often requires making difficult decisions. Allow the experts at Ferguson to make things easy by introducing you to an extensive collection of stylish products from prominent brands, all designed to bring your vision

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to life. Learn more at fergusonshowrooms.com

edited by Rebecca Thienes text by Wilson Barlow, Colleen Curry, Jesse Dorris, Georgina McWhirter, and Rebecca Thienes

life drawing

When he was in his seventies, Henri Matisse took scissors to paper, delineating movement and joy with the simplest of lines—and forever changing how we think about color and form.

To celebrate the 150th anniversary of the French art master’s birth, MuralsWallpaper adapts those cutout techniques for vertical surfaces with the Human Form collection. Posture’s bodies are so limber they might be practicing yoga among breezy iterations of the sun and moon; the pastel pink palette is equally calming.

Pose and Figure enlarge the scale, while the colorway Electric Night dials up the intensity in a cerulean nod to Matisse’s “Blue Nudes.” All are digitally printed with water-based toner on paper sourced from FSC-regulated forests. muralswallpaper.com

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“We share an instinct for leaning into—rather than shying away from—difficult design challenges” —Bec Brittain

LAMELLA

BEC BRITTAIN

scientific inquiry a fixation that’s resulted in her first rug collection. The Taxonomy range compiles nine of Brittain’s investigations into scientific categories, first expressed as elaborate drawings that were then translated into hand-tufted silk and wool compositions. Pleo’s bursting rays in yellow, silver, and blue bring to mind fluttering dragonfly wings. Lamella, named for the membrane of bone tissue, implies the spiraling layers of seashells in delicate navy-blue lines on a bed of gradated pink. The wellspring for Venation, meanwhile, was the folding of earwig wings, so intricate they have been used as the basis for 3-D modeling studies. edwardfields.com

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VENATION

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CLOCKWISE FROM TOP LEFT: NICK D’EMILIO; LAUREN COLEMAN; NICK D’EMILIO (2); ANDREW BORDWIN

Lighting designer Bec Brittain is obsessed with labels, which explains her respect for famed carpet brand Edward Fields—

“We’re on a mission to fill the gap between mass-market housewares and high-end home brands”

a holistic universe

FOLDING

market P L A C E Interior Design Hall of Fame members George Yabu and Glenn Pushelberg embrace a global outlook in their lauded hospitality projects. Now all it takes is Wi-Fi to access the latest jetsetting creations from the Yabu Pushelberg founders, thanks to the launch of Departo. A collaboration with Yuichiro Hori of manufacturer Stellar Works, the e-commerce brand offers what the cofounders dub “essentials for global nomads”: a collection encompassing furniture, ceramics, textiles, metalwork, and glassware.

(Lighting is up next.) Highlights include the Folding stool and chair, both with steel structures, canvas seats, ash legs, and leather handles for portability. Coordinating benches, stools, and trestle tables are also available. There’s even a café table, an ideal place to enjoy a cup of coffee in the company’s stoneware mug, offered in five hues. departo.co

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“We started with a genuine need for simple,beautifully made,sustainable rugs for our own homes”

AGRA

color story To celebrate its 10th anniversary, Armadillo & Co. is refreshing its

Agra rug collection with 10 Abrash-overdyed colors ranging from hotly saturated saffron Byzantine to cool and collected taupe Pearl.

Naturally occurring variations give the hues an antiqued, textured look. Each rug is designed in Australia under the direction of company founders Jodie Fried and Sally Pottharst and handmade in India, where artisans hand-spin wool and then hand-knot it into a soft pile using traditional methods. The brand is also expanding its charitable arm, the Armadillo & Co. Foundation, with grassroots initiatives such as education programs that aim to enrich the communities in which its artisans live. Now that’s worth celebrating. usa.armadillo-co.com

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KBIS 2020 THE BEST SEAT IN THE HOUSE Kitchen and bath pros and interior designers can network, learn and explore the latest in connected-home technologies, advanced appliances, fixtures, cabinetry, surfaces, lighting, storage, design software and the brightest ideas at the Kitchen & Bath Industry Show, North America’s premier expo dedicated to K&B design and remodeling.

MEET US IN LAS VEGAS for KBIS 2020, January 21-23!

FOR EARLY RATES, REGISTER BY NOVEMBER 15 AT NKBA members recieve special pricing.

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KBIS.COM

the collected works Iranian curator Nina Yashar has come a long way since her first carpet exhibit in 1980. Today, her Milan hotspot, Nilufar Gallery, is known for juxtaposing vintage furniture classics with cutting-edge works by emerging designers. That concept manifests this winter in Squat Los Angeles, the first U.S. iteration of a show Yashar kickstarted seven years ago in Paris and has since brought to Milan, Beirut, and London. From December through February, 150 design pieces will cover 5,000 square feet of exhibition space in Hollywood. Among the contemporary designs available to order are Bethan Laura Wood’s Wisteria LED sconce in hand-dyed PVC, anodized aluminum, and brass; Claude Missir’s Butterfly cocktail table in engineered wood and tinted veneer; and Michael Anastassiades’s Spring wall lamp in red-patinated brass and opaline. Especially evocative of the city is the gallery’s special edition of Aquiloni, a palm-patterned stool

by Derek Castiglioni, the Italian outdoor-space designer slated to curate a section of the show. nilufargallery.com

BUTTERFLY

SPRING

WISTERIA AQUILONI

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LEFT, TOP AND BOTTOM: DANIELE IODICE

market P L A C E

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Enter a world of inspiration Source from the largest collection of custom home furnishings under one roof. With top product lines in over 120 showrooms, and monthly education and networking events, the Design Center at theMART is your place for inspiration.

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LO C ATI O N

I N FO R M ATI O N

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rising talents Industry heavyweights selected six U.S. designers to receive Maison&Objet Rising Talent Awards at this year’s Paris fair

rosie li nominated by Rhode Island School of Design

president Rosanne Somerson product Bubbly 03 standout The act of blowing bubbles inspired the

2011 RISD graduate and Brooklyn-based lighting designer’s custom table lamp, securing a vote of confidence from her alma mater’s president.

Happiness radiates from the iridescent rainbow PVD finish of its brass baubles, which perch atop a Spanish alabaster base. rosieli.com

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nominated by Architecture at

Large founder Rafael de Cárdenas products Railcar, Half-moon standout The brand began life

green river project rising talents

as an ad-hoc art gallery in upstate New York; now Ben Bloomstein and Aaron Aujla’s ambitious four furniture collections a year include organicmodern gems such as a boxy laminate loveseat upholstered in sage vinyl and crescent-shape stools made of coffee-stained Douglas fir. greenriverprojectllc.com

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alex brokamp nominated by Bernhardt Design

president Jerry Helling product Handle With Care standout The Los Angeles–based indus-

04 harold

nominated by Luminaire

CEO Nasir Kassamali product Dusk standout Sparked by admira-

tion of the setting sun, this LED sconce by studio founders Reed Hansuld and Joel Seigle channels its golden inspiration via one-way mirrored glass and bronze-anodized aluminum. Both designers have grandfathers named Harold, hence the company moniker. haroldharold.com 74

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FROM TOP: AETHION; ANDREW JACOBS; COURTESY OF ALEX BROKAMP (2); COURTESY OF HAROLD; MARK JULIANA

trial designer’s oeuvre is rooted in the workaday, from speed bumps to laundry clotheslines. For his multipartite table he riffed on the plebian pallet, with a mirror-polish aluminum base topped by low-iron-glass boxes digitally printed with a chipboard effect and shipping crate labels. alexbrokamp.com

nominated by WantedDesign co-founders Odile Hainaut and Claire Pijoulat products Painting, Plane, and Lean standout The School of the Art Institute of Chicago grad’s repertoire includes his Painting series of pebble-like stacked, stretched canvases; Plane, a bench pairing charred wood with hand-worked cement; and Lean, a charred-timber mirror whose surface calls to mind a darkened doorway, its inky depth leavened by an integrated light bulb. baileyfontaine.com

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AETHION

kin & company nominated by Rockwell Group president David Rockwell products Remains Light, Slip, Wave, and Cascade standout Cousins Joseph Vidich and Kira de Paola

harness their metalwork skills to produce a quartet of patinated pieces. Remains Light, a collaboration with Bianco Light & Space, couples metals and marble in a table lamp with a purple-to-pink colorshifting glass half-disc. Slip mirror’s bronze gradient is surrounded by an attenuated frame of blackened steel. Cocktail table Wave has a curling steel form heat-treated with an oil-slick finish. And Cascade, a mobile, assembles a mixed-media galaxy of discs, rings, and half-moons. kinandcompany.com

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CLOCKWISE FROM TOP LEFT: JOE KRAMM (2); AETHION

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A lineup of artful residences

STEPHAN JULLIARD

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time out of mind

Massimo Adario Architetto takes an elegantly ahistorical approach to design when renovating a storied apartment in Florence, Italy text: edie cohen photography: laura fantacuzzi and maxime galati-fourcade

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Remember the movie version of E.M. Forster’s A Room with a View with its honeyed images of Florence, Italy? That’s the swoonily romantic lens through which one can’t help viewing the gloriously eclectic Florentine apartment that architect Massimo Adario recently renovated for his partner— an art, design, and fashion lover, who also happens to be an architect. From its position in the ancient Oltrarno quarter, mere steps from the Arno, the

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2,400-square-foot, fifth-floor flat looks across the river to some of the city’s most beloved landmarks, the Galleria degli Uffizi and the basilicas of San Miniato al Monte and Santa Croce, among them. Forster’s Lucy Honeychurch couldn’t have asked for a finer view.

Before discussing the interior makeover, Adario, principal of his namesake firm, recounts the building’s colorful history. Dating to medieval times, it was destroyed by the Germans during World War II and rebuilt in 1951. Though retaining some of the qualities of the original, the reconstructed version was not slavishly faithful to it. “The facade is an irregular fusion between contemporary elements and the character of the location,” the architect explains. Similarly, Adario’s design fuses various influences across the decades from the 1920s to the ’60s, and even the ’80s.

With a curatorial eye, he juxtaposes “things that you think would not go together, but they do.” The approach, the Rome-born-and-based architect notes, is not at all Florentine; rather, it’s atemporale— outside of time.

Previous spread: Artist Francesco Ardini created the ceramic rosettes and beetles used as cabinet handles on the master bedroom’s built-in closet, which is sheathed in walnut-edged linoleum paneling.

Top, from left: Antique Moroccan rugs, vintage woven straw chairs by Jan Bocan for Thonet, Ton A.C. Alberts’s Zodiac floor lamp, and a custom settee furnish the living area, which overlooks the Arno. One of three new Verde Alpi– marble portals separates the kitchen area from the hallway with its custom built-in window banquette. Walnutdowel paneling backs an Otto Schulz cabinet, dating to the 1920s, in the hallway.

Opposite bottom: Marcel Breuer Cesca chairs surround Pietro Chiesa’s glass table in the dining area, which is separated from the kitchen area by another of the new marble portals.

Bottom: In the study area, Riccardo Previdi’s mirrored work hangs above a custom walnut-and-linoleum desk with a vintage stool.

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Inside, Adario made only limited structural changes and did not alter the apartment’s L-shape layout. His biggest intervention was to transform it from “a double-corridor borghese situation separating living and service zones” to one with a single hallway linking the rooms. These comprise a small entry foyer; three bedrooms with baths; and, spanning the crook of the L, an imposing enfilade incorporating living, dining, study, and kitchen areas connected by a series of wide marble portals.

Though the spaces flow easily into one another, each has a distinctive look, bold with color and brimming with detail. As for original materials, only the marble terrazzo floor tiles in the hallway already existed. Everything else is new. In terms of palette, two materials prevail: walnut and linoleum. Linoleum, one might wonder, in such an elegant environment? “From the 1920s through the ’50s it was used in buildings as a modern material,” Adario explains, citing its application in such 20th-century masterpieces as Ludwig Mies van der Rohe’s Villa Tugendhat in Brno, the Czech Republic, and Piero Portaluppi’s Villa Necchi Campiglio in Milan, the silent co-star of I Am Love, another swoony movie. Later, the architect notes, the material became more utilitarian, losing its figurative sheen: “I wanted to bring it back, but make it look modern.”

Ergo linoleum’s pervasive use in the apartment: as two-tone wall-to-wall “rugs” in some rooms; as a brilliant expanse of orange lining a window bay in the otherwise serious hallway; and as rich-toned wall and ceiling coverings in the study and bedrooms. “I’m not afraid of using color,” Adario admits, though he limited his choices to stock hues. When used on walls, ceilings, or built-in bedroom closets, the material is applied as panels framed by thin strips of walnut, “making it more precious.” In fact, the architect refers to such treatment as boiserie.

Actual woodwork is entirely walnut. It appears as regular millwork, lining portals and doorways, forming built-in furniture, and paneling ceilings and walls, occasionally in the guise of tambourlike vertical dowels. The characterful wood is also used to frame the apartment’s windows, most notably those on the living quarter’s two extended walls, one facing the Arno, the other overlooking Piazza Santa Maria Soprarno.

Adario had fun with another favorite material: ceramic clay. Collaborating with artist Francesco Ardini, he crafted rosettes and fantastical beetles as door pulls for bedroom closets. More unusual still are the large glossytile panels Ardini made for the kitchen. Using a finger-paintlike technique that Adario compares to “kids drawing on dirty cars,” they depict an 90

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Top: Behind the steel-and-marble island, kitchen appliances are concealed by the panels of Francesco Ardini’s ceramic-tile landscape. Bottom, from left: In the second bedroom, linoleum clads the walls and built-in closet, which also has ceramic door handles. The study

end of the living area looks out on the narrow Piazza Santa Maria Soprarno, a block east of the Ponte Vecchio.

Opposite: The hallway’s terrazzo marble tile flooring is original to the 1950s building, while the walnut millwork, custom banquette, and marble portals are all new.

abstract landscape resembling the nearby Ponte Vecchio. As pragmatic as they are charming, the tiled panels open to reveal an oven, cooktop, fridge, dishwasher, and all the other paraphernalia of a well-equipped kitchen.

When they’re closed, only the sleek stainless-steel and marble island with its twin sinks and sculptural faucets remains in view. Could there be a cooler place to prepare a late-night bowl of pici all’aglione while sipping Chianti Classico?

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Enviable eye-candy furnishings abound. Many pieces are incontrovertible classics. To wit, Jan Bocan’s woven straw seating for Thonet, an Ingmar Relling leather armchair, and Marcel Breuer’s Cesca chairs, which surround Pietro Chiesa’s glass dining table, circa 1934, for FontanaArte. Not far from the hallway’s vintage turquoise resin stool stands an Otto Schulz cabinet dating to the 1920s; another one graces the master bedroom where it keeps company with a quirky Philip Arctander chair, bound to be comfy thanks to its creamy sheepskin upholstery. Meanwhile, a quartet of antique rugs that Adario purchased on a Christmas trip to Morocco brings additional subtle colors to living, dining, and study areas.

Added to the mix are elements of the architect’s own design: the floating, doublesided sofa at the juncture of the living and study spaces, the hallway’s window banquette, and the beds with side tables. All by way of saying that everything is either vintage or custom created—you would be hard-pressed to find a production-line piece in view. The apartment is more than ready for its close-up.

PROJECT TEAM CARLA ARRABITO: MASSIMO ADARIO ARCHITETTO. PRODUCT SOURCES FROM FRONT THROUGH RAIMONDO GARAU GALLERY: STOOL (STUDY). RICCARDO PREVIDI THROUGH FRANCESCA MININI GALLERY: MIRROR. CERAMICA GATTI: TILE PANELS (KITCHEN). NIC DESIGN: SINK (MASTER BATHROOM). CERASARDA: TILES. THROUGH DEMOSMOBILIA: MIRROR (MASTER BEDROOM). THROUGHOUT CERAMICA GATTI THROUGH FEDERICA SCHIAVO GALLERY: CERAMIC CABINET HANDLES. THROUGH JACKSONS: VINTAGE FURNITURE. FORBO: LINOLEUM.

Top, from left: The master bedroom’s custom bed has a built-in walnut-andlinoleum desk as a headboard. A decorative wood container stands in the vestibule between the two guest bedrooms. A vintage mirror, second Schulz cabinet, and Philip Arctander chair upholstered in sheepskin furnish a corner of the master bedroom.

Opposite bottom: The master bathroom’s custom vanity is linoleum clad, and its sinks are black marble.

Bottom: The steel frame of the second bedroom’s custom headboard is painted to match the linoleum-paneled walls.

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natural selection Taking cues from the surrounding trees, Leeton Pointon Architects + Interiors and Allison Pye Interiors give organic form to a family villa in Melbourne, Australia

text: jeff book photography: lisa cohen/living inside

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Previous spread: A flying-saucerlike porte cochere appears to float above the garage and front entrance of the house.

Below, from left: A pair of Bart Schilder sofas flank Lorenzo Arosio’s Atlantis glass coffee table in the formal living room, which has a cabinet niche lined with bronze mirror. In the entry gallery, a work by Sydney artist Jonny Niesche hangs near linen curtains concealing the glass front door. Opposite top, from left: The sweeping central staircase, which is broken into two sections, sports custom steel-plate balustrades. Overlooking the pool, the sunken family room has white-oak cabinetry, ceiling, and floor, and is furnished with Diesel’s Cloudscape armchair, Sanja Knezović’s Cloud sofa, and Tom Dixon’s Off Cut stools.

“The form explores the delicate balance between mass, weightlessness, and materiality”

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Almost inevitably, calling a building sculptural arouses the suspicion that function played second fiddle to the architect’s shape-shifting vision. In designing a house worthy of the epithet, however, Michael Leeton, principal of Leeton Pointon Architects + Interiors, kept form and function in equilibrium as deftly as a juggler spinning plates. Blending sheltering solidity with airy transparency, the 9,365square-foot, two-story villa responds not only to its environment—a leafy suburb in Melbourne, Australia—but also to the needs of its occupants, a couple with three children.

With its shade-giving projections and curvilinear volumes, the so-called Canopy House reflects its setting, a neighborhood of large plane trees.

“The house is an extension of the adjacent street-tree canopies,” observes Allison Pye, whose namesake design firm was responsible for the project’s interiors. “The form explores the delicate balance between mass, weightlessness, and tactile materiality.”

The interplay between straight and curved lines starts in the front yard, where a horseshoe driveway leads to a rectangular garage above which a cantilevered porte cochere hovers like a docked flying saucer. A curving wall on the right side of the driveway screens the rest of the property from sight. The front entry—a clear-glazed pivot door with sidelights—welcomes a view of the street but can be cloaked by linen draperies if privacy is wanted.

At once massive and malleable, the near-white facade, punctuated by windows, wraps around the second floor before coming to earth in arcs that recall flying buttresses.

The villa’s organic character springs from its biomorphic forms (chalky sand-and-cement plaster over a brick substrate), interior palette of natural materials (oak, limestone, polished plaster), and openness to the verdant setting. Expanses of glass, especially on the ground floor, frame views of the ¾-acre site. Designed around two existing elm trees, the landscaping includes neighbor-screening foliage and a mix of lush beds and lawn. Connecting house and garden are broad aggregate steps and terraces, one WINTER.19

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In the kitchen and casual dining area, Bonderup and Thorup’s pendant fixture hangs above Agostino & Brown’s Tambootie oak table surrounded by Nitzan Cohen’s She Said oak chairs; white-oak floorboards clad the wall behind the staircase.

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of which is adjacent to the elevated, elliptical swimming pool.

Appearing to float above the glassswathed ground floor, the more solid volumes of the second story project to provide shade to rooms below and even the pool. On the upper level, deep window reveals and bamboo sliding screens that retract into wall pockets help deflect the strong Australian sunlight. The steel-framed bamboo panels offer a pleasing contrast with the crisp off-white-plaster cladding “while providing soft dappled light and privacy to the bedrooms,” the architect reports.

All four bedrooms are upstairs, while the main living areas—which include a formal living room, formal and casual dining areas, a large kitchen, and a sunken family room—occupy the ground floor. Within that general division, the design unfolds as a series of zones, pivoting around a sinuous staircase that curves upward in two sections. The stairs separate the master suite from the children’s bedrooms, which have their own lounge area.

“Internally the house is zoned through the careful placement of circulation spaces that widen into more communal living areas,” Leeton explains.

“Changes of level inside acknowledge the topography of the site and create further subtle zoning in the building.

Changes in floor materials, from limestone tiles to timber and carpet, subtly reinforce the different areas.” Oak floorboards also crop up on walls and ceilings and in custom-made seating, providing continuity while contrasting with the sleek plaster.

“The interior inspiration for the project was both the family and the architecture,” Pye says. “The aim was to provide an inviting, calm backdrop to busy family life. The interiors sit simply and quietly within the context of the architecture, which is always so beautifully considered and sculptural in form.” The furnishings, from international touchstones such as Tom Dixon and Bart Schilder as well as Australian designers, strike a note of relaxed, contemporary elegance. Cooling shades of blue prevail in the formal living room, warmed at one end by a cabinetry niche clad in bronze mirror and a rounded corner of raw brass “that will develop a patina over time similar in color to the mirror,” Leeton notes.

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Below, from left: The second-floor master bedroom on the left and children’s lounge on the right both have deep window reveals to help shield them from the fierce Australian sun. In the latter room, Kip & Co. velvet beanbags and custom benches piled high with pillows provide comfortable seating. Opposite top, from left: A bench made of oak floorboards sits in the master bedroom window, while a Benedini Associati Spoon tub occupies the same position in the adjacent bathroom. Philippe Starck’s Gnome table joins Mono’s solid-surfacing pedestal sink in the skylit powder room.

“Light filters throughout the house and constantly changes during the day”

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“Michael and I have worked together for many years now, and we like to think we blur the boundary between architecture and interiors,” Pye says. “We don’t see ‘challenges in design,’ but instead enjoy the processes of discussion and drawing—most often by hand—as the path to the perfect resolution for our projects.”

The house was designed to interact with its setting, from outdoor living areas to garden views and carefully placed skylights. “Light filters throughout the house and constantly changes during the day,” the architect reports. Its environmental awareness extends to a 22,000-gallon tank that harvests rainwater runoff from the roof, where solar panels are concealed. “Sustainability is seamless within the building, where everything is integrated yet remains unseen,” Leeton maintains.

This year the house earned a commendation from the Victorian Chapter of the Australia Institute of Architects. “It serves the family well as a nurturing refuge,” Leeton says. On its website, Leeton Pointon calls itself “a practice focusing on design excellence and exploring the poetic potential of architecture.” A worthy ambition, and one realized in this singular, sculptural house.

PROJECT TEAM KATE POINTON, STACY AMBELAS,

VALSECCHI 1918: SQUARE SIDE TABLE. STUDIO HENRY

TONY MUSSEN: LEETON POINTON ARCHITECTS +

WILSON: SCONCE. ARMADILLO & CO.: RUG. GUBI:

INTERIORS. SOPHIE LINDBLOM-TAYLOR: ALLISON

POUFS (LIVING ROOM), PENDANT FIXTURE (DINING

PYE INTERIORS. AYUS BOTANICAL: LANDSCAPING

AREA). VICTORIA CARPET: STAIR CARPET. LUCEPLAN:

CONSULTANT. PLANCOST: QUANTITY SURVEYOR.

SCONCE (FAMILY ROOM). PROSTORIA: SOFA. MOROSO:

WOOD GRIEVE ENGINEERS: SUSTAINABLE DESIGN

ARMCHAIR. TOM DIXON: STOOLS. CAMM UPHOLSTERY:

CONSULTANT. URBAN INTELLIGENCE: AUDIO-

CUSTOM CUSHIONS. STONE TILE INDUSTRIES: FLOOR

VISUAL CONSULTANT. CLIVE STEELE PARTNERS:

TILES (ENTRY). MATTIAZZI: CHAIRS (DINING AREA).

STRUCTURAL, CIVIL ENGINEER. DAVID BROAD

AGOSTINO & BROWN: TABLE. AGAPE: TUB (MASTER

ENGINEERS: HYDRAULIC ENGINEER. LBA CON-

BATHROOM); MIXER (POWDER ROOM). OMVIVO: SINK

STRUCTION: GENERAL CONTRACTOR.

(POWDER ROOM). KARTELL: SIDE TABLE. KIP & CO:

PRODUCT SOURCES

BEAN BAGS (CHILDREN’S LOUNGE). FLOS: SCONCE.

FROM FRONT MOOOI: SOFAS (LIVING ROOM). GLAS

THROUGHOUT CLEARVIEW SUN CONTROL: CURTAINS.

ITALIA: COFFEE TABLE. E15: ROUND SIDE TABLE.

ROYAL OAK FLOORING: FLOORBOARDS.

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text: michael lassell photography: eric laignel

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Carol Kurth Architecture and Laura Bohn Design Associates team up to create a huge family house with its own tango studio for dance-crazy clients in Connecticut

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In the fall of 2013, architect Carol Kurth, whose practice is based in Bedford, New York, received a call from a couple in a nearby town. They had seen her work and wondered if she would be interested in taking on a major renovation of their longtime home. Kurth met with the pair, toured their house, and listened to their long, unusual wish list. Then she offered her best advice.

“I told them they should forget about renovating,” Kurth says, matterof-factly. “Instead, I said they should buy a piece of land with the worst house on it they could find, tear it down, and start from scratch. And I suggested they might have better luck if they looked in Connecticut as well as New York.”

A month or two later she heard from the couple again. They had bought 5 acres on a heavily wooded country lane in Connecticut, and it came complete with a decaying midcentury ranch house. Coincidentally, it was right down the road from an award-winning modernist home that Kurth had recently designed. By early 2014, the homeowners—he’s a real estate investor, she’s an avid naturalist with a PhD in political science from Stanford University—were diligently working on plans with Kurth and her design team.

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The house Kurth conceived is a modern assemblage of interlocking volumes that plays openness against privacy. The primary cladding materials are zinc panels, stucco, and white ash treated thermally, which adds to the wood’s moisture resistance. Ecological responsibility was a consideration in many decisions made for the home, which features geothermal heating and a rooftop solar array.

Large by any standard, the six-bedroom house covers a total 15,700 square feet on three levels. The lowest includes an indoor lap pool, a guest suite, wine cellar, workshop, media room, and all the requisite mechanical spaces. The main floor comprises open-plan living, dining, Previous spread: The 950-square-foot tango studio features Omer Arbel cast-glass spheres suspended from the walnut ceiling.

Top, from left: The house comprises a series of volumes clad in zinc panels, stucco, and thermally modified white ash set in an understated landscape planted with native species. The gas fireplace in the living area is surrounded by slabs of textured Brazilian quartzite with hand-chiseled edges. Bottom: A Rodolfo Dordoni sectional sofa and a banana-silk rug populate the main living area.

Opposite: Seen through the dining area’s aluminum-tube chandelier, the kitchen’s custom walnut breakfast bar is backed by a Calacatta Paonazzo marble island.

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and kitchen areas—a great room, in other words—and the master suite, among other spaces. On the top floor are four family bedrooms, a kids’ lounge, library, craft room, and—most astonishingly—a 25-by-38-foot tango studio under a soaring swoop of walnut ceiling.

Later that year, with the construction plans already under approval, the clients suggested that Interior Design Hall of Fame member Laura Bohn be brought on board to do the project’s interiors. Bohn had previously designed a Manhattan pied-à-terre and a Long Island beach house for the family. The architect and designer felt an instant rapport, so Bohn and her team joined Kurth and the homeowners at weekly design confabs. “We had five-hour meetings on Tuesdays for five years,” Bohn reports. “But it was a dream project. Everyone was so open and supportive. If an idea came up that captivated the group’s imagination, all parties jumped in to figure out the best way to get it done.”

Top: The “reading nest” next to the library Bohn, who is known for her features a wall-to-wall hammock that’s also soft modernism, proved to be an the ceiling of the mud room below. Bottom: A leatherized granite backsplash, textured ideal collaborator, providing metallic wallpaper, and backlit agate plush comfort to counter the incountertop animate a powder room. terior’s naturally hard surfaces.

Opposite top: Tango images from the 1930s, Kurth chose walnut as the domia custom chandelier, and oak flooring define nant indoor wood, the planks the second-floor gallery. Opposite bottom: milled to the same dimensions In the media room, an Ueli Berger sofa joins as the ash on the exterior. She a Hella Jongerius rug and Ronan and Erwan Bouroullec’s black pendant fixture. added oak flooring (maple in

the tango studio), an assortment of tiles, and several key pieces of glamorous stone. The living area fireplace, for example, has a surround of Black Fantasy, an inky quartzite from Brazil, while the kitchen island is Calacatta Paonazzo, a creamy Italian marble.

Bohn treated the living area to a massive Rodolfo Dordoni sectional sofa that she upholstered in cossetting mohair. The space also has a shag rug made from all-natural banana silk, a Paola Navone tufted-suede ottoman, and a linen-topped coffee table. The master bedroom has more natural banana-silk shag in the form of wall-to-wall carpeting as well as curtains in an embroidered sheer fabric. “The technology of the new textiles is incredible,” Bohn enthuses, noting that the polyester-knit sheer she used in the master bath absorbs and reflects heat, glare, and UV rays.

Whimsy also has its place in the Tango House, as the residence has inevitably come to be called. Bohn came up with the idea of the “reading nest,” a unique space off the second-floor library in which the floor has been replaced by a 10-foot-square nylon hammock that also serves as a trampolinelike ceiling for the mud room below. And the lower-level media room, illuminated by a windowed light well, sports an Ueli Berger serpentine sofa, its caterpillar-esque segments zipping together to form a potentially endless seat.

Almost every room in the house has either multiple—or arrestingly large—light fixtures, delivering a fresh twist to scale and proportion. This is especially true in the tango studio, where a galaxy of Omer Arbel castglass globes hangs at precisely calculated “random” heights. The homeowners host weekly dance nights under those glowing orbs that last until the wee hours.

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“The homeowners were very involved; it wasn’t just us doing our job—they cared

Left: A ceiling fixture of stainless-steel mesh by Thierry Vidé hangs over a custom cement tub and large-format porcelain floor tiles in the master bathroom.

Top: A mural of the Grand Canyon teams with Ramos & Bassols’s ceiling fixtures in the basement gym. Bottom: A wall of wood-look porcelain tile lines the indoor lap pool.

about every detail”

— Laura Bohn

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And what else would an avid naturalist and accomplished cook wish for her dream home? Her own source of organic farm-to-table produce, of course. So there’s a vegetable garden, greenhouse, and even a chicken coop, the latter surrounded by an aluminum framed geodesic dome to keep out predators. The property also has a spa in a secret garden, nature trails, and an outdoor pool with a pool house, a pair of fire pits, and—it almost goes without saying—an alfresco tango floor.

NAVONE: OTTOMAN. LEPERE: RUG. HOLLY HUNT: COFFEE TABLE (LIVING AREA); BED, NIGHTSTANDS (MASTER BEDROOM). ILANEL: CHANDELIER (DINING AREA). LEICHT: CABINETRY (KITCHEN). NEW ENGLAND ANTIQUE LUMBER: CUSTOM BREAKFAST BAR. MIELE: HOOD. ALTURA FURNITURE: STOOLS. DORNBRACHT: SINK FITTINGS (KITCHEN, TANGO STUDIO). LOUIS POULSEN: PENDANT FIXTURES (KITCHEN), FLOOR LAMP (MEDIA ROOM). INCORD: CUSTOM HAMMOCK (READING NEST).

MDC WALLCOVERINGS: WALLPAPER (POWDER ROOM). DE MAJO: PENDANT FIXTURE. EVO-LITE: COUNTERTOP BACKLIGHTING. POINT ROCK SURFACES: COUNTERTOP (POWDER ROOM), STONEWORK (MASTER BATHROOM). CAMERON DESIGN HOUSE: CUSTOM CHANDELIER (HALL). MOSS EXHIBITS: LIGHTBOX (MEDIA ROOM). FLOS: BLACK PENDANT FIXTURE. JAMES DIETER: WHITE PENDANT

PROJECT TEAM

FIXTURE. HELLA JONGERIUS: RUG. KNOLL: CHAIRS. DE SEDE: SOFA. ART AND STYLE U.S.: CEILING

JOHN RAPETTI, DIANA WAWRZASZEK: CAROL KURTH ARCHITECTURE. SARA LEDRA, LONI

FIXTURE (MASTER BATHROOM). GET REAL SURFACES: TUB. L&M CUSTOM CARPET AND RUGS: RUG.

LUDLOW: LAURA BOHN DESIGN ASSOCIATES. GARDENS BY JEFFREY JONES; OEHME, VAN SWEDEN &

BISAZZA: CUSTOM MOSAIC TILE. AMARCO PRODUCTS: FLOORING (GYM). GANDIA BLASCO:

ASSOCIATES: LANDSCAPING CONSULTANTS. E2 ENGINEERS: STRUCTURAL ENGINEER. JMV ENGI-

BEANBAGS. DUNE: OTTOMAN. VIBIA: CEILING FIXTURES (GYM, ENTRY). J. SUSSMAN: SKYLIGHTS

NEERING: MEP. S.E. GEOTHERMAL ENERGY OPTIONS: GEOTHERMAL CONSULTANT. GLENGATE:

(INDOOR POOL). ATLAS CONCORDE: WALL TILE. PAOLA LENTI: RUG. JANUS ET CIE: CHAISE

INDOOR POOL CONSULTANT. PETER’S CARPENTRY; STATHAM WOODWORK: WOODWORK. STUDIO’B:

LONGUES. MATTHEW MC CORMICK: PENDANT FIXTURE (ENTRY). ADRIANNA SHAMARIS: CONSOLE.

METALWORK. STO CORP.: CONCRETEWORK, PLASTERWORK. ABC STONE: STONEWORK. LEGACY CON-

KORNEGAY DESIGN: PLANTER. DESIRON: MIRROR. JAB ANSTOETZ: CURTAIN FABRIC (MASTER

STRUCTION NORTHEAST: GENERAL CONTRACTOR.

BEDROOM). MARC PHILLIPS RUGS: CARPET. LADIES & GENTLEMEN STUDIO: CHANDELIER. HD

PRODUCT SOURCES

WALLS: MURALS (MASTER BEDROOM, TANGO STUDIO). THROUGHOUT ARCADIA CUSTOM: DOORS,

FROM FRONT BOCCI: PENDANT FIXTURES (TANGO STUDIO). MIRAGE: FLOORING. PUTNAM &

WINDOWS. ARNOLD GLAS CORPORATION: WINDOW GLASS. SHERWIN-WILLIAMS COMPANY:

MASON: THROW PILLOWS. LUCCA & CO.: BENCH. CRÉATIONS MÉTAPHORES: BENCH FABRIC (TANGO

PAINT. DUGGAL VISUAL SOLUTIONS: PRINTED MURALS. FANTINI RUBINETTI: SINK FITTINGS.

STUDIO); SOFA FABRIC (LIVING AREA). THERMORY: ASH CLADDING (EXTERIOR). DRI-DESIGN: ZINC

WHITE PLAINS GLASS & MIRROR: CUSTOM MIRRORS. THE HUDSON COMPANY: WOOD FLOORING.

PANELS. MINOTTI: SOFA, END TABLES (LIVING AREA). ANEES UPHOLSTERY: ARMCHAIR. PAOLA

OPTOLUM; WAC LIGHTING: LIGHTING. HASTINGS TILE & BATH; PORCELANOSA: FLOOR TILE.

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Opposite top, from left: The rear balcony off the tango studio can also be used for dancing. Jordi Vilardell ceiling fixtures illuminate the family entrance between the two garages. Opposite bottom: For the master bedroom, a photograph by the client has been turned into a mural.

This page: In the tango studio, the faucet above the marble sink pivots for use as a water fountain.

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a room of one’s own

On Manhattan’s Upper East Side, SheltonMindel combines two apartments into a vibrant triplex home for a blended family text: jane margolies photography: michael moran

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It sounds like something straight out of a movie (think Yours, Mine and Ours) or a TV show (The Brady Bunch). Man with three children from a previous marriage meets woman with two of her own. They fall in love, decide to tie the knot, and plan to live as one big family, happily ever after.

Then the fairy tale meets New York City real estate.

Each of the kids had his or her own room in their previous apartments, so their parents wanted the same—or better—for them in what would be their new home. The newlyweds looked and looked for a six-bedroom apartment. “There was no such thing,” the husband reports.

So the couple decided to make one of their own. They purchased the duplex penthouse in a condo tower under construction on the Upper East Side of Manhattan. And they bought the apartment below it, too, for a grand total of nearly 7,000 square feet. It fell to SheltonMindel to combine the units, which meant not only completely reworking the layouts of both apartments into a cohesive whole but also coaxing the developer and his contractor to go along with the new program.

“Coercing is more like it,” deadpans architect Lee F. Mindel, a member of the Interior Design Hall of Fame who founded the firm 41 years ago with the late Peter Shelton.

Mindel’s plan turns the lowest level into the kids’ domain, or “dorm,” as he puts it: five generous bedrooms, each with its own bathroom, plus a den and laundry room. The floor above is devoted to common areas— double-height living room, kitchen, dining room, and media room—and also has the new home’s main entrance. The top floor is the master bedroom suite. “It’s like the separation of church and state,” Mindel quips.

“The children go downstairs; the adults go up; and they all meet in the middle.”

The developer’s contractor delivered the sheetrock-lined shell of the newly conceived apartment, with rooms in place and a staircase connecting all three levels. Mindel and his team, working with a second contractor, took it from there to make the home “young and fun and casual,” as the husband puts it. With the project involving Lee Mindel, it was bound to be interesting, too.

Take the staircase, which could have been a simple connector. Mindel turned one side of it into a three-story-high sculptural screen composed of blocks with perforations that vary in size.

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Previous spread, from left: A rechargeable LED globe lamp illuminates the triplex’s staircase. The round form is repeated in paint on a hallway wall on the lowest level Opposite: In the double-height living room, Twin Planes, a 1969 screenprint on canvas by Kenneth Noland, is flanked by Isamu Noguchi floor lamps.

Above: Sophie Cook ceramics and an acrylic tray designed by Alexandra von Furstenberg are gathered on a 60-inch-square custom coffee table.

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sculptural screens or architect José Luis Sert’s brise-soleils. The other side of the staircase is sheathed in baby-blue lacquered paneling, cut through with an inset oak banister, while underfoot, oak treads are topped by a green wool runner. Mindel likens the whole composition to a tree rising out of the grass into the sky, with the perforations in the screen letting in dappled light, just as a real tree’s leaves would.

The blue paneling reappears elsewhere in the apartment, including in the master suite, encasing the dressing room and forming a kind of canopy over the bed.

Also tying the scheme together are repeating geometric shapes—circles, cubes, hexagons—and just a touch of pattern. Vividly grained larch paneling—extending the tree metaphor, Mindel thinks of it as bark— clads the building core containing the elevators and fire stairs. Larch is an unexpected choice. “It’s a more egalitarian wood, something that would have been discarded 20 years ago,” the architect notes. “It has a primitive beauty. We’re looking at things that are less precious these days.” Even more assertive is the living room’s supergraphic rug, a custom design whose black and pale-gray palette ties in with the cement monolith containing the blackened-steel fireplace and a flat-screen TV that can be lowered into view by means of an ingenious hand-operated pulley system.

Opposite: A custom perforated-block screen flanks one side of the stairwell.

Top: Louis Poulsen pendant fixtures hang over the kitchen island and breakfast table; the stools are by Hans Wegner, the chairs by Eero Saarinen. Center: In the dining room, Mario Bellini chairs pull up to a Piero Lissoni table. Bottom: A fireplace and flat-screen TV are housed in a concrete monolith in the living room.

Midcentury furnishings (by the likes of Eero Saarinen) and lighting (Louis Poulsen is well represented) mix with upholstered pieces from Zanotta, Blu Dot, and similar contemporary brands. Nothing is rarefied.

The cushions for the living room sofas are covered in fabrics of different colors that, in yet another expression of Mindel’s arboreal metaphor,

evoke fall foliage. “It looks bespoke, but it’s really ready-to-wear,” Mindel points out. A few overscale pieces—including a Giant Anglepoise floor lamp in the media room—add edge. Most of the art came with the owners from their previous residences, but the near-life-size giraffe sculpture by Benedetta Mori Ubaldini, is a new acquisition.

The lofty creature, made of deep-yellow chicken wire, almost didn’t make it. At close to 12 feet tall, he wouldn’t fit through the door, so his head was severed and then reattached. (Today it’s impossible to tell he ever underwent surgery.) He stands on a plinth next to the fireplace where the 22-foot-high ceiling means he has plenty of room to stretch his neck. Just as the homeowners now have all the space they ever dreamed of, and more.

PROJECT TEAM MICHAEL NEAL, MARC C. NEWMAN, DANIEL KIMICATA, GRACE V. SIERRA, MARSHAL M. FARMER, AUDREY ROMANO: SHELTONMINDEL. INTEGRATED ELECTRONIC SOLUTIONS: AUDIOVISUAL CONSULTANT. GILSANZ MURRAY STEFICEK: STRUCTURAL ENGINEER. CONSULTING ENGINEERING SERVICES: PLUMBING ENGINEER. MINZNER AND COMPANY: WOODWORK. EVISTA GROUP CONSTRUCTION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT SMART & GREEN: GLOBE LIGHT (STAIRCASE). BENJAMIN MOORE & CO.: PAINT (HALLWAY). THE RUG COMPANY: RUNNER. LOOMAH LTD.: CUSTOM RUG (LIVING ROOM); RUNNER (STAIRCASE).

SCHUMACHER; PIERRE FREY FABRICS: PILLOW UPHOLSTERY (LIVING ROOM).

ATELIER PRELATI: COCKTAIL TABLE. JAY KVAPIL: VASE. JONAS INC.: CUSTOM CURTAINS, CUSTOM CUSHIONS (LIVING ROOM); CUSTOM THROW PILLOWS (MEDIA ROOM); CUSTOM HEADBOARD, CUSTOM ARMCHAIRS (MASTER BEDROOM).

CASSINA: SIDE TABLES (LIVING ROOM); TABLE, CHAIRS (DINING ROOM). ZANOTTA THROUGH M2L: SOFAS (LIVING ROOM, MEDIA ROOM). BLU DOT: OTTOMANS (LIVING ROOM, MEDIA ROOM, MASTER BEDROOM); LOUNGE CHAIRS (MEDIA ROOM).

ALEXANDRA VON FURSTENBERG: TRAYS (LIVING ROOM, MASTER BEDROOM).

MIGUEL SACO FURNITURE & RESTORATION: CUSTOM PLINTH (LIVING ROOM).

THROUGH FURNITURE FROM SCANDINAVIA: STOOLS (KITCHEN). MODLOFT: BREAKFAST TABLE. KNOLL: TULIP CHAIRS. LOUIS POULSEN: PENDANT LIGHTS (KITCHEN, DINING ROOM). CASSINA: TABLE, CHAIRS (DINING ROOM). DAVID MELLOR DESIGN, LTD.: FLATWARE. MURIEL GRATEAU: PLATES, GLASSES, NAPKINS. SPINNEYBECK: CUSTOM FLOOR MATS (DINING ROOM, MEDIA ROOM).

CALVIN FABRICS: THROW PILLOW UPHOLSTERY (MEDIA ROOM). B&B ITALIA: LARGE OTTOMAN. CB2: VELVET THROW PILLOWS. THROUGH DESIGN WITHIN REACH: SIDE TABLE. JOHN MATOUK & CO.: THROW (MEDIA ROOM); TOWELS (MASTER BATH). HOLLAND & SHERRY: HEADBOARD UPHOLSTERY (MASTER BEDROOM). LENA REWELL: THROW. CASAMANCE: ARMCHAIR FABRIC. STARK: RUG. THROUGHOUT SOPHIE COOK PORCELAIN: CUSTOM-COLOR CERAMICS. THROUGH MSK ILLUMINATIONS, INC.: LIGHTING.

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Previous spread: ARSP Architekten Rüf Stasi Partner’s mixed-use building in Hard, Austria, includes the owners’ apartment, where the living area features a sectional by Piero Lissoni.Ratet aut essus, sum, officilist, occus, cor adi dit aut veribus molor moluptati voles magni consequae sitem. Neque eaquides experia voluptia del ipid ut fugit, cus eaquam, officabInt harchic tem dolore apit, que am, consecabor aut eatetur, nulleni mporporum rem fugit quiaspelique nobitate poresti busapid quidipitis dolupta volorent et aut ius.

Opposite top: The media room brings together a floor lamp by George Carwardine and a round ottoman by Antonio Citterio. Opposite bottom: In the master suite, the white-oak plank flooring extends from the bedroom into the bath for a seamless effect.

Top: In the master bath a custom vanity is lacquered MDF with a top of solid surfacing.

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weathering heights In Amagansett, New York, architect Scott Glass has left the cypress cladding on his family’s weekend house

unfinished so it will age gracefully to silver-gray in the sea air text: michael lassell photography: joshua mchugh

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Many people come to own a vacation home by renting for years and falling in love with a particular place. That’s the way New York City residents Scott Glass and family became smitten with the East End of Long Island, particularly its most unspoiled enclaves, and the fantasy of establishing a permanent retreat there grew ever stronger for them. Glass, being an architect, didn’t dream of buying a house in the Hamptons, of course; he dreamed of designing and building one. But as things worked out, he had to purchase one first.

In November 2015, Glass and his wife, former cable-news journalist JJ Ramberg, happened on an available plot of land in Amagansett. It had a couple of neighbors but a high degree of privacy thanks to mature trees and some adjacent reserve acreage. There was a functioning farm a rural block down the road, and the Atlantic was no more than a three-quarter-mile stroll south. The two-acre lot was undulating but not hilly, providing visual interest as well as potential for the dream house to sit comfortably on the existing lay of the land.

There was already a building on the property, however: an old kit house, which was not at all what the architect had in mind. Still, within days of seeing the parcel with its unimpressive shelter, the couple bought it. “We lived in it for a season, watching the land and seeing just how it functioned,” says Glass, who co-founded Guerin Glass Architects in 2004 with Brendan Guerin, a close friend from the University of Oregon. Rather than trash the kit house, Glass offered it to a local builder, who dismantled it carefully and reassembled it two miles away.

Glass sited the new 5,500-square-foot sevenbedroom house on the north edge of the property, near the road, and let it step up the natural topography of the land, exposing it to as much southern light as possible. The building comprises three principal volumes on three different levels plus a basement. The entrance and main public spaces—primarily a large, 122

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Previous spread: A green roof tops the family bedroom wing on the right, while a guest suite with its own terrace occupies the second floor of the two-story volume on the left.

Top, from left: A hinoki cypress grows in the front courtyard between the garage and the main entrance. The kitchen features radiant-heated bluestone floors and a quartzite backsplash. The geometry of the main entrance porch plays cedar and cypress against glass. Bottom: In the living area, an Isamu Noguchi fixture presides over a Hans Wegner daybed, Børge Mogensen leather-and-oak armchairs—all vintage—and a pair of Tom Dixon spindle tables.

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high-ceilinged room incorporating the kitchen, dining, and living areas—are on the middle level. A few steps down, off the entry foyer, the four family bedrooms occupy their own wing.

Right behind it, a two-story structure houses a den and additional bedroom on its ground floor and a master guest suite with its own terrace on the floor above. A basement rec room and seventh bedroom are located under the living areas. That still leaves ample room on the property for a 20-by-50-foot pool and an uninterrupted expanse of lawn for the three kids to enjoy the outdoors in a way they can’t in their Brooklyn townhouse. There’s even an orchard, planted with apple, pear, peach, cherry, fig, and other fruit trees.

“We thought about the place as a series of indoor and outdoor rooms that flow into each another as seamlessly as possible,” Glass says.

Two-foot-by-three-foot bluestone pavers are used both inside and out (with radiant-floor heating in the interiors), while privet hedges are treated as living walls. A phalanx of sliding glass doors opens the living area up to a sunken patio, which is a few steps below the surrounding lawn.

Top: A marlin caught by JJ Ramberg’s father hangs above the entrance to the bedroom wing.

Bottom, from left: In the entry foyer, a tufted sofa by John Derian and a vintage Kaare Klint Safari armchair join a painting by Holly Miller, the wife of Glass’s co-principal, Brendan Guerin. The freestanding tub in the guest suite bath is lit by a 4-foot-square skylight.

Opposite top: Twin Muji beds share a kids’ guestroom with a Florence Knoll table, a Pierre Chapo elm-and-leather chair, and an Iranian rug, all vintage. Opposite bottom: The cypress-clad house, which comprises three main volumes, steps down the gently sloping site.

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Much of the house is glass, giving every room as generous a view of the landscape as possible. The rest of the concrete structure is sheathed in wood, either new cedar or reclaimed cypress. The architect played the relative refinement of the cedar, used primarily for ceilings and custom window frames, against the more textured surfaces of the cypress, which clads the exterior and some interior walls. The reclaimed lumber has a rougher side and a smoother side: The former is exposed outdoors, the latter indoors. Applied vertically, the exterior boards are of random width, which gives the house a pleasingly uncalculated air, and the wood has been left unfinished to allow it to age gracefully to a silvery gray.

The architectural inspirations for the house are coastal: Glass quotes the early work of Charles Moore and other California modernists he was familiar with as a child growing up in San Francisco. The midcentury houses Horace Gifford designed on Fire Island, New York, were also an influence—timber-frame structures that hug the topography and are clad in cedar left to weather. Glass cites nearby potato sheds, too: “There is great synergy between

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the clean forms of modernism and old farm buildings with their simple shapes and comfortable fit into the landscape,” he observes.

Interior materials include white-oak kitchen cabinetry with quartzite for countertops and a huge slab backsplash. Curtains in all the rooms are the same, floor-to-ceiling lined linen. Most of the furniture is vintage midcentury modern.

“It’s a collection,” Glass says. “Some from garage sales, some from 1stdibs.” Several beds, a bench, and an overscale standing lamp in the living room are by BDDW, the rustic-modern furniture company Glass co-founded in 1994 with Tyler Hays, another college pal.

Other intermediary gestures include the long horizontal green roofs, which are planted with no-maintenance grass. “We get up there with a Weed Whacker about once a year,” Glass reports.

“Otherwise, we leave it alone.” The pool is lined with black plaster and has a minimalist surround. “It’s harder to see from the house,” the architect says. “And it’s more fun to run across the lawn and jump into a pool if it doesn’t have a deck.”

PROJECT TEAM BRENDAN GUERIN, SHAWN RUDDY, LUCAS M C CARRELL, ANDREW ECONOMU: GUERIN GLASS ARCHITECTS. GEOFFREY NIMMER: LANDSCAPE CONSULTANT. BARRY STRUCTURAL ENGINEER: STRUCTURAL ENGINEER. A. CREATIVE WOODSHOP: WOODWORK. HOUSEWORKS: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT NORTHERN THROUGH ROYAL DESIGN: PENDANT FIXTURES (KITCHEN). SAWKILL: BAR STOOLS. THROUGH REGENERATION: VINTAGE TABLE LAMP. KNOLL: SIDE TABLES (KITCHEN, KIDS’ GUESTROOM). GETAMA: VINTAGE DAYBED (LIVING AREA). TOM DIXON: SIDE TABLES. ISAMU NOGUCHI FOUNDATION: PENDANT FIXTURES (LIVING AREA, LANDING). BDDW: LAMP (LIVING ROOM); TABLE (BATHROOM); BED (GUEST SUITE). THROUGH BLOOM: ADIRONDACK CHAIRS (ENTRY PORCH). JOHN DERRIAN: SOFA (ENTRY FOYER).

KOHLER CO.: TUB (BATHROOM). WATERWORKS: TUB FILLER. MUJI: BEDS (KIDS’ GUESTROOM). BARLOW TYRIE: LOUNGERS (POOL). KAI DESIGN: CUSTOM HANDRAIL (STAIR LANDING). THROUGHOUT DURATHERM: WOOD WINDOWS. SOUTHAMPTON MASONRY: BLUESTONE PAVING.

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Top: A windowed light well and a skylight illuminate the basement rec room, which boasts a 10-foot ceiling and polished concrete floor. Bottom, from left: Mature oak trees provide shade for teak loungers alongside the minimalist swimming pool. The second-floor guest suite has its own terrace and close-up view of the green roof. The guest suite stair is outfitted with a custom bronze railing.

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star bright Eye-catching residences across the globe beguile with bold and eccentric forms text: georgina mc whirter and wilson barlow

SERGIO PIRRONE

Aluminum sheets adorn Iroje KHM Architects’ complex of residences blooming from a hillside in Goyang, South Korea. See page 136 for more.

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“We wanted a design in the Catalan tradition but also inspired by Case Study houses”

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cloud 9 site Aigua Blava, Spain recap Olive-glazed clay roof tiles blend architect Enric Ruiz-Geli’s new-build near Girona into the surrounding treetops. The complex’s swooping shapedfiberglass forms, with intricate vaulted-brick ceilings handmade by a Catalan artisan, loosely follow the shape of the coastline—at times cheekily reminiscent of the female body. photography Carin Tegner; producer, Urban Nilmander

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r2k architectes site Espoo, Finland recap A radio chat in which Finnish filmmaker Aki Kaurismäki posited that storytelling originated with humans gathering around the fire to eat, drink, and share tales inspired architect Olavi Koponen’s spiraling house, which winds around a central concrete fireplace—the heart and hearth of the home. Aspen shingles clad the interior, larch the exterior; and the whole is dubbed Kotilo, which translates to “conch shell.” photography James Silverman; stylist, Pauline Algeröd

“The house is open plan, defined not by functional zones but by the flow of life”

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mcbride charles ryan site Blairgowrie, Australia recap A wood veranda is an Australian design classic, but the trope is refreshed at this suburban beach house, becoming part of a faceted volume that renders the facade like a frozen wave.

Inside, a raked box-beam wall painted cerise is a receptacle for much-leafed books, family snapshots, and beloved bric-a-brac accumulated during vacations. photography James Silverman; stylist, Julia Landgren

“As you walk along the deck the scale sneaks up on you. Before you know it, you’re immersed in and surrounded by the house”

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“The roofs were angled to let in the sun, and the starlike shapes followed naturally — form from function”

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iroje khm architects site Goyang, South Korea recap Nineteen buildings spearheaded by architect HyoMan Kim bloom like flowers in the Stella Fiore residential complex, 90 minutes northwest of Seoul. Constructed from steel and concrete, they’re embellished with aluminum sheeting painted a cornucopia of colors. Four possible volume shapes and three possible zigzagging split-level floor plans add an element of organic variation. photography Sergio Pirrone

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enchanted island Agence DL-M conjures a grand apartment on Paris’s magical Île Saint-Louis text: ian phillips photography: stephan julliard

Previous spread: In the living room, a ceramic sculpture

by William Coggin sits on the custom Calacatta Oro marble fireplace flanked by Kelly Wearstler’s bronze and alabaster Melange sconces.

Top: A vintage brass-and-glass chandelier by Hans-Agne Jakobsson and an oil-on-canvas by Thomas Fougeirol enrich the corridor to the master bedroom. Bottom: The public staircase is original to the hôtel particulier, which dates from the mid-17th century.

Opposite: A Lambda print by Georges Rousse hangs behind the living room’s custom sofa and pair of custom bronze-and-lacquer coffee tables; Langlois-Meurinne designed the bronze-patinated brass Libellule chandelier and the wool-and-linen Pluie rug.

For French interior designer Damien LangloisMeurinne, principal of Agence DL-M, the notion of living on Paris’s Île Saint-Louis represents a sort of dream. “It’s a unique part of the city,” he says of the island, which sits in the shadow of Notre-Dame. “Like Venice, it’s a place that’s almost outside of time. Once you step into its side streets, there’s hardly anyone around despite the fact that you’re at the very heart of the capital. I find that quite magical.”

Langlois-Meurinne’s first visit to this grand 2,658-square-foot Île Saint-Louis apartment, which he revamped for a sixtysomething French couple, was appropriately bewitching. It was on a winter morning after an episode of snow. “Everything was completely white, and the silence was compelling,” he recalls. “I had the impression I was entering a country château. It was like being transported elsewhere.”

The three-bedroom residence is located on the second, or “noble,” floor of what remains of an imposing hôtel particulier that was constructed between 1637 and 1642, and originally had its own vast formal garden directly on the Seine.

Today, the mansion is accessed slightly more prosaically via a paved courtyard hidden behind a wall. The actual apartment, which boasts soaring 15-foot-high ceilings in a number of rooms, retains a small private terrace of its own. Previously, it belonged to an American couple, who hired Jacques Garcia to decorate it about 15 years ago. There were bright red and yellow tones, fabrics on the walls, 17th-century period furniture, and elaborate curtains. “To me, it was 140

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rather conventional and stifling,” LangloisMeurinne recalls. “There was a real lack of life.”

While he gave the interior a far fresher look, Langlois-Meurinne actually made very few structural changes. At one point in its more recent history, the flat had been acquired by a realestate developer, who had installed mezzanines in most of the secondary spaces to create more square footage. The designer’s initial intent was simply to remove them in order to reinstate each room’s original measurements. Somewhat to his surprise, however, the necessary authorizations were refused. Undaunted, he decided to turn the volumetric constraints into an asset, housing the guest bedrooms, kitchen, utility area, and TV room in the affected spaces. “I treated each of them like a box, using the same finish on both the ceilings and walls,” he explains. “It gives them more of a warm, cocoonlike feel.” He also believes it allows the expansive dimensions of the main rooms to be even more readily appreciated. “When you step from the TV room into

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“I wanted to fill the room with light and celebrate the nobility of its proportions”

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the adjacent living room, the latter seems all the more majestic,” he observes.

No historical architectural elements of note were extant. Langlois-Meurinne believes that even the living room’s handsome wall paneling was added by Garcia; he tweaked it a little to make it more symmetrical and painted it a pale cream tone. “I wanted to fill the room with light and celebrate the nobility of its proportions,” he says. Elsewhere, the designer incorporated colors that nod to the origins of the building: a rich green in the entry foyer and a bricklike red in the guest powder room. “They remind me of traditional châteaux,” he discloses. “The green is of the type you find in 17th-century tapestries.”

The rest of Langlois-Meurinne’s approach is distinctly modern. “I wanted to anchor the apart-

Top: In the dining room, a circa 1968 Carlo Scarpa marble table surrounded by custom chairs sits on LangloisMeurinne’s wool-and-linen Aura rug. Left: A Caroline Halley des Fontaines C-print adds brilliant color to the serene master bedroom with its custom stained-oak and lacquer dressing table, Morning Sun sofa designed by LangloisMeurinne, pair of Edouard de la Marque brass coffee tables, and custom straw-paper covered headboard. Right: The apartment is located on the building’s high-ceilinged second, or “noble,” floor. Bottom: Panda White marble flooring and a stoneware vase by Turi H. Pedersen brighten the entry foyer.

ment in the 21st century,” he emphasizes. The monumental Calacatta Oro fireplace in the living room is a good example, with its beautifully balanced, pared-down geometric forms. He also used a graphic Panda White marble on the floor in several spaces, including the master bathroom. Its expressive black veins look like calligraphic strokes produced with a broad brush.

“It’s a gesture that says to me, ‘We’re in 2020!’” the designer notes. “A vivid stone like that immediately makes a room. It’s extremely pictorial, almost like a painting.”

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Opposite: A vignette in the family room comprises a Corinne Mercadier C-print above Joris Poggioli’s white Estremoz marble console on which sits a Pierre Martinon ceramic sculpture.

This page: The kitchen ceiling and walls are oak, the cabinet doors are bronze, and the countertop and backsplash are Arabescato marble.

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Top: In the master bath, White Panda marble is used for the custom oak vanity countertop, the tub surround, and the floor; the polished-bronze and glass Stromboli table is by Eric Schmitt. Center: A Bente Skjøttgaard stoneware sculpture sits on a custom table between a pair of Kaki Kroener’s Klara armchairs in a guest room. Bottom: Custom coffee tables and José Leite de Castro’s Havana armchairs sit under a Georges Rousse C-print in the family room.

Opposite: A custom mirror, Kelly Wearstler’s perforated-brass Precision sconce, and a Graff matte-finish wall-mounted faucet create a dynamic composition above the powder room’s Panda White marble sink.

PRODUCT SOURCES FROM FRONT PLANT COLLECTIONS: ARMCHAIRS (LIVING ROOM).

THE INVISIBLE COLLECTION: SOFA. MARK ALEXANDER: SOFA FABRIC. MANUFACTURE DE TAPIS DE BOURGOGNE: RUGS (LIVING ROOM, DINING ROOM). NOBILIS: ARMCHAIR UPHOLSTERY (LIVING ROOM, GUEST ROOM); HEADBOARD UPHOLSTERY (MASTER BEDROOM); CHAIR UPHOLSTERY (DINING ROOM). KELLY WEARSTLER: SCONCES (LIVING ROOM, MASTER BATH, POWDER ROOM). ERIC SCHMITT STUDIO THROUGH DUTKO GALLERY: ROUND COCKTAIL TABLE (LIVING ROOM); GLASS-TOP TABLE (MASTER BATH). SAHCO: BROWN SOFA UPHOLSTERY (LIVING ROOM); ARMCHAIR UPHOLSTERY (FAMILY ROOM). PHILIPPE ANTHONIOZ: WHITE LAMP (LIVING ROOM).

POUENAT: CHANDELIERS (LIVING ROOM, DINING ROOM, ENTRY FOYER). THROUGH GALERIE CAROLE DECOMBE: DESK LAMP (MASTER BEDROOM); DISH (FAMILY ROOM). THROUGH CHAHAN GALLERY: BLACK-AND-WHITE VASE (MASTER BEDROOM). THROUGH GALERIE EDOUARD DE LA MARQUE: BRASS COCKTAIL TABLES. CIRCA LIGHTING: FLOOR LAMP. ATELIER ALAIN ELLOUZ: PENDANT FIXTURE. THROUGH GATE 5 GALLERY: TABLE (DINING ROOM).

NICHOLAS HASLAM: TABLE LAMP. THROUGH MOUVEMENTS MODERNES GALLERY: VASE (ENTRY FOYER). KOLKHOZE: CONSOLE (FAMILY ROOM). THROUGH AURELIEN GENDRAS: CERAMIC

To help furnish the apartment, LangloisMeurinne called on the services of Aster, a dynamic Paris-based art and design consultancy with whom he has developed a regular collaboration over the past couple of years. “For me, it’s very valuable,” he attests. “The firm’s founders are young and what’s particularly interesting is their ability to source emerging artists who are not necessarily that well-known. My approach to art is not at all speculative. It’s just a case of acquiring what I love.” Two photographic works are particularly dynamic, bringing a splash of blue— Langlois-Meurinne’s favorite color—to the interior: a Lambda print by Georges Rousse in the living room and a seascape by Caroline Halley des Fontaines in the master bedroom.

The furniture, meanwhile, is almost exclusively contemporary—a far cry from how the apartment used to look. One of the standouts is a marble console designed by up-and-coming Parisian star Joris Poggioli, which was selected by Aster.

And the oldest piece? Another of their finds—a vintage brass chandelier conceived by the Swedish modernist maestro, Hans-Agne Jakobsson, dating as far back as 1960.

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SCULPTURE; STOOL (KITCHEN). GRAFF: FAUCET (KITCHEN, MASTER BATH, POWDER ROOM). LA FIBULE: ARMCHAIRS (GUEST ROOM).

THROUGH GONG: FLOOR LAMP. KOSTIA: BRONZE ASHTRAY. CHROMATIC: PAINT (POWDER ROOM).

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B O O K s edited by Stanley Abercrombie Site: Marmol Radziner in the Landscape

by Leo Marmol and Ron Radziner Hudson, New York: Princeton Architectural Press, $65 312 pages, 228 illustrations (223 color) Leo Marmol and Ron Radziner founded their design-build firm in Los Angeles in 1989, and many of us first learned of their work from articles in this magazine by deputy editor Edie Cohen. The practice has now sprouted offices in San Francisco and New York and, in addition to their own designs, has restored works by Richard Neutra, John Lautner, Rudolf Schindler, Albert Frey, and Cliff May. They have been given multiple awards by the American Institute of Architects and the American Society of Landscape Architects. In 2009, they were inducted into the Interior Design Hall of Fame. With rare modesty, this new book mentions none of these recognitions in the clean and appropriately spacious book design, between heavy boards, by Robin Cottle.

It focuses instead on 19 recent houses and the relationships between their interiors and the environments around them. There is one example each from Utah, Arizona, Nevada, and Amsterdam. The rest are from California. They are divided into four groups: Canyon, Desert, Urban, and Woodland.

“Marmol Radziner continues Fine images by 20 different photographers, the modern legacy” presented without captions, quietly record rooms with broad panoramas and closer, more surprising vignettes. Much of the handsomely simple furniture is also designed and manufactured by the architects.

With our relationship with the natural world increasingly imperiled, such nature-conscious design has become increasingly valuable, even imperative.

Thank you, Marmol Radziner, for these fine examples!

François Halard: A Visual Diary edited by Beda Achermann New York: Rizzoli International Publications, $95 492 pages, 300 color illustrations In this glorious and fascinating picture album the only text is an interview with prominent photographer François Halard by Bice Curiger, artistic director of the Fondation Vincent van Gogh in Arles, France. Curiger notes that “My book is a tribute to famous typical interiors photography “can often feel like an inventory,” but that in Halard’s work “it people who are obsessive in seems as if the space is talking to you.” Halard their taste” responds, “When I walk into the space of an artist whose work I have thought about for a long time. . . I pick up my camera and let myself be guided.” Whatever the process, the results are idiosyncratic, highly personal, and often moving.

Among the 22 international subjects, many of them deceased, are the homes and studios of Luis Barragán in Mexico City; Eileen Gray at Cap Moderne outside of Monaco; Giorgio Morandi near Bologna, Italy; Yves Saint-Laurent and Pierre Bergé in Marrakech, Morocco; Dominique de Menil in Houston; Marc Jacobs in Paris; Dries van Noten in Lier, Belgium; and in New York the habitats of Andres Serrano, Saul Leiter, and Louise Bourgeois.

We also see Roman spaces designed by Raphael in the Vatican, the Villa Farnesina, and the Villa Madama. We see work by Claes Oldenburg, Dan Flavin, and Donald Judd at Chinati in Marfa, Texas. And most personal of all, we see Halard’s own rooms, objects, and collections in Arles.

Our visits to these spaces feel privileged and wondrously private and intimate.

I plan to return to them often.

What They’re Reading..

“My recent two-week trip through Japan with my partner and husband John Cetra had long been on my bucket list. In six months of preparation I read everything I could: books on ancient shrines, essays on Buddhism, and surveys of the great contemporary Japanese architects and designers. But the most fascinating of all is this study and philosophical journey published in 1885 by an American scientist who was intrigued by the clarity, exquisite simplicity, and modernism of Japanese homes.

The book was given to me by CetraRuddy principal Emmanuelle Slossberg, who went to Japan as an architecture grad student at the University of Pennsylvania and was required to read it. (It’s a tradition at our firm to share amazing reading experiences with each other.) What has been thrilling about reading Emmanuelle’s book, quite yellow and frayed at the edges, is to see her through the passages and quotes she underlined more than 25 years ago. It is a secret peek into her soul as a budding architect.

Nancy Ruddy Morse describes how the character of Japanese homes is expressed through the honesty of articulated Founding principal structure, simple design made humane and nurturing through the inclusion of crafted detail (from wood of CetraRuddy joinery to embroidered textiles that have thousands of years of meaning), and the combination of intimate scale and precise proportion that can make even the most modest space inspirational.

All these characteristics are so in sync with our practice. This book has both inspired me to dig deeper into our common past and elucidated exactly how we as a firm interpret these elemental design ideas into our projects: from ARO, our new 62-story modern tower in New York, to a school for 2,500 children in Kerala, India, where we incorporated local patterns and colors into our design.

Morse’s other focus is the magical relationship that the traditional Japanese house has with its surroundings and the landscape. At CetraRuddy we strive for similar contextuality. The concept of integrating interior and exterior, nature and the built environment, and the sense of wellbeing that we all feel when nature is a part of our everyday lives, is consistent with the Japanese philosophy of how a building must nestle into the majesty of nature.”

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BOTTOM RIGHT: COURTESY OF CETRARUDDY

Japanese Homes and Their Surroundings

by Edward S. Morse New York: Dover Publications, $17 372 pages, 307 black-and-white illustrations

c o n tac t s

DESIGNER IN CROSSLINES

DESIGNERS IN SPECIAL FEATURE

Roy Kim Design (“Double Vision,” page 33), roy@roykimdesign.com

Cloud 9 (“Star Bright,” page 128), ruiz-geli.com

DESIGNER IN SKETCHBOOK

Iroje KHM Architects (“Star Bright,” page 128), irojekhm.com

Ab Rogers Design (“Rainbow Connection,” page 39), abrogers.com

DESIGNERS IN OPEN HOUSE

McBride Charles Ryan (“Star Bright,” page 128), mcbridecharlesryan.com.au

AMMOR Architecture (“Room to Breathe,” page 47), ammorllp.com

R2K Architectes (“Star Bright,” page 128), r2k-architecte.com

CCY Architects (“Room to Breathe,” page 47), ccyarchitects.com

PHOTOGRAPHERS IN FEATURES

Darren Brown Interior Design (“Room to Breathe,” page 47), darrenbrown.com Guillaume Kukucka (“Room to Breathe,” page 47), guillaumekukucka.com Studio 250 Design (“Room to Breathe,” page 47), studio250design.com SPAN Architecture (“A Whole New Look,” page 39), span-ny.com Tux Creative (“Room to Breathe,” page 47), tux.co Waowig Studio (“A Whole New Look,” page 39), moisesesquenazi.com WMR Arquitectos (“Room to Breathe,” page 47), wmr.cl

Lisa Cohen/Living Inside (“Natural Selection,” page 94), livinginside.it Laura Fantacuzzi and Maxime Galati-Fourcade (“Time Out of Mind,” page 86), cortiliphoto.com Stephan Julliard (“Enchanted Island,” page 138), stephanjulliard.com Eric Laignel (“Strictly Ballroom,” page 102), ericlaignel.com Joshua McHugh (“Weathering Heights,” page 120), joshuamchugh.com Michael Moran (“A Room of One’s Own,” page 112), moranstudio.com

DESIGNER IN INTERVENTION JCPCDR Architecture (“View From the Top,” page 151), jcpcdr.com

Interior Design (USPS#520-210, ISSN 0020-5508) is published 18 times a year, monthly except semimonthly in March, May, June, and August, and thrice-monthly in October by Interior Design Media Group. Interior Design Media Group, 101 Park Avenue, 4th Floor, New York, NY 10178, is a division of Sandow, 3651 NW 8th Avenue, Boca Raton, FL 33431. Periodicals postage paid at New York, NY, and additional mailing offices. Subscriptions: U.S., 1 Year: $69.95; Canada and Mexico, 1 year: $99.99; all other countries: $199.99 U.S. funds. Single copies (prepaid in U.S. funds): $8.95 shipped within U.S. ADDRESS ALL SUBSCRIPTION RE­QUESTS AND CORRESPONDENCE TO: Interior Design, P.O. Box 16479, North Hollywood, CA 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. Publications Mail Agreement No. 40624074.

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It’s the stuff of fairy tales: As if by magic, a cabin appears in the woods. The apparition is JCPCDR Architecture’s L’Observatoire—i.e., the observatory—a 150-square-foot hut in Annecy, France, born when firm founder Jean-Christophe Petillault realized how quickly

view from the top his studio was growing. Hoping to bring various teams together on a single project, he encountered the perfect prompt—Le Festival des Cabanes, a cabindesign competition held annually in the mountainous region that encompasses the Annecy and Aiguebelette lakes.

A full three months of design and development later, L’Observatoire was named one of 18 winners. Over the course of two days, Petillault and com-

pany fabricated the hut completely by hand using fir native to the region. Through November, hikers can visit it and even venture inside, snaking through the 14-foot-long interior via a ramp that starts at ground level, pivots 180 degrees at midpoint, and culminates at a platform some 5 feet aboveground. As the incline progresses, the walls and doublepitched roof transition from opaque to slatted, gradually exposing the visitor to breathtaking forest and lake vistas.

The cabin, Petillault says, “provides a moment of pause” to visitors, encouraging them to view the landscape from a very deliberate vantage.

—Colleen Curry

DAVID FOESSEL

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