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Make Yourself at Home Design for Entertaining
Carolina Correa Maturana and Antonio Mingo make dinner at their Chilean mountain retreat designed by Smiljan RadicĚ .
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January/February 2020 “You feel like you’re in an oasis with all the greenery. We’ve only been in the house for a year, but already it’s fantastic.” Mardi Watts, resident Page 58
CONTENTS
features
50 Taking the Edge Off
58 It Takes a Neighborhood
66 Repeat Performance
76 Friends and Family
COVER PHOTO BY
A tropical brutalist home in São Paulo—with a stunning sunset view— makes space for art exhibitions and performances, as well as for enjoying family life.
An undaunted California couple go public to advocate for their dream house, joined by scores of supportive neighbors.
Architect Smiljan Radić merges two designs from the past into a bold retreat for the present on a Chilean mountain.
TEXT
TEXT
In British Columbia, an artist, her husband, and their architect friend build a lakeside residence for both entertaining and quiet contemplation.
Kelly Dawson
Vanessa Bell
TEXT
TEXT
PHOTOS
PHOTOS
Brian Libby
Silas Martí
Joe Fletcher
Cristóbal Palma
PHOTOS
Cristóbal Palma ABOVE
Ras-a Studio makes the most of a tight lot on a pedestrianonly street in Hermosa Beach, California.
PHOTOS
Grant Harder
João Morgado
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January/February 2020 86
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CONTENTS
21
departments 9 Editor’s Letter 12 Community
21 Modern World
36 Smart
46 Focus
For our annual look at what's new in kitchen and bath design, we gathered the best recently released products for the most frequently renovated rooms in the home. We also asked the experts—from a multiMichelin-starred chef to Goop's beauty director—for tips on making the most of these spaces.
Air pollution is closer to home than you think—we look at next-generation air purifiers meant to keep your house healthy.
A house in the Catskills has deftly placed windows that control natural light while maximizing views.
98 Sourcing See it? Want it? Need it? Buy it!
PHOTO: PIPPA DRUMMOND ( 21)
100 One Last Thing Architect Peter Gluck explains how a gondolier's oarlock steers his vision of design.
32 Conversation Rem Koolhaas turns a critical eye toward the countryside in a new exhibition. TEXT BY
William Hanley Sam Kerr
ILLUSTRATION BY
TEXT BY
Jennifer Pattison Tuohy R. Fresson
TEXT BY
Julie Lasky Montse Zamorano
ILLUSTRATION BY
PHOTOS BY
38 My House
86 Backstory
A family rolls up their sleeves to expand an existing house into a multigenerational home.
In Lima, Peru, an eccentric, contemporary interpretation of Tudor Revival style rises in the midst of a historic olive grove.
TEXT BY
Tracy Metz Anke Leunissen
PHOTOS BY
TEXT BY
42 Renovation
Sarah Amelar Cristóbal Palma
PHOTOS BY
A designer turns a former tire warehouse in San Francisco into a home that also serves as an art gallery and music studio. Jenny Xie PHOTOS BY Brad Knipstein TEXT BY
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editor’s letter
PHOTO: WESLEY MANN
Great Invitations
Happy New Year from Dwell. After the holidays, you might be more interested in hibernating than in hosting company, but forget ambitious menus for dozens of guests and Instagram-breaking table settings for a moment. In this issue, we’re celebrating a more casual kind of entertaining and some of my favorite types of events: Tuesday dinners with a few friends, cocktail parties for no reason, impromptu barbecues, and spontaneous living room dance parties—in short, occasions with no occasion and the convivial spaces that make them special. The homes in this issue throw their doors wide open. A British Columbia vacation house (p. 76) with many handmade details sleeps up to 20 while still reserving private spaces for its owners. A home in Hermosa Beach, California (p. 58), opens up to its pedestrian-only street and the neighbors who fought for its construction. A renovation in San Francisco’s SoMa neighborhood (p. 42) doubles as an art gallery. A house in São Paulo (p. 50) treats guests who come to watch the sunset to evening dance performances. Even a remote house in the Chilean mountains (p. 66) by acclaimed designer Smiljan Radić can accommodate plenty of guests—if they’re up for the trek to get there—under its dramatic A-frame structure. Our annual look at what’s new in kitchen and bath design (Modern World, p. 21) also considers how to effortlessly entertain. It’s the law of party gravity: Everyone eventually converges in the kitchen. We asked no less an authority than multi-Michelin-starred chef Dominique Crenn how to host people around your counter. And London cocktail impresario Ryan Chetiyawardana tells us how to mix up something special without being tethered to the shaker all night. Along the way, we round up some of our favorite new appliances for your party-ready kitchen and the best barware to make sure the experience of the cocktail extends beyond the spirits. On the bath side, Brooklyn designer Delia Kenza tells us how to make the humble powder room— whose moment to shine is generally during parties—into a showpiece rather than an afterthought. And Jean GodfreyJune, beauty director at Goop, gives us tips for setting up your self-care space, whether you’re prepping for an evening out or winding down at the end of the night. “A good amount of hosting is displaying a bit of your own personality,” says Chetiyawardana. The same applies to well-designed homes. They meet the day-to-day needs and embody the values of their owners, but they also invite guests to share—at least temporarily—in the ways of living that they frame. At a moment when technology makes it easy to be isolated, one measure of a home’s success is how well it creates a community. William Hanley, Editor-in-Chief william@dwell.com
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Dwell Editorial Editor-in-Chief William Hanley Managing Editor Camille Rankin
Dwell San Francisco 595 Pacific Avenue 4th Floor San Francisco, CA 94133
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comments
“I absolutely love the Clive Wilkinson house, from the materials to the aspect to the angles. It’s fun and warm and not faddish.” —Carolyn A. via Dwell.com
Feedback I’d like to commend you for featuring products that are handmade in America [Modern World, November/ December]. I’ve worked with my hands for 50 years as a sculptor, making one-of-a-kind art directly in metal. Working with my hands is important to my well-being. Thank you for featuring artisans and the pride they take in their expressions. JEFFREY MARON, NEW YORK CITY
Black siding on three sides and the roof, in a place [Phoenix] where the temps regularly reach 118 [“Cactus
Re: Shipping Container Houses Power,” November/December]. Hope it’s super well insulated, or the AC will be running nonstop. MISTYG, VIA DWELL.COM
@NICOLEBECHER ARCHITECT CAVIN COSTELLO REPLIES:
The house performs significantly better than average. The metal siding is thermally separated from the house with an air space. The metal also reflects radiant heat— as opposed to concrete or asphalt, which absorb it—and has a high emissivity, which is beneficial with our diurnal temperature swings.
Instagram Our top posts included this airy loft in downtown Portland, Oregon. Designer Courtney Nye transformed the cozy home for three into a spacious, refined dwelling for four. “At the start, they just needed a few furniture items and a change of paint,” says Nye. As the family’s needs evolved, she was tasked with a more detailed face-lift, resulting in a cohesive, sophisticated residence.
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I love the thoughtfulness, creativity, and “less is more” mentality that go into them.
By the time they’re ready to live in, the amount of modification and expense nullifies the point. @MPKELLEY_
I think they’re cool, but it’s not practical to modify a metal shipping container into a human dwelling. ROGER ARRICK
I built two containers into my home after a
wildfire took my house. I love my humble space! @KODIAKGREENWOOD
At best, it’s a tastemotivated option— certainly not a solution to the housing crisis. @ALREADYUPSIDEDOWN
POLL
It may seem like a neat idea . . . to somebody who has never actually seen a storage container and has never built a house. KEVIN KORY
I recently completed my two-container-high cube house here in Vermont and wouldn’t change a thing—critics be damned. @76CONVERSATIONAL RESPONSES
It’s a creative way to adapt an existing object into something else. @SARDA1
Love it or hate it: shipping container houses
% 23%
77 Love
Hate
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PHOTOS: LAURE JOLIET (CLIVE WILKINSON ) ; HARIS KENJAR ( INSTAGRAM ) . ILLUSTRATION: PETER OUMANSKI
COMMUNITY
Architect Clive Wilkinson built a home for his family in Los Angeles that combines the best of the city’s styles [“All the Essentials,” November/December].
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dwell.com
Dive Into Dwell+
1. A Cor-Ten Steel Cabin in Vermont Olson Kundig designs a family getaway in the woods where multiple generations can gather.
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2. A Quirky Retreat on Long Island While closing on an Andrew Geller house in East Hampton, a couple hit the mother lode: original drawings signed by the midcentury architect.
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3. Pigeon Toe Ceramics Founder Lisa Jones demonstrates how she casts pieces in her Portland, Oregon, workshop.
PHOTOS: CHRISTOPHER CHURCHILL ( 1) ; PAUL BARBERA ( 2 ) ; BENJAMIN RASMUSSEN ( 3 ); MICHAEL SCHMIDT ( 4)
COMMUNITY
The best way to experience design is in person. Dwell+ videos are the next best thing. Subscribers get access to exclusive home tours, studio visits, and more that bring our stories to life. Try Dwell+ for free at dwell.com/subscribe.
4. Berkeley Aerie An architect couple turn a midcentury house in the hills into a stunning three-story home overlooking San Francisco Bay.
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dwell asks
What’s the one “nonessential” kitchen gadget you can’t live without?
COMMUNITY
We’re going to need a bigger drawer.
A large silicone fork and mini whisk for quick and easy scrambled eggs. @Kristencesiro
My Lee Valley Tools garlic mincer. Works so well and cleans up like a dream! Janette Niwa
Definitely the stand mixer. Takes up a lot of room, but so key for the holidays. @Jaumeprimero
A potato ricer I got at an antiques market in Paris outside Les Halles. It was free as the stall owner was having an argument with another customer and told me just to take it. @Occult_tattoo
The jar opener under one of my cabinets. It’s just two strips of wood attached strategically . . . never fails me! @Lauralee_ann
Once a year I get on my hands and knees and dig to the back of my cabinet for the electric knife. Nancy PoehlmanTharpe
Can’t lie, it’s the air fryer. @Downtown .collective
Cannot live without my electric kettle with the “hold hot” function. All-day hot tea is a game changer. @Serenelewis
Three-in-one avocado knife, scoop, and de-stoner. No more hand injuries. @Clairewatkins76
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Oxo cheese plane—it’s the best slicer ever! @Minelliott
The giant paella pan I bought after spending two weeks in Spain on vacation. @Caluck I pressured my husband into jettisoning our apple peeler, and he has never forgiven me. @Brandigunn Tortilla press. It’s heavy and a pain, but damn if those aren’t some bomb tortillas. @Sammyrush My rice cooker. I could easily make rice in a pot on the stove, but it’s so nice not to have to worry about it burning or changing the temperature. Just hit start and let it go! @ZDoubleBInc
My personal-size blender. I use it for blending wheat grass and water every morning and for smoothies once or twice a day. Jeff Aldrich Foot-pedal faucet control. @Biancacamacbell We redid our kitchen, so I had to move everything but total essentials to the basement for several months. I lasted a week before digging out the mandoline. Didn’t miss the stand mixer or the food processor, but couldn’t live without the mandoline. @Readingkathleen
My tiny silicone spatula. I use it for so many things. Margaret Haberfield My cocktail shaker. Stirring is simply not good enough. @Mrs.herbie It’s a tie between the Cuisinart handheld blender, for perfect soups and smoothies, and the Salton crepemaker, which makes perfectly round, thin crepes. Geneviève Lépine Am I allowed two? A mandoline and a potato ricer. If I were allowed three, I’d say an icing piping bag, but I’m pretty sure three is not allowed. Aleksandra Arhipova
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ILLUSTRATION: JUSTYNA STASIK
Pizza slicer, which I use for cutting my kids’ pancakes. It’s also good for grilled cheese sandwiches. Jess Sulli via Facebook
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houses we love
A Perfect Pairing In downtown Tel Aviv, two young families move into a compact low-rise that feels like a roomy villa. TEXT BY
PHOTOS BY | @SHAIGILFOTO
Duncan Nielsen
Shai Gil
Pockets of greenery and outdoor space add dimension to a two-family home in downtown Tel Aviv. A third-floor kitchen
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(opposite, top) looks out over a balcony garden and city views. Herringbone floors and a board-formed concrete wall create
a linear motif in the second-floor stairwell (opposite, bottom). The lap pool (opposite, right) glistens with vivid blue tiles.
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More at Dwell.com Do you have a project you’d like to see published in Houses We Love? Share it at dwell.com/add-a-home
“ We gave the architect a hard time by being ourselves, by being very stubborn.” Roi Shachnay Chen, resident
When Zahi Wasserstein Ronen found an entire small building for sale in downtown Tel Aviv, he and his longtime friend and former design school classmate Roi Shachnay Chen jumped at the chance to purchase it. Their idea was to create a new, two-apartment home on the site for the eight members of their families. “Building with or without friends is awful, but it’s definitely easier with friends,” jokes Roi. After an 18-month build, a four-story home with open and airy living spaces rose from the compact, 2,000-square-foot lot. Designer Yulie Wollman’s concept—a sleek, industrial villa—unifies both homes through materials and color. Board-formed concrete framed by matte-black steel makes up the bulk of the structure, with vertical wood slats on the top floor’s street-facing facade adding a soft touch to the brutalist-inspired home. But the defining feature is a glass wall that stretches from a rooftop skylight all the
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way to the basement. Wollman created it by pushing two feet out from an interior wall—the result is natural light cascading through each level like a waterfall. “Yulie typically does large homes; it’s her forte,” says Zahi. “We didn’t have a lot of space, but she made our home feel like a big villa.” Together, the house comprises seven bedrooms—one a safe room in the basement, currently used by a nanny—open living/dining/kitchen areas, and another safe room in the upper apartment, used as an office. Zahi’s family occupies the basement and first levels, which include a lap pool and Zen-inspired garden. Roi’s family lives on the next two floors, where they enjoy sweeping views of the city from their balcony, which also has a garden. “As time goes on, we appreciate the house more and more,” says Zahi. “I don’t want to call it a masterpiece, but for us, it truly is one.”
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Kitchen and Bath Our annual overview of what’s new in kitchens and bathrooms features the latest products for your home and advice for making the most of your space.
Modern World ILLUSTRATIONS BY | @AXELPFAENDER
PHOTOS BY | @JAMIECHUNGSTUDIO
Axel Pfaender
Jamie Chung
These new surfaces offer a range of fresh looks for your countertops. Clockwise from top left: Primordia, Caesarstone; Valley White Polished, PentalQuartz; Mayfair Luxury Series, Cambria; Mar Del Plata Slate Finish, Neolith; New York–New York Silk, Neolith; Et Noir, Silestone.
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PHOTO: PIPPA DRUMMOND (PORTRAIT )
K I T C H E N A N D B AT H
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H OW TO: P OW E R U P YO U R P OW D E R RO O M 2
Interior designer Delia Kenza grew up in New York City and now lives in the Brooklyn brownstone her aunt once called home. It’s one of many townhouses she has renovated across the city, and she is an expert at revamping historic homes for contemporary living. One of the trickiest—and tiniest—spaces to add or update in these narrow buildings is the parlor floor powder room. Here are her tips for elevating your own. 1. KEEP WHAT YOU CAN “Sometimes the first reaction people have
to old, narrow spaces is to gut the whole thing. There’s a time and place for that, but I love mixing new and old, adding modern details, furniture, and lighting to a space that still has its historic character.” 2. PUSH YOUR THRESHOLD “Another trick I often use is raising the
height of doorways. When you take them as high as you can to a ceiling, it automatically freshens up the space. I’m also doing a lot of doors that are almost flush with the wall. The idea is that, in a very small space, you don’t really know where the door begins and ends. The fact that it’s a very precise alteration comes through, rather than it feeling radically new.” 3. BRIGHTEN THE CORNERS “I know some people hate recessed lighting, but I think it can really modernize and cut down on fixtures in a small space. It’s minimal, but it should also be minimally used. We don’t want a home that looks like a landing strip. For my own powder room, we added a glass transom to bring in some light overhead.”
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K I TC H E N A N D B AT H
G E O M E T RY L E S S O N
Matte black is already basic. And rose gold’s shining moment is almost over. For a faucet that’s more timeless than trendy, it’s all about working the angles (and the arcs).
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SPERRY MOTIONSENSE WAVE SPOT RESIST STAINLESS ONEHANDLE PULLDOWN KITCHEN FAUCET (NOZZLE NOT SHOWN), Moen 2 ESSENCE COLLECTION IN POLISHED NICKEL, Grohe 3 CL. 1 WITH SWAROVSKI CRYSTAL TRI-COLOR IN POLISHED CHROME, Dornbracht 4 EDGE SINGLE LEVER BASIN MIXER FAUCET 190 WITH DIAMOND CUT IN CHROME, Axor 5 AA/27 IN STAINLESS STEEL, Aboutwater by Boffi and Fantini 6 NEREA TALL VESSEL FAUCET WITH KNURLED HANDLE IN POLISHED CHROME, Franz Viegener 1
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PHOTO: CARLOS CHAVARRIA (PORTRAIT)
K I T C H E N A N D B AT H
30-INCH INDUCTION COOKTOP Fisher & Paykel Induction gives this cooktop extremely accurate temperature control, and its slim dimensions leave plenty of open counter space.
HERITAGE INDUCTION PRO RANGE WITH DACORMATCH COLOR SYSTEM Dacor The latest convection oven from Dacor can be customized to complement any kitchen color scheme.
H OW TO: CO O K FO R CO M PA N Y
Dominique Crenn is the first female chef in the United States to receive three Michelin stars—earned by her San Francisco restaurant Atelier Crenn, which she opened in 2011. She went on to launch Petit Crenn, a bistro focused on Breton cuisine, and Bar Crenn, a 1930s Paris–inspired salon. Needless to say, she knows a thing or two about entertaining, and these are her guidelines for cooking for guests. 1. MULTITASK SURFACES “I have a compact kitchen, with everything up against the wall. Then I have a big counter that people can sit around while I prep. Also, my kitchen table is made of marble, so I can do everything there. I can seat people there for dinner or make pasta on it. It’s great.” 2. KEEP IT SIMPLE “I don’t go crazy when I have guests. I try to do a menu that is very welcoming. I like to make vegetables and seafood, and I love to do pasta. The other night I had people over, and I just made a roast chicken the way my mother used to do it—with roasted potatoes and a little salad on the side, and that’s it. And a lot of wine.”
COMBINE BY PIERO LISSONI Boffi Our vision for the island shown here was inspired by Piero Lissoni’s modular system with a sliding counter for prepping and entertaining.
3. BE PREPARED “I always have something to munch on in the
house, like cheese. I also always have pasta and bread, as well as paté or smoked salmon. I try not to spend 10 hours in the kitchen when I cook at home. When you have people over, you’re not there to impress. You’re there to welcome your friends. So you should do the things that you know and love to cook. It’s not how fancy the dinner is. It’s how delicious the dinner is going to be.”
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200 SERIES COMBI-STEAM OVEN Gaggenau A new steam oven from Gaggenau has multiple humidity settings and a sleek profile, making it an elegant addition to your island.
K I TC H E N A N D B AT H
VACUUMSEALING DRAWER Miele Whether you’re wrapping for refrigeration or prepping something for sous vide, Miele’s pullout sealer easily keeps everything under wraps.
UNDER-COUNTER REFRIGERATOR DRAWERS True True’s new drawers have remarkably precise temperature settings, and they’re also rated for outdoor use.
24-INCH UNDERCOUNTER WINE RESERVE WITH GLASS DOOR Thermador Multiple temperature zones cool your entire collection, and LED lighting lets you show it all off.
T H E E V E RY T H I N G I S L A N D
Our kitchen islands are getting bigger—and it’s no surprise, given how often they function as a social center. As they expand, they’re making room for appliances once confined to cabinets and walls. Here are a few of our favorite new island-ready options.
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K I T C H E N A N D B AT H
PHOTO: MARK COCKSEDGE ( PORTRAIT)
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H OW TO: R A I S E T H E BA R
Ryan Chetiyawardana has been the toast of London’s cocktail scene since he opened his first bar, White Lyan, in 2013. He has racked up accolades—including World’s Best Bar for Dandelyan, recently reinvented as Lyaness— that cite his inventive drinks, home-grown botanicals, and spaces that generate little waste. His first U.S. offering, Silver Lyan, opens in Washington, D.C., in January. We asked him for the key to throwing a great cocktail party. 1. MAKE IT PERSONAL “It’s all about the mood of the party and what
you’re trying to bring to life. Who’s your audience? Think of the direction you want to take them. That’s a big part of being a host. Put forward things you’re really fond of. If you come back from travels with a spice you’re really interested in, use that and put your own spin on it.” 2. BUBBLES ARE YOUR BEST FRIEND “I like to have a cocktail base
topped with Champagne. It kind of varies with the season and what I’m serving, but usually I’ll do a twist on a classic like a French 75. Nobody turns up at the same time, so have something bottled and chilled in the fridge. Pour something into a glass, top it with bubbles, and you have a drink.”
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3. ATMOSPHERE IS EVERYTHING “The whole scenario is what you’re
controlling—the temperature, the glassware. A cocktail is greater than the sum of its parts. I try to make it feel special, but I don’t want it to be fussy. No matter what you’re making, always have a good knife and decent ice molds. Everything else you can get around. But buying bagged ice ruins the experience. And you need a lot of ice. The only thing in my freezer is ice cream and ice.”
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TANK HIGH BALL GLASSES BLACK Tom Dixon 2 AJ COCKTAIL SHAKER BY ARNE JACOBSEN Stelton 3 SUCK IT UP STRAWS Misha Kahn 4 DÉGRADÉ PITCHER Esque Studio 5 INDULGENCE CHAMPAGNE COOLER Georg Jensen 6 SOCRATES CORKSCREW Alessi 1
K I TC H E N A N D B AT H
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SHAKE APPEAL
Ingredients, recipes, and technique will get you a long way toward a good cocktail, but to really impress your guests, don’t forget presentation. We’ve gathered some of the best-designed new barware out there—and one classic that always tempts us to have another.
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THE NEW CLASSIC BY MARCEL WANDERS Laufen The New Classic is part of an understated collection by the Dutch designer.
PHOTO: PIPPA DRUMMOND (PORTRAIT )
K I T C H E N A N D B AT H
DAFNE Cielo The Dafne has graceful contours and comes in the Italian company’s signature range of earthy and bright finishes.
H OW TO: B E AU T I F Y YO U R G E T T I N G - R E A DY S PAC E
“I don’t differentiate between beauty and wellness,” says Jean Godfrey-June. Since taking over as beauty director at Gwyneth Paltrow’s Goop in 2015, she has led the conversation about “clean” products, eschewing anything with potentially toxic ingredients, and has approached beauty as being about self-fulfillment rather than fixing flaws. Naturally, we asked for her guidance on setting up a sanctuary of self-care. 1. CURATE YOUR COUNTER “My general philosophy about beauty
products is that they’re a little bit like decor for your bathroom. I like to see the pretty stuff every day. I love displaying oil cleansers for your face. I always have that up on my sink. But I am for hiding some things. Makeup, no matter what brand it is, always ends up looking a little eh, so that gets put away.” 2. DRESS UP YOUR DRAWERS “I really like to put wrapping paper or wallpaper on the inside of a drawer so that there’s a beautiful pattern whenever you open it. There is something about beauty products—if the object is pretty, you think it’s making you look better.” 3. PRIVILEGE THE PLUNGE “I’m a huge bath person—I take a bath
almost every day. I have bath products around the tub and some candles, but I also have all of these plants around it. I was inspired by being at a hot spring surrounded by a million trees and plants. Everyone is getting rid of their bathtubs and putting in giant showers, and I like a good shower as much as the next guy, but I’m a believer in baths. It really makes a huge difference in your wellbeing. Water is so restorative. Heat is so restorative. It’s just a time when you can connect with yourself.
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HAPPY D.2 PLUS Duravit This tub’s rounded shape and compact dimensions make it adaptable for all kinds of bathroom configurations.
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I M M E RS I V E E X P E R I E N C E S
K I TC H E N A N D B AT H
Self-care requires all the senses, and these new bathtubs are as soothing to look at and touch as they are to soak in. From earth-toned clay to beautifully beveled marble and pristine porcelain, each has its own way of welcoming hours of relaxation.
NOUVEAU Ex.t This soaking tub takes its inspiration from Art Deco furniture, but with a pared-down, contemporary style.
BARCELONA Victoria & Albert Thanks to the new RAL Color Service, all of the British company’s freestanding tubs are now available in 194 colors.
ROSALIA Jacuzzi A new bath from Jacuzzi makes a statement with its eye-catching asymmetrical swoop.
BALNEA TUB BY ELISA OSSINO Salvatori White Carrara marble can seem overly sumptuous, but paired with subtle geometry, this feels surprisingly refined.
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P R O M OT I O N
Unplug, Relax, and Rejuvenate Smart design can help turn your bathroom into a spa-like oasis. For most of us, the bathroom is where we begin and end the day—it’s a space where we slowly awaken our bodies each morning and reset them each night. It’s also often a place to escape, providing an intermission from modern distractions, even if brief, and an intimate moment to reconnect with simple elements, such as water and heat. A spa-like atmosphere in your bathroom can enhance these daily rituals while promoting health, wellness, and relaxation. Start by dialing in your bathing experience. “First and foremost, you should consider how
you want the space to function,” says Amy Hill, interior designer and manager at GROHE. “Ask yourself: do you enjoy a soothing shower but have a partner who prefers a stronger, concentrated spray? In that case, you can incorporate a shower head with multiple functions, along with a modern valve that allows for precise control over water condition and volume.” The SmartControl system by GROHE consolidates multiple water flows into a single, streamlined control panel, while utilizing the latest temperature-
control technology to create an individualized showering experience. “The beauty of GROHE SmartControl is its simplicity,” adds Hill. “Once you select your ideal temperature with the thermostat dial, it takes just a quick push of a button to begin and a turn to adjust the volume—that’s it.” Beyond the tub and shower, introducing natural lighting, plush textiles, and organic elements— including stone, wood, and plants—can further enhance your at-home spa experience. Learn more by visiting dwell.com/grohe
TURN UP YOUR SHOWER EXPERIENCE GROHE SMARTCONTROL® Control up to 3 water functions with adjustable spray strengths at your fingertips. Discover more at buygrohe.us/dwell
conversation
TEXT BY
ILLUSTRATION BY
William Hanley
Sam Kerr
Rem Koolhaas
Forty or so years ago, before he was a “starchitect”—before anyone called them starchitects—Rem Koolhaas made his mark as a theorist of the city. His 1978 book, Delirious New York, pointed out a fundamental irony of Manhattan: that its rational, officially imposed grid of streets and stacked cubes of apartments allowed, enabled, and even generated the teeming, unruly chaos of urban life that takes place inside its orderly framework. This wild, polemical celebration of New York, which he called a “retroactive manifesto for Manhattan,” positioned the metropolis as the defining spatial archetype of the 20th
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century, and for decades it has influenced debates about cities everywhere. Koolhaas went on to shape many of them. His firm, OMA (Office for Metropolitan Architecture), has excelled at designing buildings that are eramarking symbols in cities around the world—Seattle’s diagonally gridded Central Library in 2004; De Rotterdam, a trio of conjoined towers in the Dutch firm’s hometown in 2013; the monumental public spaces of Qatar National Library in 2017, to name just a few out of dozens. The firm’s work combines a seductive polish with self-consciously abrupt—
sometimes willfully awkward—moves. These gestures often highlight a building’s structure, materials, or context, whether it’s on the scale of Beijing’s CCTV tower (2012), a zigzagging riff on the classic skyscraper, or down to the playfully overdesigned bathrooms at the Fondazione Prada in Milan (2018), which are occasionally as baffling as they are Instagrammable. For his latest provocation, the celebrated observer of the city has turned his attention everywhere else. With AMO, the research and branding arm of OMA, Koolhaas has organized Countryside, The Future, an exhibition that takes over
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PHOTO: PIETERNEL VAN VELDEN
The legendary architect and famed advocate of urban living embraces country life with a new exhibition.
PHOTOS (CLOCKWISE FROM TOP LEFT ): NATHAN KEAY, COURTESY MCA CHICAGO; ALBERT VECERKA, COURTESY OMA; JAMES FLORIO, COURTESY OMA; FRANCESCO GALLI, COURTESY LA BIENNALE DI VENEZIA
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the rotunda at the Solomon R. Guggenheim Museum in New York on February 20 and runs through the summer. We spoke with Koolhaas about what to expect at the exhibition, the constraints of Frank Lloyd Wright’s spiraling ramp, and contemplating the future of the countryside. More than four decades after Delirious New York, why are you now turning your attention to the country? There is something really perverse and one-sided in our current attention, which is completely focused on cities—on smart cities, on technology in cities, on automating cities—and there is a real danger that an entire territory is basically disappearing from our radar. I’m making an admission of guilt, because I, of course, was very involved in creating scripts and arguments about why the city is so amazing and have done everything to advocate for an urban life. But I started
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getting nervous when the UN announced that more than 50 percent of people currently live in cities and implied that the percentage of urban dwellers could increase to something like 70 or 80 percent. What is then happening to those who are left behind in the countryside, and how are they supposed to live their lives? How will the exhibition be organized? The exhibition will show maybe 15 unique situations that are distributed across the world. For instance, thinking about the state apparatus in China and how the countryside in China will be organized in the future, or how the permafrost is melting in the north of Russia. So basically I took an assembly of situations, all extremely different, that hopefully together will give you a sense of how the countryside is faring at this moment— what is possible and what is impossible. There is also a significant component
With AMO, the research and branding side of his firm, OMA, Dutch architect Rem Koolhaas has designed numerous exhibitions, including Virgil Abloh: Figures of Speech at the Museum of Contemporary Art in Chicago (top left), Manus × Machina: Fashion in an Age of Technology at the Metropolitan Museum of Art in New York City (top right), and Dior: From Paris to the World at the Dallas Museum of Art (above right). He also directed the 2014 Venice Architecture Biennale (above left). One section of his upcoming exhibition, Countryside, The Future, will focus on “new nature,” or how humans have optimized and automated biological processes. Koppert Cress, a Dutch company that farms aromatic plants (opposite), will be featured in the show.
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conversation
“What started as an almost eccentric effort to look away from cities now has more relevance and urgency because of discussions about climate change and new technology.” REM KOOLHAAS
dedicated to politicians who have treated the countryside as a kind of canvas. From Stalin and Gorbachev, who both considered reversing the course of certain rivers for irrigation, to Hitler, who was imagining how the autobahns could give the average German access to the countryside for the first time, to 10 years later, in 1944, when the Allied forces had to consider what to do with Germany after the war. But we’re also talking about how Qatar, just a few years ago, created a milk industry almost overnight by importing two and a half thousand cows by airplane and building, in the middle of the desert, a sophisticated production system that has basically changed the course of the entire country.
Will there be a beginning, middle, and end? Yeah, inevitably. What started as an almost eccentric effort to look away from cities now has more relevance and urgency because of discussions about climate change and new technology. The hanging question at the end of the exhibition will be how artificiality and a respect for nature—in some new form—are not different options. The two can be merged or can coexist and can mutually influence each other.
How will the show respond to Wright’s architecture? The more we worked on it, the more we were totally intimidated by how the Guggenheim works, because the spiral is
So are you optimistic about the future of the countryside? I’m fundamentally an optimist because I think an architect who is not an optimist is almost obscene.
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PHOTO: IWAN BAAN, COURTESY OMA
in itself a narrative and the galleries are episodes in the narrative. So you could look at it as a movie or as a kind of plot.
The Guggenheim exhibition will touch on how Qatar rapidly built a dairy industry. OMA designed the country’s national library (top). Koolhaas’s Delirious New York (above) was published in 1978.
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DUDA STOOL BY ARISTEU PIRES
WWW.SOSSEGODESIGN.COM
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smart
TEXT BY
Jennifer Pattison Tuohy ILLUSTRATION BY
R. Fresson
The air in our homes is killing us. The World Health Organization calls household air pollution the “largest single environmental health risk” in the world today, causing the death of nearly 4 million people around the globe every year. “The health effects of indoor air pollution include getting sick from respiratory and cardiovascular diseases and potentially dying prematurely,” says Shelly Miller, professor of mechanical engineering at the University of Colorado Boulder. In fact, indoor air can be up to five times worse than what’s outside. It’s thick with dust, pollen, mold, pet dander, and so on. “People think they breathe better inside,” says Richard Miller, CEO of biotechnology company BetterAir Environments. “It’s actually more detrimental to breathe indoors.” The solution? Start by opening windows
more often and doing a bit of indoor gardening. NASA studies indicate that roughly two houseplants per 100 square feet of space can help substantially. Next, consider getting an air purifier. Using high-efficiency particulate air (HEPA) filtration technology to trap particulates as small as 0.1 micrometers, air purifiers are a possible solution. “There’s overwhelming testimony from owners who say their troubles with asthma or allergies improved after they started using one,” says Tim Heffernan, a senior writer at Wirecutter, which spent seven years testing various models. But that’s only half the story. Volatile organic compounds (VOCs), prevalent and powerful chemical irritants, escape most air filters. “They’re found in household products, like furnishings and paints, and can be off-gassing into the home,” says
Professor Miller. “Many of these chemicals are endocrine disruptors, and a lot of them are cancer-causing.” With heightened consumer awareness of VOCs and other pollutants, many companies are trying to upgrade their purification products. The reviews are mixed. “There’s a lot of marketing on the part of basically every manufacturer implying they’ve reinvented the wheel,” says Heffernan. “From what we know, we’re pretty skeptical about those claims.” One area of innovation looks at dispensing with filters in favor of physically destroying pollutants at the micro level. A new technology employed by BetterAir Environments involves using good bacteria to kill their bad aerial counterparts. BetterAir’s Biotica 800 disperses a patented probiotic mist to eliminate harmful elements that settle onto surfaces.
Breathe Easy Indoor air pollution is a global crisis, but there are ways to protect yourself, from tried-and-true products to new innovations. 36
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Another approach is physically changing the makeup of products that traditionally bring VOCs into our homes, such as paints. For instance, a company called Smog Armor developed a paint containing “enhanced natural active minerals.” Once dried, the minerals constantly attract and eliminate VOCs, formaldehyde, and CO2. While the research is still out on the efficacy of these new technologies, it’s not too soon to take control of the air at home. One place to start is with a smart Indoor Air Quality (IAQ) monitor that sends alerts to a smartphone. This type of connected monitor is proactive, turning on a smart ceiling fan or purifier powered by a smart plug. “Monitoring your air quality is really helpful for behavioral information,” says Shelly Miller. They say that knowing is half the battle. It’s time to make sure you’re breathing better air.
Everything You Need to Clear the Air The Netatmo Smart Indoor Air Quality Monitor (opposite) measures CO2 levels to gauge indoor air quality. It uses the Healthy Home Coach app to track air pollution, humidity, noise, and temperature.
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Samsung’s AX 9500 Cube (above left) is practically silent as it captures 99.97 percent of ultrafine particles. The Cube’s portable, modular design means that it’s stackable for larger rooms.
IKEA’s Gunrid sunlight-activated curtains (above center) use a new, mineral-based textile treatment to capture and break down pollutants. The curtains will be available for purchase this year.
The Austin Air HealthMate HM400 (above right) is a no-frills, minimal-maintenance air purifier that can remove allergens, particles, and VOCs in rooms measuring up to 938 square feet.
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my house
In a quiet coastal town north of Amsterdam, Ayla Geest and Jordie Kuin renovated a house for Ayla’s parents while designing a private extension for themselves. The brick rear facade of the existing structure
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became the living room wall of the younger couple’s new space (above). The bench is by Cuun for House Doctor. In the kitchen (opposite), custom cabinets feature leather pulls by Brût Amsterdam.
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TEXT BY
PHOTOS BY | @THEINTERIORTOURISTS
Tracy Metz
Anke Leunissen
Three years ago, interior designer Ayla Geest and her partner, Jordie Kuin—with their two French bulldogs, Bullie and Cooper, in tow—were searching outside Amsterdam for a new house. At the same time, Ayla’s parents, Fred and Els, wanted to downsize. The family decided to pool their resources and look for a place together where each couple would have their own space. “We found this house that was empty and almost derelict,” Ayla says, “but the location was idyllic, so green and close to the sea. And we knew the municipality would allow us to build it out.” The family came up with a plan to expand the house into the back garden— though a generous amount of green space remains. The couples each have their own front door, with Ayla and Jordie living in the new section and Ayla’s parents in the pre-existing house. What was once the rear facade of the house is now the exposed brick wall of Ayla and Jordie’s living room.
The Sum of Its Parts A family in the Netherlands builds a well-styled addition from creatively sourced materials. DWELL
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my house
In the dining area, Ayla and the couple’s daughter, Cato, sit at an IKEA table surrounded by mismatched chairs (left). The steel and glass wall is by Different Steel. Handmade Portuguese tiles line the floor of the upstairs
bathroom (above), where a MissoniHome towel adds a bright touch. Cato’s playspace (right) features IKEA cabinets and a rug by Lakaluk. A patio extends the living space outdoors (opposite, bottom).
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STYLING: KIM DE GROOT. ILLUSTRATION: LOHNES + WRIGHT
What they didn’t know at the outset was that the town would insist that the new building have the same style of pitched roof as the existing house. “That was a bit of a financial blow,” says Ayla, “as it meant that we had to rethink the entire roof.” In order to use the space under it, they added two dormers on both sides. Of course, everything took longer than planned, and Ayla and Jordie lived with the Geests in their not-yet-renovated house for a year and a half. During the process, it went from a two- to a threegeneration home, with the arrival of Ayla and Jordie’s daughter, Cato. The family hired a contractor for the roof and for the shell of the new building, but they did everything they could themselves, with the greatest possible attention to detail. Take the stainless steel screws that
DESIGNER
Pastel & Staal
my house
“We decided to put our money into the construction and to source our interior from wherever we found things we liked.” AYLA GEEST, DESIGNER AND RESIDENT
hold the wood of the rear facade in place. “Usually those are screwed in with a power drill,” says Jordie, “but then they’re never really in a straight line and some go in too deep and others not deep enough. We wanted it to look just right. So we made a template and my father-in-law and I screwed in every single screw by hand.” They also mounted the steel frame of the glass door and windows on the rear facade themselves—twice. “Everything was in place and we looked at it and said to each other, not good enough. So we took it out and did it again,” says Jordie. The new structure has a simple, mostly open plan, with no hallways—“a waste of space,” according to Jordie—and two floors of about 625 square feet each. Downstairs there’s a dining table, with the kitchen running along one side and a
TV nook on the other. The landing at the top of the stairs leads to the bathroom and through it to the master bedroom and their daughter’s small room. Ayla and Jordie were more pragmatic than dogmatic when it came to the interior. Some things are new, such as the cupboards and the bedroom floor from IKEA, but an important source was Marktplaats, the Dutch equivalent of eBay. That’s where they found the wooden staircase and the hood that rises out of the kitchen countertop. “We would have liked a steel staircase, but it was too expensive,” says Ayla. “We found this wooden one on Marktplaats for a hundred euros.” The completed addition is cozy, and very personal. “We could have made this house bigger, but we didn’t really see the need,” says Jordie. “It’s already our dream house.”
renovation
Julie and Kevin Seidel were looking to create a salon as much as a home when they renovated a former tire warehouse (inset) in the SoMa section of San Francisco. “We knew it would be a place for art, music, and conversation—something that
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went beyond shelter,” says Julie. The living room includes a vintage George Nelson sling sofa and concrete stools by CB2 (above). A three-story perforated metal staircase (opposite) features treads made of eco-friendly PaperStone.
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TEXT BY
PHOTOS BY | @RBRADLEYPHOTO
Jenny Xie
Brad Knipstein
Some homebuyers seek out properties that are move-in ready; others love the challenge that comes with a major renovation. Julie and Kevin Seidel were in the latter camp in 2012 when they discovered a tire warehouse turned storage facility in San Francisco’s SoMa district. They were living in the village-like neighborhood of Glen Park and looking to shake up their lives. Julie was transitioning out of a career in business development and aching to engage a more artistic skill set. “We saw it as a way to stretch ourselves,” she
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recalls. Her husband, a creative director and musician, felt similarly energized by the building’s potential. Luckily, the Seidels knew just the person for the job: Michael Kao, founder of MAK Studio. They had met Kao when Julie was pregnant with their son, Kai, more than 15 years ago, and the SoMa renovation was their third project with the designer. Kao added two stories to the building but brought daylight in with a slender atrium, well-placed windows, and pockets of outdoor space throughout. A monu-
Creative Potential A San Francisco couple turn an industrial space into a refined residence, recording studio, and gallery. DWELL
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renovation
mental metal staircase anchors the entire home vertically, giving it an industrial but surprisingly inviting feel. “It’s been an interesting study in how to work in an urban condition,” says Kao. “We wanted what you might experience in a warehouse with scaffolding and crazy volumes, rather than a traditional house with a grand stair.” Unexpected shifts in brightness and scale create a sense of discovery as you move through the home. An intimate ground-floor entry leads to a spacious gallery where the family holds exhibitions of work by local artists and designers. Kevin’s soundproof music studio, which opens to the atrium, also sits on this floor. Black-mirrored walls along the staircase accentuate the transition from the more experimental ground floor to the communal second level. Upstairs, the sense of constriction gives way to a combined living area and kitchen, both awash in
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light thanks to floor-to-ceiling windows. Exposed black joists, original I-beams, and the staircase’s metal screen evoke the building’s industrial roots. Bedrooms are on the third floor, and the fourth level holds a lounge and a huge deck and garden. Kai’s bedroom and the master suite also have access to private terraces that, along with the rooftop garden, create a staggered southern facade. “They cascade and make the property feel larger and more one with the city,” says Julie. The house is a balancing act. Serene garden environments are knitted with the urban landscape, and communityoriented spaces branch off into areas for creativity and solitude. The dynamism of these contrasting attributes echoes the family’s search for change and growth. “I wanted our son to understand that things don’t have to be so static,” says Julie, “that life can be really interesting when it’s on the move.”
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Kitchen Breakfast Room Media Room Master Suite Bedroom Roof Lounge
Designer Michael Kao’s first priority was to bring light to the ground floor (opposite, inset). Part of the solution was a three-story atrium (opposite, top), which features a Cor-Ten steel sculpture by local artist Melissa MacDonald. The floor lamp is by
Frank Lloyd Wright. A breakfast room (above left) also benefits from natural light. On the roof, a flex room provides a place to read, play music, or host guests (above right). The house’s dark exterior helps it blend in with the rest of the street (below).
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TEXT BY
PHOTOS BY | @MONTSE.ZAMORANO
Julie Lasky
Montse Zamorano
Light Box A designer’s country house uses well-placed windows to keep temperatures in check and views unobstructed.
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Maria Milans del Bosch’s Catskills home is attuned to the changing seasons. Sunlight pours into the double-height living room, where a Stûv fireplace and radiant floors keep the space warm in winter.
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THE SHADE STORE® IS A REGISTERED TRADEMARK OF THE SHADE STORE, LLC. SUNBRELLA® IS A REGISTERED TRADEMARK OF GLEN RAVEN, INC.
C U S TO M S H A D E S , B L I N D S & D R A P E R Y T H E S U N B R E L L A® S O L A R C O L L E C T I O N O F H I G H - P E R F O R M A N C E FA B R I C S I S AVA I L A B L E E XC L U S I V E LY AT T H E S H A D E S TO R E . H A N D C R A F T E D I N T H E U S A S I N C E 1 9 4 6 . N AT I O N W I D E M E A S U R E & I N S TA L L S E R V I C E S . 8 5 + S H OW R O O M S
T H E S H A D E S TO R E . C O M / S U N B R E L L A
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Maria Milans Studio Claryville, New York
Entrance Storage Bathroom Bedroom Mechanical Room Kitchen Living/Dining Area Porch Studio
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Late on an October afternoon, near the Catskills village of Claryville, New York, daylight was starting to fade. Rain fell from skies the color of smoky quartz. And still the weekend house that Spanish-born, New York City–based designer Maria Milans del Bosch created for herself and her husband was anything but gloomy. The remaining light flowed through large windows, penetrating the double-height central living space, with its plywood trim and ceiling panels, and warming the poured concrete walls and floor. Bright flames in the fireplace cut through the mellow illumination like the clear notes of a flute. Imagine a rectangular building with a pitched roof. Then imagine slicing the building into two unequal parts and placing them end to end so that the roof now slants in two directions. This shape defines the home, which is set into a slope and cradled by a concrete retaining wall. The shou sugi ban skin lets the
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ILLUSTRATION: LOHNES + WRIGHT
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The second-story studio (opposite) overlooks oak, maple, and birch trees to the east. The Ypperlig table lamps are by Hay for IKEA, and the desk and floors are made of Viroc, a composite material formed from
cement and wood fiber. The home’s charred-cedar rain screen facade blends in with the forested 15-acre site (above). The master bedroom (right) offers a bird’s-eye view of Wildcat Mountain to the west.
house visually melt into the wooded landscape. “On a clear day, you can see the mountains,” Maria says, looking west into the mist. The long, narrow proportions meant that only five trees had to be cut down in the clearing that became the building site. The double-pitched roof sheds runoff from rain and melted snow into a French drain set under the bluestone gravel surrounding the house. Maria says her goal was to “take the least amount of space” for the house “and let everything grow around it”—the maple, oak, birch, and spruce trees and the many, many ferns. The designer oriented the building not only to preserve the beauty of the surrounding landscape, but also to regulate light. The morning sun is filtered by the forested hillside outside the high eastern windows, though in winter, the bare branches allow the sun’s warmth to come in. The lower western windows admit
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golden beams at sunset, with some nearby trees reducing the intensity of the afternoon sun in summer. Maria placed the main entrance and fewer windows on the south side, where the views are less impressive. Once inside, you move along a hallway lined with two tiny guest bedrooms and a bathroom before the living room presents itself. The transition, she notes, echoes
the approach to the house, which follows a road through the woods before reaching the clearing. The master bedroom is on the second level, along with the designer’s studio, which looks out over the treetops. “That’s why I call it the nest,” Maria says. Here you’ll find a neat row of task lamps arrayed on a long fiber-cement desk. They appear to be waiting at the ready for the fading light to finally recede.
“We did a lot of things for us that some clients are hesitant to do, like shou sugi ban. Our idea is that the house and materials will weather over time. They will change, but that’s part of the beauty of it.” MARIA MILANS DEL BOSCH, DESIGNER AND RESIDENT 49
dwellings
The SĂŁo Paulo house that architect Tito Ficarelli designed for his family includes a studio space (opposite) for his wife, Luiza Gottschalk, an artist. Painted on the glass-enclosed
terrace (this page), one of her works adds a pop of color to the stark exterior, as does the garden below. “The garden is a mass of color, like a large outdoor painting,� says Tito.
dwellings
Taking the Edge Off A São Paulo home welcomes guests with an invitingly breezy brutalism.
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TEXT BY
PHOTOS BY | @JOAODMORGA DO
Silas Martí
João Morgado
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dwellings
Jazz was playing upstairs—Ella Fitzgerald’s voice gliding down a twist of white steel steps toward the pastel terrazzo floor below. But the soundtrack could easily have been bossa nova. The house that Tito Ficarelli built for his family on a hill in the calm Alto de Pinheiros neighborhood, a tree-lined haven on the west side of sprawling São Paulo, merges two distinctly Brazilian architectural styles. From the street, behind a low fence, the 4,000-square-foot home has a rough-and-ready facade of dark cinder blocks that riffs on the teeming city’s more ad hoc architecture. But once inside the front gate, in a garden full of purple flowers, you see that the blocks sit on top of a pedestal of sorts, a comparatively polished cast-in-place concrete structure that nods to São Paulo’s tradition of tropical brutalism. The contrast makes for a favela-meetsbourgeoisie moment that corresponds to the spaces inside. Tito, cofounder with his
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sister of the firm Arkitito, calls the building “a house upside down”—the private quarters are on the lower floor, where pristine white walls frame huge windows draped in billowing curtains, and social spaces are in the more casual, cinder-block structure above. “We decided to do something that was commonly seen in the early part of the 20th century—a house-museum,” says Tito. “More specifically, it’s a functional home for our family, but it’s also a space where the public is invited in to see art exhibitions or site-specific performances.” Tito and his wife, Luiza Gottschalk, an actor and a visual artist, as well as their two young daughters, have private space on the ground floor under coffered concrete ceilings. Three bedrooms—one large, one medium, and one small—sit across from a shared bathroom that Tito calls a “locker room,” though with polished marine-grade plywood doors, it’s far better appointed. A “piazza,” where the girls often play, runs through the middle of
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A Danca dos Ratos, a massive diptych by Luiza, hangs in the living/ dining area (this page and opposite, top). CH-24 Wishbone chairs by Hans Wegner for Carl Hansen & Søn surround a table designed by Tito.
A vintage Thonet rocker sits next to armchairs that were brought from Germany by Luiza’s grandmother during World War II. A sculptural steel stair connects the two main levels (opposite, bottom).
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A skylight allows daylight into the ground-floor hallway (opposite), making the private spaces feel open and airy. The terrace (this page) serves as an extension of the living room. Both are wrapped in
plywood, creating a warm contrast with some of the home’s harder materials. The Sunset House gets its name from a nearby square famous for its views, and the hillside home’s upper levels frame the setting sun.
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The family of four shares one large bathroom on the ground floor (above) with marine-grade hardwood doors for privacy. They jokingly refer to it as the “locker room.” Tito repurposed an antique
sideboard for the bathroom cabinets. The marble countertop is from Vedra. Three bedrooms— one for Tito and Luiza, one shared by the girls, and one for guests—face the garden (opposite).
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Sunset House ARCHITECT
LOCATION
Arkitito
São Paulo, Brazil
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Entrance Art Studio Bathroom Laundry
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the domestic spaces. Luiza also has a studio on the ground floor, where she makes large paintings on canvas. The scale of her work led Tito to excavate roughly two feet into the ground on the lower level to maximize the studio’s height. Luiza’s brightly colored paintings hang throughout the house, making it feel not at all like a concrete bunker and more like, as Tito puts it, “a home impregnated with color.” The house may have roots in brutalism, but rather than lending it austerity, the raw concrete gives it a naked nonchalance. Surrounded by gardens, and with sliding doors on all sides, the home feels remarkably open. The family’s three dogs freely roam the property, and a steady parade of people pop in and out of the house. “We wanted it to feel like a club, a place for our guests to come and go,” Tito says. The second floor is all about entertaining and projects an inviting attitude. The cement blocks are softened by simple plywood finishes and frame hammockdraped hangout spaces with a casual boho vibe. From an open kitchen and living room, the roof slopes upward—its height was partly determined by the largest of Luiza’s canvases—toward a glass wall that opens to a light-bathed pool terrace, where visitors often mingle as they take in the view over the city. A small top floor houses a music studio next to a roof garden. The living area is bright and airy all day long, but the show really begins in the evening. The Sunset House takes its name from a neighboring square and its own privileged view of São Paulo’s smoggy, dramatically pink and orange skies as night falls. In the evening, breezes from all directions converge in the living room as a hazy sun goes down behind swaying banana and tangerine trees. Well into the night, guests are frequently treated to some of the house’s dramatic features. Luiza repurposed velvet curtains from an abandoned theater to close off the kitchen, turning it into either back of house or backstage. A vintage 1980s analog lighting console rescued from the same playhouse now hangs on the wall as a control mechanism for the overhead spotlights that illuminate the living room, transforming it from a gallery for Luiza’s work into a venue for plays and dance recitals. The house morphs from playground to museum to music hall or party venue depending on who is visiting. With a twist of São Paulo styles, it welcomes everyone to the club.
“ The large roof purposely brings the sunset inside — without any control. The wood reflects the warmth of the reddish light, coloring the entire home. Every day, it’s a new painting, a different nuance.” TITO FICARELLI, ARCHITECT AND RESIDENT
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It Takes a Neighborhood A California beach community rallies around a well-considered addition to its laid-back streets.
TEXT BY
PHOTOS BY | @JOEFLETCHERPHOTO
KELLY DAWSON
JOE FLETCHER
Making maximum use of a tight footprint, architect Robert Sweet designed a two-story home in Hermosa Beach that provides plenty of flexible indoor/outdoor space for residents Anton and Mardi Watts
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and their children. The house is clad in Western red cedar (opposite). A concrete block wall (above) separates the entry from the living area, where an Arne Norell Kontiki easy chair joins an Eames lounge chair.
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Mardi and Anton Watts’s house sits snugly between its neighbors on a sundrenched, pedestrian-only street in Hermosa Beach, California. From the front deck, cooled by breezes from the Pacific, they can watch an easygoing procession of passersby clad in shorts and flip-flops. The couple had moved into a 1950s bungalow on the property, a few blocks from the beach, when they bought it nine years ago. But after about five years of living there, they craved more space and contemporary amenities and turned to Ras-a Studio for help. Lead principal Robert Sweet soon determined that a renovation wouldn’t be enough. Instead, the firm designed a new two-story home with a roof deck, an airy stack of wood-slatted boxes that complements both the area’s lowslung midcentury bungalows and its taller, more recent developments. The challenge became making the most of the tight lot while meeting the city’s car-conscious zoning requirements. “How do we get enough public space on the ground floor when Hermosa Beach dictates you need a two-car garage,”
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Sweet recalls thinking as he grappled with the city’s limitations. “We were kind of scratching our heads.” Mardi’s father suggested a one-car garage equipped with a mechanical car lift. But when the couple shared the idea with Sweet, he was convinced that the planning department wouldn’t go for it. “I called the city in front of them so that they could hear it directly. Then the assistant planner we spoke with actually said yes, we could do a mechanical lift. I was shocked,” he remembers, laughing. “So we went that route, but I was still apprehensive. I went to the city and double-checked everything about the drawings. Sure enough, we went through the gauntlet of approvals and got a big stamp to move forward.” Construction began in July 2016. After six months of work, the foundation was laid, the first story was framed, and the second level was beginning to take shape. That’s when Sweet got an email from the city insisting they stop work on the house. “It was very nonchalant,” he says. “It said there was an error. Mechanical lifts aren’t allowed, and we needed to build a two-car garage.”
In the kitchen (top), a glass backsplash is one of many connections to the outdoors. The Hee stools are by Hay and the pendant is by Rakumba. A switchback staircase accommodates a grand piano handed down from Anton’s father (above). The dining area (opposite) features a Saarinen Oval dining table, Omar De Biaggio Bacco chairs, and an Acorn pendant by Atle Tveit for Northern.
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tiles for the walls. A hallway steps up to the master bedroom on the second floor (opposite). The Parallel Bed is by Jeffrey Bernett, Nicholas Dodziuk, and Piotr Woronkowicz for Design Within Reach.
“We wanted to build a house where we could enjoy what’s special about where we live. We could have had bigger rooms, but we wanted more outdoor space.” ANTON WATTS, RESIDENT 62
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Walk-Street House ARCHITECT
Ras-a Studio LOCATION
Hermosa Beach, California A B C D E F G H
Porch Entrance Living Area Kitchen Dining Area Patio Den Garage
I J K L M N O P
Bathroom Balcony Library Bedroom Study Master Bathroom Master Bedroom Terrace
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siding as well as for the ceilings and some of the interior walls. But he also added texture, starting with a patterned divider made of concrete blocks that faces visitors as they enter the living area. A few feet away, a double-height, white oak and steel staircase wraps around a grand piano that once belonged to Anton’s father. One of Mardi’s favorite features on the ground floor is the sleek, three-sided fireplace, which can be enjoyed from the dining area, the family room, and the patio. Upstairs a library and office are situated in the hallway between two bedrooms and the master suite. On both levels—as well as via a terrace on the roof—the couple found opportunities to play up the house’s connection to the outdoors. Balconies abut bedrooms on the second floor, providing ocean views. On the ground floor, a 27-foot sliding glass door stretches nearly the full length of the property’s west-facing side. It opens to a landscaped patio and expands the common area by about six feet. “It gives us some privacy when we’re entertaining,” Mardi says. “You can sit back and use it, rather than using only the front deck.” That’s not to say that Mardi and Anton want to be entirely separated from their neighbors. After all, it was their neighbors who helped make this home a reality. But every once in a while, it’s nice to have the place to themselves.
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A roof terrace (above) provides ocean views. The Spectra umbrella is by Umbrosa. The alley entrance is shaded by a cantilevered volume on the second floor (opposite). Turf-block pavers reduce runoff.
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It was a roadblock that could have thrown their plans drastically off course, but the couple decided to take action. The next month they got a hearing before the city council. “We made the point that no one would want to build a home here in the future if the city was going to pull the plug halfway through,” Anton says. Then it was the city’s turn to be shocked. Nearly 50 people came to support the Wattses at the hearing. These were their neighbors who wave at them every day, the locals who participate in their street’s annual chili cook-off. They testified about the couple’s commitment to the community as well as their right to have a home built according to the approved plans. The council voted to allow the mechanical lift to stay. Sweet was able to finish the home as his firm had envisioned it. The 2,100-square-foot house provides enough room for the family of four, and its beach-appropriate aesthetic continues to impress friends who stop by. “People walk in and ask what the square footage is,” Mardi says. “The home has such a cool illusion of more space.” The result is a layout that feels roomy and intuitive, belying the complexity of the design and all the strategy that was required to bring the project to fruition. Throughout the home, Sweet kept the material palette simple and consistent, using Western red cedar for the exterior
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Carolina Correa Maturana and Antonio Mingo chose a site in the mountains of Chile’s Conguillío National Park for their vacation home. They enlisted architect Smiljan Radić , who designed two structures facing each other across a wooden deck. Each pays homage to an earlier building. One re-creates Kazuo Shinohara’s 1974 Prism House. The other (shown here) reprises one of Radić’s own designs.
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REPEAT PERFOR MANCE WITH A HOUSE ON A REMOTE CHILEAN MOUNTAIN, ARCHITECT SMILJAN RADIĆ REBUILDS THE PAST.
TEXT BY
PHOTOS BY | @ESTU DIOPA LM A
VANESSA BELL
CRISTÓBAL PALMA
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Getting to architect Smiljan Radić’s Casa Prisma is no easy feat. A flight from Santiago to the southern Chilean city of Temuco is followed by an hour-and-a-half car ride through small towns of rustic wooden buildings. The road then narrows to a single track that winds through the charred brown lava fields of the Conguillío National Park, known for its fishable lagoons, swimmable lakes, lush old-growth forests, and the active, snow-capped Llaima volcano. A mile-long path zigzags up a steep slope to the final destination— the spot where Carolina Correa Maturana (who is related to Radić by marriage) and her husband, Antonio “Toño” Mingo, picked to build a vacation home. Toño, an architect, and Carolina, a psychologist, live in Santiago, and each has four grown children from a previous marriage. Their aim for the house was to create a convivial and unifying space for weekends and summer holidays. Carolina had vacationed in the area as a child—her sister settled there 20 years ago and now runs La Baita, an eco-lodge at the foot of the hill. They wanted the home to be a
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natural haven, with minimal disruption to the native landscape. After a thorough search, they discovered a clearing of roughly an acre and a half that required felling only three young trees in order to accommodate a house. Radić considers the design an experiment. One of the home’s two structures was an attempt to re-create Kazuo Shinohara’s seminal 1974 Prism House, in Japan, with its frame made of interconnected triangles. Diagonal posts cut through the interior and “order the space by interrupting in a position that seems out of place,” says Radić. Across a wooden deck, a larger A-frame structure draws on a house in Chile’s Chiloé forest that Radić completed in 1997. It echoes the earlier house’s roof—which is literally a tent— with a prefabricated metal panel system. Inside, it contains a kitchen and living/ dining area on the terrace level and two symmetrical communal bedrooms above. “We replicated the informal air and idea of creating a large dormitory,” says Radić. Together, the two structures comprise just under 2,000 square feet. “To interpret is
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The ground floor of the A-frame structure houses an open-plan dining area (opposite, top and bottom). Rustic stairs lead to a pair of dormitory-style bedrooms with west-facing windows (this page).
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The volume containing the master bedroom (opposite) borrows its distinctive geometry, a series of interlocking triangles, from Shinohara’s Prism House, giving it a largely open interior. Its glass
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wall (this page) faces east, offering no respite from the sun at dawn— not a problem for early risers Carolina and Toño—but providing an enviable view of the vast parklands that surround the house.
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Conguillío National Park is popular with skiers and eco-tourists, who come to see its lakes, vegetation, and varied animal life, as well as its expansive lava flows. It encompasses the Llaima volcano,
which last erupted in 2008, and the long dormant Sierra Nevada. The house was designed to minimize its impact on the landscape. The deck was built on-site from local timber and incorporates an existing tree.
“We might not come for a month or two, but the house always greets us well when we return. Winters can be tough, but when the sun rises, the house comes alive.” ANTONIO MINGO, RESIDENT
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Casa Prisma ARCHITECT
LOCATION
Smiljan Radić
Conguillío, Chile
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Living Area Kitchen Dining Area Entrance Deck Master Bedroom Bathroom Bedroom
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ILLUSTRATION: LOHNES + WRIGHT
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On a recent visit, guests arrived at night, using a flashlight as they walked the last mile. The narrow beam bounced off the glass facades and hinted at what was built there, but the house and its extraordinary surroundings became apparent only the next morning. The guests awoke in the dormitory bedrooms to a triangular forest view and a gentle, even light. Once outside on the deck, they saw geometric volumes standing boldly on each end like beached titans, their sharp angles tilting toward the sky. Carolina and Toño seem visibly moved when describing their experience inhabiting the house and how connected they feel to their natural surroundings. From inside the glass volumes, a howling storm can feel terrifying and apocalyptic, they say. When night falls, the local wildlife takes center stage, with owls and other animals making their presence felt, and the encircling forest almost eavesdropping on their conversations. “It feels like being in a boat of sorts, navigating over a sea made of stone,” says Toño. “It’s incredible.”
Lower Level
of no interest to me—these two prefabricated prisms did not constitute an exercise in interpretation,” says Radić. “In truth, this house is an exercise in repetition and replication. It is doing something again, though it may anger the gods.” The construction took place over the summers of 2018 and 2019. Toño worked with local builders and artisans, who built the deck in situ with locally sourced Chilean pine and incorporated an existing oak tree into the platform. Meanwhile, the tubular steel structure and external steel panels were produced in a workshop near Viña del Mar and later brought some 500 miles to the site and assembled. Miraculously, all the reinforced glass panels made it up the mountain in one piece, although four broke while being off-loaded or installed. Carolina laughs, describing the complex logistics of transporting the materials on large trucks up to the property, like Herzog’s Fitzcarraldo moving an old steamboat over a mountain in the Amazon jungle. Toño describes collaborating with Radić— under whom he studied while pursuing his architecture degree—as an honor.
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A custom daybed that runs along one side of the A-frame living area (this page) seems tailor-made for reading. Its red color recurs often in Radić ’s body of work. Solar panels and batteries power the house, although there is no Internet or cellular signal at Casa Prisma. A wood-burning stove (opposite) keeps the living room warm.
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“We are still getting to know the house, becoming acquainted with and learning to inhabit the space. We see this as a life project, and we aim to spend more time here as we grow older.” ANTONIO MINGO
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TEXT BY
PHOTOS BY | @GRANTHARDER
By Brian Libby
Grant Harder
A lakefront retreat in British Columbia strikes the right balance between privacy and welcoming a houseful of guests.
Friends and Family
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Artist Cori Creed sits at the center of the vacation home in rural British Columbia that she and her husband, Craig Cameron, built with their friend and architect, Kevin Vallely. Dubbed WingSpan House,
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the split structure opens up to a large courtyard and stunning views of Skaha Lake. “It’s almost like an embrace,” says Vallely. “It’s like the two wings are capturing the heart of the home.”
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dwellings Cori made the ceramic dinnerware and pendants (below and opposite), while Craig built the kitchen island and installed the plywood ceiling with the help of his
It’s a sunny late-summer evening in eastern British Columbia, and Cori Creed and her husband, Craig Cameron, are getting ready to host a dinner at their house in the Okanagan Valley. Cori, an artist, is in the kitchen preparing a galette topped with fresh vegetables, while Craig, an attorney and West Vancouver city councillor, is in the garage fashioning a makeshift serving table from wood scraps and a neighbor’s discarded slab of granite. All the while, children and friends, including the home’s architect, Kevin Vallely, filter in and out of the house, into its central courtyard, and onto the terraced yard below, where the table will be placed beside a handmade firepit and guests will be treated to a postcard view of Skaha Lake at sunset. Cori, Craig, and their three children (Levi, 14, Kai, 13, and Jett, 9) have their primary home in Vancouver, about four hours away, but they come here on weekends throughout the year. The
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stepfather. In the dining room, Cori’s painting Perch hangs near a Laneberg table from IKEA. Vallely and Craig take in the sun on the raised deck in the backyard (bottom).
couple had been friends with Vallely for more than 15 years (they share a love of all things outdoors) before turning to him as clients in 2017, so the architect and his family often join them. In summer, Cori is here nearly fulltime working on her paintings and sculpture, which have been exhibited in Canada, the U.S., and Japan. “There’s so much inspiration,” she says. “I’m always looking out at the light and watching the shadows move over the landscape.” She also put her skills to work on the house, creating, among other things, all of the ceramic mugs, plates, and pendants. The home’s simple V-shaped layout creates two distinct realms, one public and one private, each occupying a wing of the house and meeting at the entry vestibule. The residential side has a long inner-facing stone wall—which acts in part as a sound barrier—and lower ceilings, while the higher-ceilinged public areas look out through large sliding
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“When I walk through the house, I remember putting the plywood on the ceilings, which was not fun at all. But there’s a satisfaction in having been part of that process.” CRAIG CAMERON, RESIDENT
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Cori’s 12-foot-long Paradise dominates the living room, where a Söderhamn sectional sofa from IKEA joins a Molded Plastic Rocker by Charles and Ray Eames for
Herman Miller and a Jøtul stove. The burlap pillows were crafted by Cori out of coffee bean sacks. “She has ideas about making stuff that I would never think of,” says Craig.
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glass doors to the courtyard, the lake, and the mountains beyond. “The juxtaposition of the two wings is what makes the house work so well,” says Craig. “When we’re hosting friends or extended family for the weekend, the design is really conducive to hanging out together. But even when we have company, there are times I just want to go sit and read a book. I can do that. It feels like I have my own space.” To save money—and with help from Cori’s father, an expert woodworker, and Craig’s stepfather, a former contractor— the couple fabricated much of the furniture and built-ins themselves and were creatively thrifty with materials where possible. They used ceiling beams from a demolished Vancouver department-store building, for example, to construct an extended kitchen island and bar-stool-lined counter. Cori and her father made a ceiling-high shelving unit that stands between the kitchen and living room and displays dozens of Cori’s ceramic pieces. The couple also made
The home can sleep more people than its six bedrooms would indicate. Late in the planning phase, the couple decided to follow Vallely’s suggestion and convert the pitched-roof house’s attic into habitable space. They can now accommodate more than 20 overnight guests. Particularly since Craig has become a council member, the house has been a meeting place for a succession of colleagues and friends, sort of like a modest Okanagan Valley version of Camp David. As that late-summer sunset gave way to the next morning’s sunrise, half of the group was up early for a game of Frisbee golf while the other half slept in. Soon most would be heading home, and Cori would get back to work on her painting. But there was still time for everyone to gather for one final meal. Cori grew up coming to the Okanagan Valley to visit her grandparents, from whom she inherited a love of entertaining. “My grandmother was a huge role model for me,” she says. “It feels valuable to have all these people around, and the energy that brings.”
the outdoor patio table and benches, the living room coffee table, the bathroom cabinetry, and even some of the bed frames. “Craig gets a lot of pleasure out of building something well, making sure things line up,” Cori says. “My pleasure is in the textures and the artful little discoveries I make. In a project like this, you need both.” Giving simple, inexpensive materials an elevated role became a theme. Cori and Craig chose distressed white oak floors for the interior, for instance, and Craig and his stepfather installed a plywood ceiling in the living room. When reclaimed barn wood or shou sugi ban siding proved cost-prohibitive, they spent hundreds of hours hand-scouring new cedar planks with steel wool soaked in a vinegar-based solution to create instant oxidization. “Everything is a bit rough and ready—and that’s the point,” says Vallely, a Vancouver-based sole practitioner. “The kids can tear it up and do whatever they’re going to do. It’s a place to live life well. If you’re tiptoeing around, it’s too precious.”
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WingSpan House ARCHITECT
LOCATION
Vallely Architecture
Kaleden, British Columbia
A B C D E F G H I J K
Dining Room Pantry Kitchen Living Area Entrance Garage Bathroom Laundry Bedroom Master Bathroom Master Bedroom
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A guest bathroom includes cabinetry built by the couple (opposite). For the time being, Cori does her painting in the dining room (this page). “Eventually we’ll build a studio here,” she says. “But for now, because we eat outside most of the time, the dining room it is.”
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P R O M OT I O N
Bridge House Spans the Gap Between Home and Nature in L.A.
A bold undertaking, architecturally and structurally, the design is effortlessly intertwined with nature. “The idea with the design was to un-design in a way,” says principal Dan Brunn. “To find nature and be one with nature.” In a sense, the dynamic
form is almost secondary to its role as a portal for experiencing the landscape. Facilitating this intimate connection with the environment, strategically placed windows and doors from Western Window Systems balance privacy and views. The first of its kind, the company’s dramatic Double Pivot Door welcomes guests into the home, while in the finished interior, light and shadows create quiet moments of ethereal beauty. Supplied by Real Cedar, the exterior cladding will organically change in color and tone as the
home ages. In addition to carving out a cozy space for conversation, a Cor-Ten fire pit from Paloform was chosen for its ability to respond to the environment, developing a beautiful and maintenance-free patina as time passes. Allowing full immersion in the landscape, Bridge House’s brook-traversing design celebrates a seamless connection with nature—one that will organically grow and deepen over time. Learn more by visiting dwell.com/bridgehouse
PHOTOS: BRANDON SHIGETA
After four years of collaboration, Dan Brunn Architecture and Dwell have completed the Bridge House, a home in Los Angeles’s Hancock Park. Going to great lengths, literally, the home stretches more than 200 feet over a brook that runs through the property.
T H A N K YO U T O O U R S P O N S O R S
western window systems
backstory
Faced with a number of challenges, including the protection of a cluster of centuries-old olive trees, 51-1 Arquitectos devised an unusual plan for a house in Lima, Peru. In a twist on Tudor Revival, one of only a few
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styles permitted in the neighborhood, they raised the living area above a terrace. “The layout was all about how to fit the program within the very particular limitations of this site,” says architect César Becerra.
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TEXT BY
PHOTOS BY | @ESTUDIOPALMA
Sarah Amelar
Cristóbal Palma
backstory
The Tudors A Lima home meets local style mandates by elevating historic forms to a whole new level.
The idea of serving prison time isn’t usually on an architect’s mind. But when César Becerra, a partner at 51-1 Arquitectos, in Lima, Peru, describes the constraints his firm encountered while designing a house in the city’s San Isidro district, one of the first things he says is, “If we’d harmed any of the property’s four olive trees, we could have gone to jail!” No ordinary trees, these centuries-old specimens are part of “Bosque El Olivar,” a grove descended from saplings the conquistadores brought from Spain in the 1500s. The surviving 24 acres, now mostly public park, are protected. But that wasn’t the only restriction on the 4,682-squarefoot site. Since 2010, new houses in the neighborhood have had to adhere to a very short list of imported revival styles, most notably Tudor, which predominates here, with its half-timber facades. “Nowhere else in the entire country has a mandatory architectural style, and Tudor is the most alien one imaginable,” says 51-1 partner Manuel de Rivero, explaining that Lima gets almost no rain, making steeply pitched roofs unnecessary and trees—or wood construction—rare. “But in the early 20th century, across South America,” he continues, “Tudor became the style of important families—of prestige, status, wealth.” And that trend
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backstory
House in the Grove The timeline of a neighborhood c. 500 AD An indigenous people construct irrigation canals for agriculture, creating an oasis in the desert. 1532–1535 The conquistadores arrive from Spain and found the city of Lima. c. 1560 The conquistadores bring more than 100 olive saplings. Only three survive the journey, but they multiply by the thousands into an olive grove in the city’s historically agricultural section, later becoming the Bosque El Olivar (Olive Grove Forest). 1920s–1940s The nearly 400-year-old grove is preserved in Lima’s urban expansion in the 1920s. During the next two decades, European Revival styles, including Tudor, proliferate among the elite across South America—including in this neighborhood. 1959 El Olivar is declared a protected National Monument.
shaped this neighborhood, which began as an elegant, upper-class residential district in the 1920s. Initially deterred by the dictate, the architects soon warmed to the challenge of reinterpreting Tudor in a modern spirit and reclaiming the style as an expression of structure. The site, surrounded by the historic parkland, also intrigued them. Long before the conquistadores arrived, a pre-Incan people had developed the area for agriculture, fed by irrigation channels they created. Even today, its leafy forest is anomalous in Lima’s stark, desert climate. Those same qualities had inspired the client, Luciano Bedoya, an insurance
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executive (and avid pianist) to scoop up the property when it became available. He and his future wife, Liya Moya, imagined raising children here. But the existing house—an unremarkable Tudor cottage that they never occupied—couldn’t become the four-bedroom home they envisioned. Severely restricting the house’s allowable footprint were the olive trees—each requiring a 360-degree fivefoot clearance—plus an obligatory 10-foot lot-line setback. The architects soon realized, however, that below or semi-below grade, they could legally build out to the boundaries. The resulting 3,548-square-foot “upside-
2010 New regulations make the choice of five revival styles—half-timbered Tudor and Basque, French, English, and neo-Colonial—mandatory for any new houses here. 2010–2011 Luciano Bedoya purchases a Tudor cottage within El Olivar and engages César Becerra, Manuel de Rivero, and Fernando Puente Arnao of 51-1 Arquitectos to create a home for his future family. 2016 51-1 completes Tudor House.
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Homeowners Luciano Bedoya and Liya Moya worked with interior designer Augusta Pastor on the furnishings. A custom-finished Jean Prouvé EM dining table from Vitra is surrounded by Adelaide chairs by
BoConcept (opposite, left). A Vistosi Futura pendant hangs overhead. In the living room (above), a Ghost sofa by Paola Navone for Gervasoni joins a lounge chair and ottoman by Hay. Except for the
board-formed concrete stairwell (opposite, right), the interior is clad entirely in pine plywood. “It was a leap of faith to go with the plywood,” says Luciano, “but now we look at it and just think, ‘Wow.’”
down” scheme partially submerges the bedrooms underground while elevating the main living-dining-kitchen spaces in a hovering, neo-Tudor, second-story volume. Sandwiched in between is an outdoor terrace, just above ground level, with a swimming pool and muscular concrete piers that support the top story. The design may appear acrobatic, but, says Becerra, “nothing about it was capricious.” Given the luxury of a forest here, he adds, “the house needed to reveal different ways of experiencing the trees.” So the main living spaces overlook the tree canopy, while the bedrooms offer worm’seye views into the foliage.
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The partially cantilevered upper level, seemingly afloat over the olive grove, appears half-timbered—but with a difference. Clean-edged steel replaces traditional wood beams, providing seismic resiliency—a necessity in this earthquake-prone region—that was not achievable with similarly sized wood timbers. (The infill panels are high-density polystyrene foam.) Inside, the second story is lined with exposed pine plywood, giving its walls and vaulted ceiling—the four-gabled roof’s complex underside— warm tones and a playful feel. Precisiondetailed like fine cabinetry, this utilitarian material takes on a refined character.
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backstory
N
Tudor House 51-1 Arquitectos Lima, Peru
ARCHITECT LOCATION
The soaring living/dining area is broad and column free, with views through four exposures. Luciano’s grand piano occupies a place of honor, as does the generous dining table. “Liya’s mother is Russian,” he says, “so there’s a tradition of long meals with lots of family.” The dining area flows into the kitchen, which features custom plywood cabinets and a patterned Spanish tile floor. Next door is a workspace, where Liya, a professional photographer, can edit photographs at home near their children, now five and three. By placing the bedrooms semi-below grade, the architects addressed compet-
ing needs for privacy, daylight, and views. The garden terraces down to the master suite’s sliding-glass doors, which usher in abundant light, but even the smaller windows in the other bedrooms do an adequate job of illuminating the spaces. With Lima’s year-round cloud cover evenly diffusing sunshine, the lower level is rarely in shadow. As for neighborhood reactions to this unorthodox “Tudor,” Luciano recalls a telling moment: “Soon after we moved in, someone slipped a letter under our door. It said: ‘If you ever want to sell your house, please let me know.’”
A B C D E F G H
Living/Dining Area Kitchen Studio Bathroom Terrace Powder Room Entrance Garage
I J K L M N O
Master Bedroom Master Bathroom Living Room Bedroom Laundry Room Mechanical Room Cistern
B C
A
D Upper Level
E G
F
H Main Level I
J K
M
L L L Lower Level
O D
N
L
O
D
“We didn’t think we’d use the terrace that often, but it’s become our barbecue spot and a great social space.” LUCIANO BEDOYA, RESIDENT 90
ILLUSTRATION: LOHNES + WRIGHT
From a distance, the house appears to be a traditional Tudor (top), although up close the clean lines of the steel are apparent (left). The garden slopes down to the master bedroom (below), allowing plenty of daylight to enter.
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sourcing The products, furniture, architects, designers, and builders featured in this issue.
Yulie Wollman yuliewollman.com General contracting by Erez Kaliffa Structural engineering by Sayag sayag-eng.co.il Landscape design by Nurit Bracha buttercup.co.il Interior design by Yizhaq Ronen Cabinetry design by Karnit karnit-hr.co.il 3D Models by Yuval Wasserstein yrw3d.com 18-19 Bar stools by Pick Up united-seats.com 38 The Sum of Its Parts Pastel & Staal pastelenstaal.nl General contracting by Wildeboer Bouw wildeboer-bouw.nl 38-39 Cuun bench by House Doctor housedoctor.dk; yellow side table from Zuiver zuiver.com; rug from Rozenkelim kilim-online.com; kitchen cabinet pulls by Brût Amsterdam brutamsterdam.nl; custom wall light by Alya Geest 40-41 Ballista table from IKEA ikea.com; green and burgundy dining chairs from Vtwonen vtwonen.nl; pink dining chair from Zuiver zuiver.com; Ilaria pendant lamps by Made made .com; Amp Lamp by Normann Copenhagen from Vtwonen vtwonen.nl; Tallow candlestick by Ontwerpduo ontwerpduo .nl; bathroom tile by Vtwonen vtwonen.nl; towel by MissoniHome missoni.com; showerhead from Tegel & Sanitair Depot tegeldepot.nl; handmade floor tiles from Design Tegels designtegels.nl; cabinet from IKEA ikea.com; leather handles by Lerenhand Greepjes lerenhandgreepjes .nl; Little Explorer’s play rug from Lakaluk lakaluk.com; Bamboo lounge chair from Tinekhome tinekhome.com 42 Creative Potential MAK Studio Architects makstudio.net SEMCO Engineering semcoengineering.net Sound engineering by Charles
Salter cmsalter.com HC Cabinet hckitchencabinet .com Custom staircase by Wyatt Studio wyattellison.com 42-43 George Nelson sling sofa, vintage; Hex concrete side tables from CB2 cb2 .com; treads by PaperStone paperstoneproducts.net; black leather Moroso chairs, vintage 44-45 Metal wall sculpture by Melissa MacDonald mmmetalwork; wooden table by Keith Newton for Bimma Loft bimmaloft.com; black table by Kouichi Uchida; Taliesin 2 floor lamp by Frank Lloyd Wright, vintage; 1937 Philco radio, vintage Eero Saarinen Tulip dining table, vintage; Chewbacca and Kai Ride painting by Rene Garcia Jr. renegarciajr.com; Ringstol Teak and Woven Cord chair by Illum Wikkelsø, vintage; coffee table by Kouichi Uchida 46 Light Box Maria Milans Studio, LLC mariamilans.com Jocelyn Froimovich Hes jocelynfroimovich.com LIA Engineering, LLC liaeng.com Interior design by Sustainability C., I+I Studio iplusistudio.com Advanced Radiant Design, Inc. radiant-design.com 46 Fireplace by Stûv stuvamerica.com; Can sofa from Hay hay.dk; U/1 wall sconce by Schoolhouse schoolhouse.com; No. 213 L Double wall lamps by DCW Éditions dcw-editions.fr; Straight dining table by Ethnicraft ethnicraft.com; Real Good chair in copper by Blu Dot bludot.com; 48-49 Ypperlig table lamps from IKEA ikea.com
58 It Takes a Neighborhood ras-a-studio ras-a.studio General contracting by ras-a-BUILD llc ras-a.studio McCullum Engineering mccullumengineering.com Civil engineering by Riahi Engineering & Surveying Jones Landscapes joneslandscapesla.com 58-59 PS VAGO outdoor chairs by IKEA ikea.com; On the Move side table by Cane-Line cane-line.com; Kontiki Easy chair by Arne Norell, Norell Furniture norellfurniture.com; Eames lounge chair and ottoman, vintage 60-61 Hee barstools by Hay hay.dk; Highline Pendant light by Rakumba Lighting Australia rakumba.com.au; Acorn pendant by Atle Tveit for Northern northern.no; Eero Saarinen Oval dining table, vintage; Bacco chairs by Omar De Biaggio for Design Within Reach dwr.com 62-63 Tiles from Ann Sacks annsacks.com; Parallel bed by Jeffrey Bernett, Nicholas Dodziuk and Piotr Woronkowicz for Design Within Reach dwr.com 64-65 Spectra umbrella from Umbrella Umbrosa umbrosa.be
Cameron coricreed.com 78-79 Perch painting by Cori Creed coricreed.com; Laneberg table from IKEA ikea.com 80-81 Söderhamn sectional from IKEA ikea.com; Paradise painting by Cori Creed coricreed.com; Plastic Rocker by Charles and Ray Eames for Herman Miller, vintage; F370 stove by Jotul jotul.com 86 The Tudors 51-1 Arquitectos 51-1.com Structural engineering by GCAQ gcaq.com.pe Civil engineering by Jose Luis Ypanaque Landscape design by Luis Camacho luiscamachogg@gmail.com Lighting design by Claudia Paz
Lighting claudiapaz.com Decoration by Augusta Pastor moblerlab.com 88-89 custom Jean Prouvé dining table manufactured through Augusta Pastor, me@ augusta.pe; Adelaide chairs from BoConcept boconcept .com; Futura pendant by Vistosi vistosi.com; Ghost sofa by Paola Navone for Gervasoni gervasoni1882.it; Beni Ourain rug from Mascarpone Originale mascarponeoriginale.com; About A Lounge 92 chair by Hay hay.dk; coffee table by Primas primas.com.pe
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Taking the Edge Off
66 Repeat Performance Smiljan Radic General contracting by Antonio Mingo
50 Taking the Edge Off
76 Friends and Family
Arkitito arkitito.com General contracting by Osvaldo Santos Amaral Structural engineering by Marcelo Mello 2mprojetos .com Landscape design by Olivia Uliano livthenature.com
Vallely Architecture vallely.ca General contracting by Ellcar Construction ellcarventures .com Lighting design by Cori Creed coricreed.com Lighting and cabinetry design by Cori Creed and Craig
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52-53 A Danca dos Ratos by Luiza Gottschalk projectoasp .com; Wishbone Chairs by Hans J. Wegner for Carl Hansen & Søn, vintage; rocking chair by Thronet, vintage 56 Bathroom countertop by Verda vedramarmores.com.br
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18 A Perfect Pairing
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one last thing
Architect Peter Gluck believes there’s beauty and a lesson for today in a centuries-old craft. PHOTO BY | @JAMIECHUNGSTUDIO
Jamie Chung
It was 1965. My wife and I were on our honeymoon, and we’d just arrived in Venice. That’s where I first saw this fórcola. Gondoliers have used these sinuous oarlocks for more than seven centuries to steer and propel their boats. This particular one was made in 1965 by a man named Giuseppe Carli, considered one of the modern maestros of the form. A fórcola is a purely functional thing, and those functions, when carried out perfectly, are beautiful, which for me calls to mind a modernist sense of beauty. You can feel how Carli’s
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Venetian fórcole, or oarlocks, are fashioned to suit a specific gondolier’s height and style of rowing. Peter Gluck’s firm, GLUCK+, bases its work on a similar sensibility, albeit at a larger scale. As a design/build firm, GLUCK+ works directly with clients to develop, design, and construct private and public projects.
hand shaped this object. That connection to making is what’s lost in many architectural practices today. Too many architects are siloed, separated from the physical act of creation by an over-reliance on technology, one of the worst being virtual reality renderings. They’re making something that exists somewhere in between an idea and a physical building, but it’s not real. Looking at this object‚ you can sense that it wasn’t designed by somebody sitting in an office and then given to someone else to shape. When you lose that connection to making, you lose a lot.
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