MAY 2024
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CONTENTS MAY 2024
VOLUME 95 NUMBER 4
ON THE COVER Son Blanc Farmhouse Menorca, a dormant, late 1800’s Spanish home and barn turned 14-room hotel by Atelier du Pont, includes a pine-beamed yoga studio with a site-specific mural by local artists Adriana Meunié and Jaume Roig, its natural materials echoing those used throughout the 9,500-square-foot property. Photography: Greg Cox/Bureaux; production: Sven Alberding/Bureaux.
features 116 AGED TO PERFECTION by Elizabeth Fazzare
For a Georgian estate in rural eastern Ireland, Róisín Lafferty underscores its two-century patina with rustic stones and metals and classic contemporary furnishings. 126 NATURAL WONDER by Robyn Alexander/Bureaux
Atelier du Pont employs abundant local stone to transform a late 19th–century Spanish farmhouse on Menorca into the serene and sustainable Son Blanc inn. 136 WATER MUSIC by Peter Webster
dSPACE Studio strikes all the right notes with an artfully composed lakeside house high on a dune in Saugatuck, Michigan.
144 COME RIGHT IN by Annie Block and Georgina McWhirter
Plush seating, expansive kitchens, surprising yet pleasing palettes— a global foursome of residential interiors are as welcoming as they are distinctive. 154 ON THE BEACH by Edie Cohen
David Montalba Architects and Matt Blacke create a carefully curated, yet effortlessly relaxed, coastal retreat in Malibu, California. 162 MIX MASTER by Rebecca Dalzell
For his Amsterdam home, Framework Studio founder Thomas Geerlings restores a 1700’s former warehouse and fills it with contemporary art, furnishings, and finishes.
NATHALIE KRAG/LIVING INSIDE
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walk-through
05.24 CONTENTS MAY 2024
VOLUME 95 NUMBER 4
43 THE WILD WEST by Georgina McWhirter 49 WELCOME TO THE NEIGHBORHOOD by Jen Renzi
Residential developments from New York to Prague, market-rate to luxury, are devised to foster tenant community—and respect their surrounding ones.
special homes section ON THE COVER
Outside of Valencia, Spain, work/life partners Ana Hernández and Christophe Penasse of Masquespacio summon a visual feast of Memphis forms and prismatic hues for their home and studio: a 1925 brick farmhouse, bedecked in their Mas Creations pieces, resulting in such vignettes as the bedroom’s Triangle chair and Ring table. Photography: Luis Beltran.
openhouse 67 ON A HIGH NOTE by Lauren Gallow 73 REFUGE SOUGHT, REFUGE FOUND by Stephen Treffinger 85 THE LITTLE THINGS by Wilson Barlow and Lisa Di Venuta
From a teeny-tiny villa tucked in the forest of a Danish island to a snug Victorian town house in downtown Toronto, design is all in the details.
at home 79 MASQUESPACIO CONJURES A COLORFUL DREAM WORLD by Rebecca Thienes
departments 23 HEADLINERS 29 DESIGNWIRE by Annie Block and Lisa Di Venuta 34 BOOKS by Wilson Barlow 36 PINUPS by Rebecca Thienes 60 SHOPTALK 97 MARKET edited by Rebecca Thienes text by Wilson Barlow, Rebecca Dalzell, Lisa Di Venuta, Georgina McWhirter, and Rebecca Thienes 111 CENTERFOLD Here Comes the Sun
by Athena Waligore
For a product pavilion in central China, Luo Studio was inspired by the drying process of an herb fundamental to the country’s traditional medicine practices. 172 CONTACTS 175 INTERVENTION by Wilson Barlow 97
Photos by Flavien Carlod and Baptiste Le Quiniou, for advertising purposes only. Llotja de Sant Jordi (Alcoi), Architect Santiago Calatrava. (1)Conditions apply, contact store for details. (2)Quick Ship Program available on select products in stock, subject to availability. Images are for reference only and models, sizes, colors and finishes may vary. Please contact your local store for more information.
YEARS OF FRENCH ART DE VIVRE IN THE USA
Setup. Eco-designed, fully recyclable modular sofa, designed by Sacha Lakic. Chess. Occasional tables, designed by Marcel Wanders. Chroma. Floor lamp, designed by Arturo Erbsman.
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Daymoraª Designed by Claudio Bellini, Daymora is a modern and comfortable lounge collection that includes freestanding and modular seating and occasional tables. With an enveloping European design inspired by clouds, Daymora’s organic shape, pronounced cushions, and plush feel create a stylish silhouette dedicated to comfort.
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e d i t o r ’s welcome
it’s resi time! Strolling through Tivoli Gardens, riding on Venice’s Grand Canal, skating at Rockefeller Center, taking in the attractions at a good ole amusement park…whatever is your notion of going out for fun, mine (believe it or not) is staying in and putting together this magazine—not incidentally, but particularly, this residential issue. No, I’m definitely not an all work and no play gal! Simply consider for a sec the essence of projects endeavored for our homes. Inevitably, you’ll find at their core authentic needs met by just-as-authentic originality, unique locations surrounded and matched by global experience, diverse clients empowering just-as-diverse designers and their personal vernaculars. Yes, folks, as modestly a ham like me can possibly put it, our all-important resi issue is a veritable trip to wonderland. Now, that’s what I call F-U-N! And, as I was saying, this volume specifically because the incredible talent has gone exponential. In the past three years, COVID had us go all in with residential. With no offices, schools, or hotels to design, everyone and their little doggy, too, went into this patch of the trade. Projects were good, and designers were as impeccable in their execution as they always are, don’t get me wrong. But the demand was not the absolute, deliberate act that’s the right fuel for great achievement customary before the pandemic hit. Now, things have gone back to how they ought to be. The sterling architects and designers on display in our May issue are witness and testament to that. In Amsterdam, an architect restores a 1700’s warehouse into a very today family abode chockablock with enviable art, objets, and furniture (I’m crazy for the wooden wall piece by Gruppo NP2). A beachside Malibu retreat is as natural on the outside-in as it is on the inside-out (think charred wood, stone, and concrete along with superchic vintage furnishings). And a global roundup from Canada to Poland showcases spaces so eclectic and full of distinct color, geometries, and materials it’ll make you swoon (and want to move in). So, my friends, now that I’ve had my fun with you, it’s your time…just turn the page and enjoy! xoxo
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headliners
Róisín Lafferty “Aged to Perfection,” page 116 founder, creative director: Róisín Lafferty. firm site: Dublin. firm size: 18 architects and designers. current projects: The Montenotte Hotel in Cork, Ireland; a residence in Quinta do Lago, Portugal. honors: Createurs Award; SBID International Design Award. work: Lafferty founded her studio in 2010. coworking: She’s wrapping up the Malin in Nashville, Tennessee, her first large-scale commercial project in the U.S. roisinlaffertydesign.com
“Good design is more than the individual elements, there is a harmony, balance, and magic that needs to be achieved in each environment, a mood connecting all senses”
RUTH MARIA
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Montalba Architects “On the Beach,” page 154 founding principal: David Montalba, FAIA. firm sites: Los Angeles; Lausanne, Switzerland. firm size: 65 architects and designers. current projects: A residence and the 9720 Wilshire office tower renovation in Los Angeles; Moët Hennessy headquarters in New York. honors: AIA Institute Honor Award. beginner: Montalba was born in Florence, Italy. connoisseur: He is an avid art collector. montalbaarchitects.com
Framework Studio “Mix Master,” page 162 founder, creative director: Thomas Geerlings. firm site: Amsterdam. firm size: 15 architects and designers. current projects: Hotels and restaurants in the Netherlands
and the U.K. student: Geerlings had planned to focus on finance, technology, and real estate when he entered TU Delft in 2002, until he took an art of design class. professional: He founded Framework in 2010. framework.eu
Atelier du Pont
petit: Comar and Croisier founded Atelier du Pont in Paris in 1997 with just three people. grand: They now have additional studios in Lyon and Nice, plus Plan02, their eco-design consultancy. atelierdupont.fr
h e a d l i n e rs
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TOP LEFT: MARIA MISSAGLIA; BOTTOM: KASIA GATKOWSKA
“Natural Wonder,” page 126 founding partner: Anne-Cécile Comar. founding partner: Philippe Croisier. firm hq: Paris. firm size: 40 architects and designers. current projects: A Grande Halle de la Villette office building in Paris, Académie Fratellini in Saint Denis, and Cannes La Bocca public market, all in France. honors: Le French Design 100; Paris Shop & Design Award; Le Prix Régional de la Construction Bois.
Matt Blacke “On the Beach,” page 154 principal: Cliff Fong. firm site: Los Angeles. firm size: 12 architects and designers. current projects: Residences in Southern California, Chicago, Dallas, and New York. studio & store: Fong founded Matt Blacke and Galerie Half in 2009. fish & flower: He is a keen armchair ichthyologist and orchidologist. mattblackeinc.com
dSPACE Studio “Water Music,” page 136 principal: Kevin Toukoumidis, AIA. firm sites: Chicago; Los Angeles. firm size: 10 architects and designers. current projects: Residences in Chicago, Beaver Creek, Colorado, and Sonoma, California. honors: AIA Awards. TOP: BEN EASTER
by plane: Toukoumidis recently toured several Luis Barragán projects in Mexico City. by car: He spends weekends driving his Alfa Romeo Spider on country roads. dspacestudio.com MAY.24
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FRIENDS NOÉ DUCHAUFOUR-LAWRANCE + LUCA NICHETTO
edited by Annie Block
HAYDEN PHIPPS/COURTESY OF SOUTHERN GUILD
Clockwise from top: The nearly 6-foot-tall Warren appears in “no bats, no chocolate,” Porky Hefer’s exhibition at Galerie56 in New York through July 19, as do the walrus Paul (pictured with the designer), My first beetle, Robert Nesta, and Victor, all handmade of locally sourced materials in collaboration with fellow South African studios Ronel Jordaan, Wellington Moyo, and Leather Walls.
design wire
animal attraction
Eileen Gray, Zizipho Poswa, Gaetano Pesce. All have been subjects of exhibitions at Galerie56, a newcomer to the Manhattan arts scene founded by Interior Design Hall of Fame member Lee F. Mindel to celebrate the city’s cultural intersection of art and architecture (it’s aptly located at the base of Herzog & De Meuron’s 56 Leonard “Jenga” tower, next to a gleaming Anish Kapoor sculpture). The last of those initial three names, the recently deceased Pesce, has been an inspiration to Porky Hefer, whose solo show “no bats, no chocolate” is on view now at Galerie56. It continues Hefer’s focus on animal behaviors, organic forms, and ecosystems—we first wrote about him in 2017 when, after observing weaver birds, he had hand-fabricated humansize nests of fibers indigenous to South Africa, where he lives—via nine new, playful sculptures of animals who have what he calls “weird talents” that benefit the planet (the title derives from that fact that bats are responsible for pollinating many plants including cacao). Although the exhibit’s aim is a greater reverence for nature, “Porky,” Mindel says, “appeals to the children in all of us.”
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d e s i g n w ire
Kofan is a chain of all-day cafés in central Ukraine’s Kremenchuk offering wartime respite along with everything from pancakes and bubble tea to cocktails and tuna tataki. The latest outpost, and the third by Makhno Studio, focuses on third-wave coffee, which inspired the design team to devise a monochromatic palette throughout its 460 square feet that’s akin to being nestled inside a cappuccino cup. “It’s a tranquil haven,” founder and architect Serhii Makhno says. Walls and ceiling are coated in pigmented plaster, crimped to evoke swirling layers of espresso foam, and flooring is latte-toned oak planks. Wood changes to a paler café au lait ash for the custom tables and chairs, but pendant fixtures by Makhno, who’s also a ceramicist, are more of a dark-roast black. There are contributions from other fellow Ukrainians, too: The feature wall by Kelsis references vyshyvanka, an embroidery pattern thought to ward off evil, through plastered MDF, while, outside, a pair of soldierlike sculptures in weathered steel by Yevhen Prymachenko act, Makhno adds, like “symbolic watchtowers.” —Lisa Di Venuta
Clockwise from top: In Kremenchuk, Ukraine, at a Kofan café specializing in coffee, the palette conceived by Makhno Studio extends to the feature wall of plaster-coated MDF, its pattern referencing the country’s traditional embroidery. Ceramic Garlic pendant fixtures from the Kyiv studio’s furnishings arm, Makhno Product, above custom ash tables. Yevhen Prymachenko’s weathered-steel Horizon sculp ture at the entry. His 6-foot-tall Modern David standing in front.
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COURTESY OF MAKHNO STUDIO
good to the last drop
RESIDENTIAL ST YLE . C O M M E R C I A L C A PA B I L I T I E S. roomandboard.com/business 800.952.9155
d e s i g n w ire
Apparently, it’s textile season in the museum world. The medium is the subject of spring and summer exhibitions countrywide, from New York (MoMA PS 1) and Massachusetts (MIT List Visual Arts Center) to Texas (Blanton Museum of Art). Washington is in on the action, too, with Smithsonian American Art Museum mounting two such shows: “Pattern and Paradox: The Quilts of Amish Women” and “Subversive, Skilled, Sublime: Fiber Art by Women.” Stephanie Stebich, the Margaret and Terry Stent director of SAAM and Renwick Gallery, explains that, “They’re an opportunity to tell a broader story of fiber art as a powerful medium that women have continuously embraced, adapted, and reinvented, and for us to elevate both the contributions of female artists and less examined creative practices.” Pattern and Paradox does so via 50 works made between 1880 and 1950 that underscore how quilting for the Amish was an aesthetic endeavor merging cultural and individual expression. Subversive features 33 more-recent pieces, by the likes of Sheila Hicks and Faith Ringgold, who mastered, then disrupted everyday fibers into dramatic modern art. Clockwise from bottom: L’Merchie Frazier’s 1996 From a Birmingham Jail: MLK; The Principal Wife Goes On, 1969, by Sheila Hicks; Claire Zeisler’s Coil Series III–A Celebration, 1978; and Mariska Karasz’s Breeze, ca. 1958, will be on view May 31 to January 5, 2025, in “Subversive, Skilled, Sublime: Fiber Art by Women,” at Smithsonian American Art Museum’s Renwick Gallery in Washington. A detail of Fans, ca. 1915, by an unidentified maker, probably from Indiana, is part of “Pattern and Paradox: The Quilts of Amish Women,” at SAAM’s main building through August 26. 32
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COURTESY OF SMITHSONIAN AMERICAN ART MUSEUM
thread is in the air
Dana Pollack, Founder & CEO, Dana’s Bakery
Kitchen designed by Cara Woodhouse Interiors
in her home kitchen featuring Lilac marble
A N U N PA R A L L E L E D S E L EC T I O N O F N AT U R A L S TO N E S L A B S D I S COV E R A R T I S T I C T I L E’ S S L A B G A L L E R I E S N A S H V I L L E | N Y M E T R O | DA L L A S C O M I N G S O O N | A R T I S T I C T I L E .CO M/S L A B
b o o k s edited by Wilson Barlow
Ten Modern Houses By Peter Marino and Sam Lubell New York and London: Phaidon, $150 272 pages, 200 color illustrations Sometime in the late 1990’s, a few years after his induction into the Interior Design Hall of Fame, Peter Marino began commuting from his home on Long Island to his Manhattan architecture studio by motorcycle. Walking into the office in his black-leather riding gear made such an impression that changing into his standard uniform of khakis and a button-down shirt felt anticlimactic. So, with a little encouragement from his costume designer wife Jane, he began integrating the leather-bound look into his professional persona (though what he wears to work now is often better suited for the runway than the highway). Fittingly, Marino is perhaps best-known for the retail spaces his conceived for such high-fashion brands as Chanel, Dior, Louis Vuitton, and Tiffany & Co. But this new volume showcases the architect’s portfolio of private residences. Its title promises a sampling of 10, but really there are nine completed works. The last can be found in the final chapter, which presents five still-conceptual homes. All are in some way “glass containers” that frame views of their natural surroundings, from the dune grasses of Southampton to a craggy hillside in Lebanon. Their interiors reveal another of Marino’s specialties: art curation—a skill honed early in his career, when he
ran in the same circles as Andy Warhol and helped design an iteration of the Factory. Among the artists represented in the book are Alexander Calder and Damien Hirst, jux taposed with furniture from Wendell Castle, Juan and Paloma Garrido, and Marino himself. Though as always, the architect takes care to keep his clients’ identities unknown, bespoke photography by Paul Warchol and Manolo Yllera grants an intimate peek inside. 34
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f ur n i t u re
lig h t in g
outdo o r
134 Ma d is o n Av e Ne w Yo r k d d cny c . c o m
a c c e sso r ie s
syste m s
kitchens
p i n ups by Rebecca Thienes
the rainbow connection Kaleidoscopic furnishings rendered in translucent materials have an inner glow
LEONARDO DUGGENTO
Simone Zecubi’s multidisciplinary Studiopluz designed the limited-edition, hand-painted Minosse chair—produced by fellow London-based outfit Wonder Glass—in cast float-glass block arranged by hand in homage to the engineering skills of ancient craftspeople. wonderglass.com
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Inspired Design. Unrivaled Craftsmanship. Newport Brass is widely recognized for its expertise in creating bathroom and kitchen faucets and fixtures known for their exceptional quality. The brand’s collections encompass a broad spectrum of designs, innovations, and finishes, catering to contemporary, transitional, and traditional styles.
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multihued
Courtesy of Italian furniture company Bottega Ghianda, Gaetano Pesce’s Luigi (o mi amate voi) 7-foot-tall modular bookcase from the early ’80’s is back in production, with a black-stained beech frame supporting LED-backlit shelves in the icon’s signature polyurethane resin.
DANIELE CORTESE PHOTOGRAPHY
bottegaghianda.com
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Ph: T. Pagani
italian design story
Marenco sofa design Mario Marenco
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walk through resi development
the wild west firm: fxcollaborative architects site: new york
ADAM KANE MACCHIA
At 3Eleven, a 58-story, 930-unit residential rental building, the 42nd-floor sky lounge features an island clad in painted MDF half-rounds backed by cabinetry of smoked walnut veneer and a mosaic reinterpretation of With Autumn Closing In, an oil on paper by New York painter Kristin Texeira.
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ADAM KANE MACCHIA
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What better position is there to be in as a Manhattan renter than lazing about in a pool, watching boats cruise the Hudson River? For those empty nesters and young professionals who have nabbed an apartment at 3Eleven, a new 930-unit building named after its address in the “foothills” of Hudson Yards near Chelsea, it’s a summertime reality. The 58-story structure by FXCollaborative Architects is industrial in affect, honoring the nearby High Line, with enormous pittedconcrete structural columns and LED ropes lassoed around the lobby. The latter is a reference to a little-known part of West Side history: From the 1850’s to 1941, urban cowboys on horseback would ride in front of freight trains traveling down 10th Avenue—at the time known as Death Avenue—waving red flags by day and lanterns at night to warn pedestrians of oncoming locomotives. Historic photographs of this moment in time, which captured that peculiar interweaving of the industrial and pioneering ages, now grace 3Eleven’s common areas. Speaking of common areas, some 60,000 of the property’s 950,000 square feet are devoted to indoor and outdoor amenity spaces, “the provision of which is a huge differentiator for developers that became even more important over the pandemic years,” FXCollaborative senior partner Guy Geier notes. It was crucial that such spaces be multiuse, able to be activated during the day (for WFH tenants) and night (for mixology and cooking classes, pet-adoption events—the building offers doggie daycare). “We had an attitude of using materials honestly in a straightforward way, without a lot of embellishment,” Geier continues. Take the chef’s kitchen in the party room, where the patinated-copper countertop and backsplash are a reference to the same aged metal forming the Statue of Liberty. Elsewhere are touches, many by local artists, that wouldn’t look out of place in the neighborhood’s many galleries. Gradient-hued steel frames in the mailroom channel Donald Judd work, sculptures in the lobby and coworking library provide small riots of color, and a black-and-white stairwell mural yields graphic punch. “The architecture,” Geier says, Clockwise from opposite top: Lassolike LEDs ring the upper windows of the lobby, where round pitted-concrete columns wrapped in acoustic felt flank Gordon Guillaumier’s Swale armchair. In the mailroom, wallpaper referencing vinyl records surrounds custom mailboxes of powder-coated steel. Outfitted with Rodolfo Dordoni Bitta daybeds, the terrazzo-paved pool deck, on the sixth floor, overlooks the Hudson River. Brooklyn artist Dan Covert’s mural animates the lobby stairwell. The backsplash and countertop in the party room’s chef’s kitchen are patinated copper, a nod to the Statue of Liberty. A painted-aluminum sculpture by Vicki Sher, another Brooklyn artist, stands beside the lobby’s Serpentine sofa.
w a l k through resi development
ADAM KANE MACCHIA
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“is a clean-lined container for the furniture and art to shine within, enabling the shapes, colors, textures, and craftsmanship of both to elevate each other.” Yeehaw! —Georgina McWhirter FROM FRONT SICIS: WALL TILE (LOUNGE). CAESARSTONE: COUNTERTOP. SHINNOKI: PANELING. ARDEX AMERICAS: FLOORING. VITRA: CHAIRS. RESTORATION HARDWARE: TABLE. LCDA: PANELING (LOBBY). DFB: COLUMN FELT. SHIMMERSCREEN: COLUMN BEADS. LUKE LAMP CO.: LED ROPES. JAMIE STERN DESIGN: SOFA. CARNEGIE FABRICS: SOFA FABRIC. ARTERIORS: COFFEE TABLES. LA CIVIDINA: ARMCHAIR. THE HUDSON COMPANY: WOOD FLOORING. HOVIA: WALLPAPER (MAILROOM). CONCRETE COLLABORATIVE: PAVERS (POOL TERRACE). KETTAL: DAYBEDS, ARMCHAIRS. RODA: LOUNGE CHAIRS. BENCHMARK CONTRACT FURNITURE: SECTIONALS. BLU DOT: SIDE TABLES (POOL TERRACE), STOOLS (KITCHEN). BENDHEIM: BALUSTRADE GLASS (STAIR). DE CASTELLI: COPPER PANELING (KITCHEN). MATERIALS INC.: ISLAND FACE. SCHOTTEN & HANSEN: FLOORING. ALIAS: TABLES (LIBRARY). CARL HANSEN & SØN: CHAIRS. DIMPLEX: FIREPLACE. STONE SOURCE: FIREPLACE STONE. THE RUG COMPANY: RUG. CARNEGIE FABRICS: WALLCOVERING (LIBRARY, HALL). TIVOLI: LED STRIPS (HALL). CALICO: WALLPAPER (SPEAKEASY). CONCERTEX: SECTIONAL FABRIC. WILLA ARLO INTERIORS: COCKTAIL TABLE. CAPRI COLLECTIONS: FLOORING (GYM). THROUGHOUT ARMSTRONG: CEILING TILES. NASCO STONE & TILE: FLOOR TILE. NYDREE FLOORING: WOOD FLOORING. SWA/BALSLEY: LANDSCAPE ARCHITECT. S+S LIGHTING DESIGN: LIGHTING DESIGN. UPRISE ART: ART CONSULTANT. WSP USA: STRUCTURAL ENGINEER. COSENTINI ASSOCIATES: MEP. LANGAN: CIVIL ENGINEER. DELFORM STUDIOS: METALWORK. DOUGLASTON DEVELOPMENT: DEVELOPER. LEVINE BUILDERS: GENERAL CONTRACTOR.
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ADAM KANE MACCHIA
Clockwise from top: Chiaozza’s Meander Sculpture No. 2 enlivens the coworking library, where Hans Wegner Wishbone chairs back up to a blackened-steel fireplace. In the pool-locker corridor, bendable LED strips abstracting the Hudson’s rippling water join aerial images by New York photographer Brooke Holm. Crushed polyester velvet upholsters the custom banquette in the sky lounge’s hidden speakeasy. An acrylic on glass by painter Linda Colleta beckons residents to the fitness center.
WEAVING Collection by estudi{H}ac JMFerrero
kriskadecor.com
collection BOUTIQUE pattern SUNBURST
wa l k through resi development
welcome to the neighborhood Residential developments from New York to Prague, market-rate to luxury, are devised to foster tenant community—and respect their surrounding ones
COURTESY OF NEW CITY PROPERTIES
See page 50 for the warm, friendly vibe in the lobby and throughout Overline Residences in Atlanta by Morris Adjmi Architects. MAY.24
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Morris Adjmi Architects project Overline Residences, Atlanta.
COURTESY OF NEW CITY PROPERTIES
units 359. standout An angular footprint and distinctive stepped profile lend this redbrick rental building dynamism while creating interstices for communal and private terraces and verdant paths that steer residents to the nearby BeltLine greenway and surrounding Old Fourth Ward district. The latter’s industrial vernacular informed the materials palette—masonry floors, patinated-steel paneling, rough-hewn timber—of the interior amenity spaces. ma.com
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COURTESY OF NEW CITY PROPERTIES
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CookFox Architects project 378 West End Avenue, New York. units 58. standout A 1915 edifice with terra-cotta cresting was renovated, restored, and then expanded via a modern brick addition and a below-grade excavation that allowed for a squash court, saltwater lap pool, recording studio, and more. The luxury condominium’s ground-floor public spaces are likewise a hybrid of classic and contemporary, from the garden terrace with sculptural stone benches to the lounge with vintage-inflected furniture and painterly carpet. ALEX FERREC
cookfox.com
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HANDCAST BRONZE HARDWARE | 12 FINISH OPTIONS ROCKYMOUNTAINHARDWARE.COM 888.788.2013
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Brooks + Scarpa project Brunson Terrace, Santa Monica, California.
COURTESY OF BROOKS + SCARPA
units 48. standout Connecting with and protecting nature, the affordablehousing complex orients apartments around a semipublic outdoor “room” with drought-resistant vegetation and colorful play structures. EV-charging stations, a living roof, an under-sidewalk infiltration system for stormwater runoff, and recycled, locally manufactured interior finishes such as formaldehyde-free MDF and FSC-certified oak make it net-zero to boot. brooksscarpa.com
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T HE L A M P T H AT C H A NG ED E V ERY T H ING.
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units 48. standout A single low-rise looks like two, courtesy of staggered rooflines and different tones of ceramictile cladding, a device that suits both local building regulations and the scale of the surrounding secessionist gems and old factories. Its oversize windows are veiled for privacy by way of balcony railings, airy loggias, and, on the left-hand facade’s lower levels, aluminum slats mimicking the site’s previous streetfront. editarchitects.com
BOYSPLAYNICE
resi development w a l k
project Iconik, Prague.
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Fesselet Krampulz Architectes project T46, Vevey, Switzerland. units 35 residences, 8 offices. standout Perforated, corrugated aluminum sheeting tempers the glazed facade of and forms cantilevered balconies on this mixed-use building, which stacks five apartment floors atop two commercial ones—including the firm’s own studio—and emphasizes well-detailed construction, use of ready-made materials, and efficient floor plans. Interior finishes juxtapose exposed concrete and custom terrazzo pavers with timber and exuberant tilework. fesseletkrampulz.ch —Jen Renzi
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ROLAND HALBE
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What challenges are you facing in the multifamily sector?
s h o p talk
“There’s been a recent shift in the multifamily market, which is putting downward pressure on the design-build industry. Rents are skyrocketing, and budgets are tightening, which make it more challenging for designers to deliver spaces in which residents can thrive. Intentionality and innovation are critical. We’re keenly focused on collaborating at a different frequency in order to create beautiful spaces through a philosophy that encompasses neuro-aesthetics, technol ogy, sustainability, and cognitive science. By designing to what really matters, we hope to continue driving the industry toward a future that’s focused on improving the human experience. It doesn’t cost more to focus on what matters most.” —Angela Harris, Trio and By Angela Harris
“We’ve recently noted that the typical amenities across residential spaces are largely unused and need to be rethought.” —Todd DeGarmo, Studios Architecture
“While our digital lives are constantly fed the latest and greatest, most of us crave the comfortable and familiar, but with the nuance of the now. Even though we dream of an idealized world, we live in a real one. The challenge today is to create spaces that are personal within environments that encourage community and discovery—design for the senses in an ever-smaller world.” —David Oldroyd, ODADA
“Multifamily buildings are increasingly using amenities as their differentiator and selling point. With such a big focus on creating appealing spaces to draw in purchasers, we’re challenged to rethink the types of activities and facilities that buyers want as extensions of their home, from hair salons to coworking lounges and music-practice rooms. We’re fortunate to often have the guidance of teams such as the Corcoran Sunshine Marketing Group, who really understand the client demographic.” —Francis Nicdao, Pembrooke & Ives
“The first challenge is the obvious ‘amenity race’ for bigger and more unique offerings. The second is the logistics of converting vacant commercial buildings into multifamily residential units. Once you put aside the financial and political issues, you’re left with the design challenges of the bulkier floor plates. In my view, coupling these two challenges will provide an opportunity to establish a new way of thinking about apartment dwelling. I speculate there will be a new wave of desirable amenities that may even be privatized. Just as the prior generation of building’s ‘business centers’ turned from sad rooms with broken printers into inspiring coworking libraries, I see the subbasement storage locker becoming a stylized environment that replaces the need for the proverbial garage. This bonus space could make apartment living appeal to a new audience.” —Krista Ninivaggi, Woods Bagot
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open house on a high note firm: sagaría site: milan
HELENIO BARBETTA/LIVING INSIDE
The apartment’s upper-level office overlooks the groundfloor entry below, animated with Taher Asad-Bakhtiari’s silk-and-cashmere Archer rug.
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spans two levels of a historic building. “The neighborhood blends the city’s traditional charm with a cosmopolitan spirit,” Sagaria notes. With the owner couple working in photography and art investment, the interiors needed to match their lifestyle. “The clients desired a space that mirrored their essence: warm, inviting, yet reflective of their dynamic professional lives,” Sagaria continues. He formulated a colorful composition that blends high design and skillful local craftsmanship with focused moments of irreverence. “We were looking to challenge conventional proportions and redefine elegance,” he explains.
On the L-shape lower level, which houses the freeflowing kitchen/dining/living area in one wing and the children’s bedroom in the other, furnishings and fixtures are assembled much like an abstract painting. Embracing the public zone’s spatial openness, Sagaria selected pieces with assertive lines and zingy colors that can hold their own—and be easily rearranged to make new compositions. Arrayed on the living area’s graphicpatterned rug, a shapely Franca Helg Primavera chair and omnidirectional Sergio Bicego Pixel sofa conjure a Memphis feel. Vibrant, reddyed parquet floors and a custom green-painted
o p e n house
HELENIO BARBETTA/LIVING INSIDE
When members of an artinclined family planned their return to Italy after nearly a decade living in New York City, they sought to meld the best attributes of both locales in their just-purchased flat. “The design marries Milanese elegance with New York’s boldness,” reveals Matias Sagaria, whose studio, Sagaría, completed the project. He was a natural fit for the transatlantic endeavor: The Italian-born architect, an alum of Tonychi and Associates and Roman and Williams, lived in the Big Apple full-time for a decade and now maintains offices in both cities. In the Chinatown district, the 2,152-square-foot loft
Clockwise from left: In the living area, a Franca Helg Primavera lounge chair with rattan seat joins Sergio Bicego’s Pixel sofa; the wool-silk rug is Claude Cartier Studio’s Dentelle Hexagone. Glass portholes (at both child and adult height) and painted stripes accent the door leading to the kids’ bedroom. Jean Prouvé’s Standard chairs pull up to a vintage table in the kitchen/dining area, illuminated by Paolo Rizzatto’s 265 swing-arm sconce. A painting by Alessandro del Pero accents the second-floor main bedroom. Panels of cane webbing are set into the entry’s built-in custom cabinetry; the marblebased side table is Shane Schneck’s Bowler.
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Clockwise from left: Leif Jørgensen designed the main bedroom’s steel Connect bed, serviced by custom night stands and accented with Pappelina’s wool Vera blanket. The adjacent office is furnished with a custom desk and shelving and Ronan & Erwan Bouroullec’s Officina chair. The main suite’s wardrobe area sports a space-saving foldable fabric door and a customized IKEA dresser. A trio of Michele de Lucchi’s Dioscuris light the main bathroom.
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scalloped cornice provide an artful frame for the space. The signature crimson continues up the staircase to the second level containing the main bedroom suite and a mezzaninelike work studio. “We believe in creating spaces that are not only functional but also deeply emotional and profoundly personal,” says Sagaria, who designed several pieces of furniture and custom millwork—including the office’s desk and shelving— to complete the immersive
environment and help tell the story of the cosmopolitan family and their vibrant past. That approach is characteristic of the firm’s idiosyncratic methodology, where form is less functiondriven and more often wielded to tell a rich tale. “Our role,” Sagaria concludes, “is to weave narratives that are as grounded in technical precision as they are in poetic imagination.” Mission accomplished. —Lauren Gallow
AREA). SABA: SOFA. MOROSO: TABLE. FOSCARINI: TABLE LAMP. ARTEMIDE: FLOOR LAMP (LIVING AREA), TABLE LAMPS (BEDROOM, STUDIO), SCONCES (WARDROBE, BATHROOM). VERY SIMPLE KITCHEN: CUSTOM ISLAND (KITCHEN). VITRA: CHAIRS. FLOS: SWINGARM SCONCE. PAPPELINA: BLANKET (BEDROOM). MAGIS: CHAIR (OFFICE). DOOOR: DOOR (WARDROBE). IKEA: DRESSER. CERAMICA GLOBO: SINK (BATHROOM). NEWFORM: SINK FITTINGS. THROUGHOUT KERAKOLL: FLOORING, WALL PAINT. ZANGRA: FLUSH SPOTLIGHTS. LAURA NAI: ARCHITECT OF RECORD. EDILE FORESTIERE: GENERAL CONTRACTOR.
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HELENIO BARBETTA/LIVING INSIDE
FROM FRONT CC-TAPIS: RUGS (ENTRY, LIVING AREA). HAY: TABLE (ENTRY), BED (BEDROOM). BONACINA 1889: LOUNGE (LIVING
2725 SAL ZEDO STREET CORAL GABLES, FL 33134 3 0 4 0 N 2 9 T H AV E S U I T E B , H O L LY W O O D, F L 3 3 0 2 0 A L S O AVA I L A B L E AT
firm: sanchez+coleman studio site: ridgefield, connecticut
refuge sought, refuge found
KEN HAYDEN
A Georg Karl Pfahler painting hangs above the re-styled fireplace in the dining room, where Verner Panton’s Series 430 chairs join a Warren Platner armchair.
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KEN HAYDEN
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Leaving Manhattan was the right choice for a couple and their two children during COVID. The family members rented a house in suburban Connecticut, thinking it’d be temporary, but liked the area and decided to look for something permanent. In the town of Ridgefield, they found an exceptional Englishstyle manor built in 1911 by the lauded Yale-trained architect and urban planner Grosvenor Atterbury. The 8,500-square-foot, three-bedroom house also featured 3½ acres of gardens by Warren Manning, who landscaped the Biltmore Estate in Asheville, North Carolina. Times being what they were, the house-hunters got the place for a relative song. The client couple had worked with Miami-based Sanchez+Coleman Studio before, so returned to copartners Chris Coleman and Angel Sanchez to upgrade the Connecticut residence and make it more family-friendly. Many of the changes were cosmetic: paint, furniture, art placement. The kitchen, however, a room Coleman calls “ground zero of the house,” was treated to a more comprehensive overhaul. Sanchez+Coleman took down the upper cabinets and installed white subway–tiled backsplash and quartz countertops. “Removing them modernized and opened up the room,” Coleman notes, explaining that an existing full-height cabinet, which stands near the breakfast nook, offers ample storage to make up for the jettisoned overheads. The firm also stripped down the original island, a sad mahogany monolith with turned pilasters, to a more rectangular shape and painted it a vibrant French blue. Several fireplaces also got a major do-over, the originals being large stone affairs—“very Flintstones,” Coleman jokes—receiving blackenedsteel cladding or inserts or, for the one in the kitchen, an all-new tile hearth. As for décor, the palette switches from blue-accented to anchored in black, white, and greens, woven through with grays. The owners already had a large collection of modern and Latin American art; some pieces were brought in from storage, others from their homes in Manhattan and Long Island. “The polka-dot painting was a starting point for the scheme,” Coleman recalls.
KEN HAYDEN
Clockwise from opposite top: Luur’s steel U Bench coffee table anchors one end of the den, where a Thomas Downing painting joins a velvet-covered Rodolfo Dordoni Goodman sectional. An Ilya Bolotowsky painting coordinates with Kateryna Sokolova’s Gropius CS1 chairs, which pull up to a table with custom top under the glow of a Sean Lavin Wit suspension fixture in the kitchen’s dining nook. Canvases by Tamara Melcher and Rakuko Naito pop against the kitchen’s subway-tiled walls. Dordoni’s Andersen Quilt sofa joins Yabu Pushelberg’s Rua Ipanema chairs in the living room, with a canvas by Julije Knifer. Back in the den, near Kelly Wearstler’s Rousseau sconce, Tilly ottomans flank a Jean Prouvé Guéridon table.
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That canvas, by Thomas Downing, hangs on the largest wall in the house, above the den’s sprawling olive-velvet Rodolfo Dordoni sectional. It was also Coleman and Sanchez’s idea to place a Will Insley black-and-white grid artwork somewhat irreverently behind the main bedroom’s headboard, where it leans on the floor and extends almost all the way to the ceiling. Although some rooms—the den, for instance—are darker, moodier, and read as more “adult,” the abundant curves and soft surfaces suit young children, too. Likewise, the custom sage-hued carpet that pads the den and the living room is an indoor/outdoor construction—easy to keep clean. The abundance of metal finishes throughout, of which Coleman is very fond, is less fragile than lacquer or wood, and also timeless, he concludes: “It survives all trends.” —Stephen Treffinger
CHAIRS. FRANCE & SON: ARMCHAIR (DINING ROOM), ROUND SIDE TABLE (LIVING ROOM). THROUGH 1ST DIBS: PENDANT FIXTURE (DINING ROOM), FLOOR LAMPS (DEN, OFFICE), TABLE LAMP (BEDROOM). NOBILIS: WINDOW-SEAT FABRIC, PILLOW FABRIC (DEN). VITRA: ROUND TABLE. LUUR: COFFEE TABLE. KELLY WEARSTLER THROUGH LUMENS: SCONCE. WEST ELM: OTTOMANS, PLANTER (DEN), NIGHTSTAND (BEDROOM). MINOTTI: SECTIONAL (DEN), SOFA, WOOD-BASE COCKTAIL TABLE (LIVING ROOM). HOLLY HUNT: BACK PILLOW FABRIC (DEN). NOOM: CHAIRS (KITCHEN). LUMENS: PENDANT FIXTURE. JARRETT FURNITURE: TABLE BASE. CHELLA TEXTILES: BANQUETTE FABRIC. SHADES OF LIGHT: PENDANT FIXTURES. BALLARD DESIGNS: STOOLS. ARTE: WALLCOVERING (LIVING ROOM). CASA QUIETA: MARBLE COCKTAIL TABLE. KRAVET: CUSTOM RUG. DESIGNERS GUILD: PILLOW FABRIC. KATHY KUO HOME: CONSOLE, WOOD SIDE TABLE. ZINC THROUGH ROMO: HEADBOARD FABRIC (BEDROOM). PAYNES GRAY: DESK (OFFICE). TOM DIXON: CHAIR. MILTON & KING: WALLCOVERING. VAUGHAN: CEILING FIXTURE. AREA THROUGH HOLLY HUNT: CEILING WALLCOVERING (STAIR). FLOS: PENDANT FIXTURE.
Clockwise from top: Bold moments in the main bedroom include a Will Insley painting, a pair of Andrew Lubas canvases, Mario Botta’s Shogun table lamp, and vintage Gio Ponti bookshelves. A Tom Dixon Cassia 09 wingback services a backened-metal desk in the home office, where two Hiroshi Sugimoto photo graphs hang beside a Shogun floor lamp. Doug Glovaski’s Neighborhood wall covering caps the stairwell, further energized by a Konstantin Grcic Noctambule glass pendant fixture and a painting by Will Boone.
KEN HAYDEN
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FROM FRONT BONTEMPI CASA THROUGH 360 ROOM: TABLE (DINING ROOM). MILIA SHOP:
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Photo Andrea Ferrari | Styling Studiopepe | Ad García Cumini
Portraits of me. Kitchen: Tangram Design: García Cumini
Milano • Paris • Vancouver
cesar.it
dedon.us
Spirit of Place
at home
Nestled in the countryside of Valencia, Spain—yet a mere 3 miles from the city center—is the home, studio, and workshop of Masquespacio. Expats and work/life partners Ana Hernández (from Colombia) and Christophe Penasse (from Belgium) cofounded the award-winning firm in 2010 with a focus on graphic design, but have since pivoted to residential and commercial interiors, with projects spanning Norway, Saudi Arabia, and the U.S. Four years ago, the duo—she serves as creative director, he as CEO—launched an experimental product-focused division dubbed Mas Creations, for which their home base functions as a testing ground. They applied their signature love of color and geometry to the property, which is actually two structures: a traditional 1925 brick farmhouse connected to a rear barn by an interior courtyard. The ground floor encompasses the office and a workshop for prototyping and producing inventive furnishings, shapely ceramics (see the 3D-printed clay Cono series), and other items showcasing the studio’s melding of modern technology with handicraft. The second-floor living quarters is furnished almost entirely with a rotating mix of Mas Creations designs: from ceramic-base tables to circular seating. Giving a futuristic nod to Memphis, geometric shapes repeat throughout; note the lofted area overlooking the courtyard, where a series of freestanding curves enclose the bed, the TV zone, and a mediation nook. “The interplay of square, triangular, and circular forms recall our graphic-design past,” Hernández explains. Adds Penasse, “Our intention here was to maintain the essence of the house’s historical character, but, upstairs, our hand is more visible: a touch of brutalism reinvented by way of color contrast, artisanal materials, and texture.” Attributes we’ll no doubt be seeing more of in their next collection. —Rebecca Thienes
Masquespacio conjures a colorful dream world LUIS BELTRAN
Masquespacio cofounders Ana Hernández and Christophe Penasse with Block Chair Down, in stainless steel and marble, at the studio’s Valencia, Spain, home/office/workshop. MAY.24
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2 1 3
at home 1. Cilinder lamp in glazed ceramic is one of the latest designs from Masquespacio’s product offshoot, Mas Creations, and a recent addition to the couple’s living space. 2. The Cloud Big lounge and footrest are dressed in pleather. 3. The residence, combining a 1925 farmhouse and a barn that once sheltered animals, boasts a roof terrace. 4. A colorful curved pod serves as a headboard and screens the sleeping area from the interior courtyard below. “We didn’t touch the house’s structure, limiting our interventions to materials and decorative selections,” Hernández says. 5. The monochromatic bathroom features custom-colored tiles by Maora Ceramic, with whom Masquespacio launched a recent collaboration. 6. The living area’s Pouf table, Ball chair, Yellow couch, Cono table, and ceramic planters are among the new pieces Mas Creations debuted at Maison&Objet Paris in January. 7. An all-upholstered Triangle chair sits near the kitchen. 8. A circle of paulownia wood tops the Ring stool’s base of glazed ceramic and terra-cotta.
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9. The pair’s Triangle chair, this time in wood, joins the Ring table in the bedroom area.
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INTERIORS: LUIS BELTRAN; PRODUCT: MASQUESPACIO
“It’s a mix between all the styles we’ve worked with during our evolution as designers, from art deco to Memphis to a bit of futurism”
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10. Semi-sheer custom curtains from Vescom veil the lofted upstairs living space and create a colorful accent in the interior courtyard, with a chair and an ottoman from Masquespacio’s Monoprix collaboration. 11. The greenery-planted courtyard, featuring a chairlike sculpture from the pair’s Forms & Textures series in painted PLA, “is a transition space we use for photo shoots, afterwork sports, and family dinners,” Penasse notes. 12. The Cono XL table’s silhouette derives from 3D-printed clay with a handmade finish.
INTERIORS: LUIS BELTRAN; PRODUCT: MASQUESPACIO
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o p e n house
the little things From a teeny-tiny villa tucked in the Danish forest to a snug Victorian town house in downtown Toronto, high design is all in the details
JAVIER BRAVO
See page 90 for a Navajeda, Spain, residence by Gurea Arquitectura | Cooperativa using bioclimatic strategies. MAY.24
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ADR site Horní Malá Úpa, Czech Republic. size 1,335 square feet.
BOYSPLAYNICE
recap A spiral staircase anchored by a wood stove marks the intersection of the cross-shaped ski cottage’s two identical volumes and ascends to attic-level sleeping quarters. Spruce defines the structure inside and out, constituting floors, ceilings, and custom furniture as well as the entire facade, painted a traditional alpine red that stands out against snowdrifts. adr.cz
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Frier Architecture site Djursland, Denmark. size 950 square feet.
ANDREAS MIKKEL/GLOTTI AGENCY/LIVING INSIDE
recap Conservation laws dictated that this micro-villa with a shou sugi ban–treated exterior be built on a tiny footprint to disturb as little of the surrounding forest as possible. But what it lacks in size it makes up for in flair: Note the curved oak enclosures and the terrazzo flooring, embedded with overscale pieces of natural stone, that was developed specifically for the project. frierarchitecture.dk
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Beautiful Alone. Brilliant Together. The new Elvari™ collection is the most comprehensive line of washroom accessories from grab bars to dispensers to LED mirrors and shelves with a unified modern look that will elevate any commercial washroom design. Discover the beauty of unity, only from Bradley. Available in Satin Stainless and 5 popular colors.
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Gurea | Arquitectura Cooperativa site Navajeda, Spain. size 1,670 square feet.
JAVIER BRAVO
recap With a raw palette of laminated-fir framing and eco-friendly cork sheathing that echoes the Cantabrian surrounds, the prefab dwelling was assembled on-site in less than a month. Inside is a minimalist scheme, with concrete flooring, birch-plywood walls, and blue-painted cabinetry, while a central green house and subfloor radiant heating help warm the compact volume naturally, resulting in a near-zero footprint. gurea.coop
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DISCOVER SOHO, SLIDING PANELS. DESIGN GIUSEPPE BAVUSO
New York Flagship Store 102 Madison Ave New York, NY 10016 newyork@rimadesio.us +1 917 388 2650
Reign Architects site Toronto. size 2,200 square feet. recap A cramped 1850’s Victorian was transformed into a sunlit contemporary sanctuary for a growing family via an A-frame extension and a reworked rear facade, clad in locally sourced spruce shiplap and punctured with floor-to-ceiling sliders; new fenestra tion also frames views of a beloved maple tree. Cathedral ceilings with exposed Douglas fir beams define the parents’ wing, where the en suite bathroom is porcelain-tiled and doors beneath a 3-footdiameter porthole window lead to a private terrace. reignarchitects.ca —Wilson Barlow and Lisa Di Venuta
RILEY SNELLING
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The marriage between fashion and interiors continues. Rug guru Christopher Farr and Greg Chait, founder of cashmere-centric clothing and lifestyle label The Elder Statesman, are friends and now collaborators. Their new range of meditation mats features motifs derived from 1960’s pen-and-ink drawings by Chait’s late grandmother Thelma, whose abstracted figures have featured on numerous TES pieces throughout the years—most recently sweaters from the 2024 Holiday collection. The four rug designs, including Prayers, come in three colorways each. The 3-by-4 ½-foot wool floor coverings are fabricated by weavers in Mirzapur, India, employing a centuries-old
christopher farr Persian hand-knotting technique that results in 144 knots per square inch. Through the Elder Statesman. elder-statesman.com
market edited by Rebecca Thienes text by Wilson Barlow, Rebecca Dalzell, Lisa Di Venuta, and Georgina McWhirter
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crate & barrel Comprising 120 products, from dinnerware to seating to a crib, the Origins collection remixes and adds to earlier greatest hits the retailer hatched with interior designer and TV personality Leanne Ford. Shot on location at Schindler House in Los Angeles, there are funky ’70’s silhouettes, layered neutrals, sophisticated beachy-boho notes, and classics revisited. Take her Gig sofa: “I updated the timeless Chesterfield style by giving the leather a relaxed, sun-bleached look,” Ford explains. Her Mellow quilted slipcovers, inspired by jackets seen on fashion runways, add plush comfort and protection. Arched Annie media consoles and bookcases come in natural oak or white- washed timber, and the designer’s Fields cane chair now swivels. And wibblywobbly pottery, like the Paso striped vase, nod to the ceramics Ford handmakes in her Pittsburgh studio. crateandbarrel.com
ORIGINS COLLECTION
“It’s effortlessly cool and a bit funky”
LEANNE FORD
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layered Multi-hyphenate Swede Tekla Evelina Severin, also known as Teklan, sometimes describes herself as a colorist. It’s a term that unites her practices of interior architecture, exhibition design, art direction, and imagery. That affinity for rich chromatic combinations is on full display in her Prism Palette collection of handmade wool rugs, a collaboration with fellow Swedish interiors entity Layered. There’s Crystal, an octagonal form inspired by Italian art with shades of Memphis; Box, a threedimensional illusion; and Frame, a simple rectangle with a stripey checkerboard motif. All are available in four color schemes, with soft tones whose variance creates “shadows” to complete the 3D effect. Spanning 13 feet at their largest dimension, these rugs have the ability to define any room. layeredinterior.com
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“The vision for my work is the balance between the playful and the geometric and the perspective where the two- and three-dimensional worlds intersect”
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The year-old design collective, founded by Mexican architect Lorena Vieyra, introduced its second collection at ZonaMaco in February. Vieyra tapped 10 Latin American creatives to design 15 collectible pieces, all handmade to order in Mexico. Each takes inspiration from Mesoamerican culture yet captures a bold modern aesthetic. Raúl de la Cerda’s raw-aluminum wall hanging Estela abstracts Mayan hieroglyphics; Simon Hamui’s Bia’ folding screen nods to a painting by Mexican artist Rufino Tamayo; and rustic cowhide upholsters the futuristic Bosta lounge chair by Michel Rojkind. Aztec mythology sparked textile designer Marisol Centeno’s Claroscuro rug and hanging sculpture, both made of New Zealand wool. The latter, 16 feet long, also incorporates ceramic beads and evokes a swishing enredo skirt.
KATE DRIVER
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Since founding the Los Angeles interiors studio West Haddon Hall in 2011, Kate Driver has cultivated a network of local artisans to create custom furniture for clients. Now she’s tapped them for a furniture line of her own, produced entirely in her adopted hometown (she’s originally from Atlanta). Eclectic and timeless, Collection I comprises 14 pieces that, like Driver’s interiors, blend various styles and eras. It offers the Milwood and Chatsworth oak pedestal tables and the Ivy side table in the same wood plus lime-green resin. Seating includes the sheepskin-clad walnut Sullivan wingback armchair. For storage, there’s the honeyed-oak Rosemont nightstand and the Cloister cabinet, with drawers faced in mappa burl. Pieces are made to order in 12 to 14 weeks. westhaddonhall.com
ROSEMONT
CHATSWORTH
“A nod to tradition in form or line is made fresh in a playful hue or unexpected materiality”
CLOISTER MILWOOD
PORTRAIT: YE RIN MOK
west haddon hall
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info@estiluzusa.com
www.estiluzusa.com
330 West 38th St. Suite 710 New York, NY 10018 USA
T +1 (646) 454 1285
BOLS by Mermelada Estudio
Since 1969
m a r k e t collection
zak+fox In February, this New York textile and wallpaper brand opened a showroom as sumptuous as its artisan-made fabrics. At 6,000 square feet, the Park Avenue South penthouse is double the size of Zak+Fox’s previous space, reflecting the growth of the 12-year-old company. Founder and creative director Zak Profera conceived it as an immersive design experience, with antique furniture and custom oak cases displaying his extensive collections. The latest is Harvest, 22 fabrics (each available in multiple colorways) that honor historical crafts and take cues from nature. Among them are wispy Aurora and handprinted Mi, both linen-cotton blends suitable for curtains and moderatewear upholstery, and floret-inspired Brassica, a heavy cotton upholstery. At the showroom, which is trade only, visitors can also check out the company’s new product line: elegant handmade rugs. zakandfox.com
“The motifs allude to the cyclical rhythm of the seasons and the perpetual dance of time”
ZAK PROFERA
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BRASSICA MI
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Emily Jackson, the British artist who paints under the moniker Wolffia Inc., is known for her bright, bold, and busy style; her paintings are dense compositions of abstract shapes and zany doodles in vibrant hues. Individually, the forms are simple, even childlike. But by arranging them en mass, and instinctively layering acrylics and oils, she creates a variance of textures both gloss and matte, flat and raised, that EMILY adds spontaneity to each composition. When she reached out to Pierre Frey about a collaboration, the French brand took the opportunity to commission a new work that would be translated into both wallpaper and fabric. Named Emily, part of the Carnet de Voyage line, the wallpaper interprets the painting at its original scale with a glossy finish, while the linen fabric is exuberantly hand-embroidered with wool stitching at different thicknesses. They’re works of art in their own right. pierrefrey.com
EMILY JACKSON
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marketcollection
FROM LEFT: WILLIAM KEELER; CONSTANCE E.T. DE TOURNIEL
pierre frey
“Despite their opposing modes of interpretation, the fabric and wallpaper both echo the dynamism of the art”
FROM LEFT: PHILIPPE GARCIA; WILLIAM KEELER
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C H E R I S H A N D B R AV U R A C O L L E C T I O N S Cherish and Bravura embark on a journey where opulence meets innovative craftsmanship. The result is an awe-inspiring fusion of texture, color, and form that elevates leather to a new echelon of luxury. Visit garrettleather.com to request samples.
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here comes the sun For a product pavilion in central China, Luo Studio was inspired by the drying process of an herb fundamental to the country’s traditional medicine practices
“Light becomes the central theme, showcasing the dance of shadows over time”
1. Architect Yujie Luo, founder of Beijing firm Luo Studio, used Procreate software to sketch the concept for Prepared Rehmannia Roots Crafts Exhibition Hall in Henan, a circular pavilion with a roof aperture highlighting the sun-drying process for the herb used in traditional Chinese medicine. 2. An early 1:50 scale model is in MDF and basswood. 3. On-site at the Ice Chrysanthemum Plantation in
1, 2: COURTESY OF LUO STUDIO; 3: CHEN KE; 4, 5: JIN WEIQI
c enter fold Houyanmen Village, a cement-mortar floor was poured. 4. Dozens of spruce-plywood structural columns were erected and beams arranged in an overlapping spiral formation to distribute weight equally around an 8-footdiameter open-air hole. 5. The 18 sides of the resulting polygon are formed of walls of locally sourced brick, the same material used for the homes in the village.
50+ 15,750 120 ARCHITECTS, WOODWORKERS, AND CONTRACTORS LED BY YUJIE LUO
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Inside the 30-foot-high Prepared Rehmannia Roots Crafts Exhibition Hall, the 160 smaller gaps between and above the walls allow for the passage of additional air and natural light, both of which help prepare the rehmannia glutinosa, or shu di huang in Chinese, which is displayed here (but not shown) and used in treating such ailments as diabetes, osteoporosis, and depression. —Athena Waligore
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Art, nature, and beauty living in harmony
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aged to perfection For a Georgian estate in rural eastern Ireland, Róisín Lafferty underscores its two-century patina with rustic stones and metals and classic contemporary furnishings text: elizabeth fazzare photography: barbara corsico/living inside
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Previous spread: At a circa 1800’s country home in Wicklow, Ireland, renovated by Róisín Lafferty, paneling of waxed mild steel meets a portal of Camouflage marble between the kitchen and living room, where a Gerard van den Berg Aztec sectional stands with a Bonhomme floor lamp and a custom plinth in Grand Antique marble. Top, from left: The foyer mixes black limestone floor slabs and a custom aged-brass console with a sinuous ceiling fixture by Morghen. Balustrades for the new switchback staircase are also mild steel. Bottom: A 16-foot-long island in J’Adore quartzite anchors the kitchen, with High stools by Space Copenhagen, a linear brass pendant fixture, and custom cabinetry of blackened stained oak. Opposite: Mild steel sur rounds the gas fireplace in the living room, where a new ceiling medallion caps Armand & Francine’s Diane table on a wool rug. Floor ing is salvaged pitch pine, stained in situ to match the original planks.
Róisín Lafferty’s clients said they wanted an “industrial” interior for their young family’s home in Wicklow, Ireland. But what they really meant was “unpolished and raw,” explains the founder and creative director of her namesake Dublin studio, formerly Kingston Lafferty Design. Meanwhile, inside the circa 1800’s country house featuring turret rooms, sash windows, and metal fireplaces, “We sought to create a visual language that showcased the original beauty,” Lafferty continues. Where designer and homeowner met in the middle for the 7,000-square-foot, two-story project was stone, in a palette inspired by the location, a bucolic county, about 30 miles south of Dublin, known as the Garden of Ireland. Bands of muted green Camouflage marble wrap flush portals link ing rooms. A jade-hued J’Adore quartzite constructs the monumental kitchen island. The custom shower in the main suite’s bathroom achieves a striking water-marbled effect clad in appropriately named Water Lilies marble, and a nearby pair of carved travertine sinks adds a brutalist touch. While sumptuous and eye-catching, like every other material in the house, these stones have been kept as close to nature as possible, honed to just a subtle matte finish. They also serve as an anchor for the project’s approach to reckoning contemporary living within a historic, late Georgian layout. “The client originally requested that the ground floor be fully openplan. Our goal was providing places to cocoon,” Lafferty says. She and her team “used stone to frame views between rooms” without losing the ability for full, doorless circulation and strategically defined spaces through new interior architecture. The latter helps retain the essence of the residence’s earliest plan. Separating the living room and the breakfast room, for example, is a wall of waxed mild steel with brass accents. With integrated cabinetry on one side and a gas fireplace on the other, it adds both necessary storage and coziness. “The living room is probably the most original, with 19th-century coves, beautiful bay windows, and the natural light that comes through them,” says Lafferty, who 118
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chose a curving modular sofa in fawn leather by Gerard van den Berg, a sculpturally geometric cocktail table in white concrete by Armand & Francine, and a mixed-pile cream-wool rug to complement the original envelope yet gently update it with today’s aesthetic. “Part of the reason we built a wall there is to maintain a feeling of how the home’s proportions would have been,” she continues. Thus, Lafferty refers to the home’s furniture as “interventions,” intentional interruptions in the flow of people, light, and air. The main suite upstairs builds the bathroom, dressing area, and bedroom in a single, sweeping space—with the freestanding tub in its own bathing nook, a semicircular turret room, at one end and the WC on the other. Cabinets fronted in mirrored stainless steel create doubleduty room screens so the sleeping area, where the bed features a custom brass headboard topped with a pair of Vico Magistretti lamps in a similar finish, is undisturbed by other activities. The flow ing space is naturally sunlit but comfortably separated by function. In the areas where historic windows do not reach, Lafferty pulls in daylight through design. Above the central staircase is a large sky light that illuminates the art-filled landing connecting the parents’ wing with the four-bedroom children’s and guest wing. The corridor to the latter features a glass floor that gives an unexpected peek at Mario Bellini’s chicly bulbous Camaleonda sofa furnishing the kitchen’s sitting room below, extending the benefits of the generous amount of sun through its large sash windows up to what would have otherwise been a quite dim passageway. Contemporary art works by Scott Lyall and Luca Marziale from the client’s collection are hung on blank walls here, and an addition containing a library and a fifth bedroom is planned for the project’s second phase.
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Below: New steel-framed window walls pour natural light into the kitchen’s sitting area, its Camaleonda sofa by Mario Bellini, Luna pendant by In-Es. ArtDesign, and custom coffee table softening the rectilinear silhouettes throughout the residence. Opposite top, from left: Above the kitchen, a hallway floored in 2-inch-thick tempered glass leads to the four-bedroom wing for the homeowners’ children and guests. A skylight over the staircase brightens the upper-level landing, as viewed through the portal to the main bedroom suite. Opposite bottom, from left: A child’s bathroom, wainscoted with honed Rosalina marble, features a concrete sink and Daisy sconces by Betham Design. Luca Marziale’s Afar II photographic diptych adds subtle color to the hallway.
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“Stones have been kept as close to nature as possible, honed to just a subtle matte finish”
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Opposite: Stainless steel, marble, and maple appoint the main suite’s dressing room, the Silver sconce by Epoca Lampadari. This page: Travertine joins the materials palette via the main bathroom’s sinks, which are accompanied by custom mirrors.
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Top, from left: Water Lilies marble defines the shower and custom bench. The tub is in the turret room, apart from the rest of the bathroom. Bottom: The textures of the surrounding area inspired the 7,000-square-foot home’s interiors and its new facade of painted lime-render cement; the raw stone chimney was repurposed from another part of the house. Opposite: Polished plaster walls envelop the main bedroom, its M0-003L Benitier silk pendant paired with a brass headboard and wool blend boucle–upholstered bench, both custom, and Vico Magistretti Atollo lamps.
One of the house’s most dynamic interventions is its most playful: Flexible fabric tube lighting by Morghen snakes overhead in the foyer and again in the living room. It’s something that looks “almost like an installation as opposed to just an off-the-shelf light,” Lafferty notes, and a crucial foil to its otherwise serious material choices that honor the homeowners’ desired industrial feel. The sentiment is echoed in the mix of contemporary and vintage furnishings, all sculptural in nature, and nothing that takes itself too seriously. For a family with kids and pets, this house is “deliberate and not precious,” Lafferty continues. It’s expected that games of hide-andseek and muddy tracks left after the frequent Irish rain will change the interior finishes over time. Some marks of making are even built in. The custom stair is constructed of mild steel, its welding visible, and polished plaster, chosen for its raw feel, covers most walls. Lafferty embraces what she calls “the patina of life.” The estate’s own aesthetic history, after all, was a big inspiration. “Our concept was quite an emotional response to the house,” Lafferty concludes. “There was such texture, beauty, and richness in its imperfections.”
PROJECT TEAM FIONA STONE; STEFANIA BOTA: RÓISÍN LAFFERTY. PSP ARCHITECTS: ARCHITECT OF RECORD. MILLER BROTHERS: STONEWORK. CHRISTOFF: METALWORK. EMERALD DECOR: PLASTERWORK. PJ GREALIS: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT MONTIS: SOFA (LIVING ROOM). ATELIER ARETI: FLOOR LAMP. EPOCA LAMPADARI: ROUND SCONCES. ARMAND & FRANCINE: COCKTAIL TABLE. MORGHEN: WAVY CEILING FIXTURES (LIVING ROOM, FOYER). EICHHOLTZ: LINEAR SCONCES (KITCHEN, FOYER). ALL STONE: FLOOR TILE (FOYER). JEA: STAIR. THROUGH MATER: STOOLS (KITCHEN). GIFFIN DESIGN: PENDANT FIXTURE. DUSTY DECO: RUG (LIVING ROOM). THE OLD MOULD COMPANY: CEILING MEDALLION. B&B ITALIA: SOFA (SITTING AREA). MOOOI: PENDANT FIXTURE. MADE IN RATIO: CHAIR. RUG VISTA: RUG. DIK GEURTS: WOODSTOVE. HIPICON: SCONCES (BATHROOM). CONCRETE FAIR: SINK. DELUXE BATHROOMS: SINK FITTINGS. ARTEMEST: SCONCES (DRESSING ROOM, MAIN BATHROOM, BEDROOM). GRANLUSSO: TUB (MAIN BATHROOM). NEWFORM: TUB FITTINGS. GONG: PENDANT FIXTURE (BEDROOM). THE RIPPLE FURNITURE COMPANY: CUSTOM BENCH. STROHEIM: BENCH FABRIC. JACARANDA CARPETS: RUG. MINIMA: LAMPS. THROUGHOUT FLEETWOOD PAINTS: PAINT.
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natural wonder
Atelier du Pont employs abundant local stone to transform a late 19th–century Spanish farmhouse on Menorca into the serene and sustainable Son Blanc inn
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In a few special parts of the world, vernacular architecture remains an influence on the unique atmosphere of a place. In turn, that traditional yet everyday building style is invariably a reflection of the topography of the area, its geology, and the location’s natural and seasonal conditions. Menorca is one of these places. It’s there that a late 1800’s house and barn, recently renovated by Atelier du Pont into the Son Blanc Farmhouse Menorca, a boutique hotel, epitomize the Spanish island’s elemental stone architecture. On Menorca, the local style of architecture is, as noted by Son Blanc owners Benedicta Linares Pearce and Benoît Pellegrini, particularly impacted by the island’s indigenous limestone, known as marés. Visible in the ancient structures left behind by the Talayotic culture to everyday farm buildings, the natural material varies in color between ochre and white. So, when the couple acquired the rural 300-acre property—born in Menorca but living in London, Pearce had long wanted to reconnect with her origins, while Pellegrini, having visited the island often since meeting his wife 25 years ago, also felt its pull—they knew that its renovation would require sensitivity in terms of preserving the use of marés, and in bringing it into the 21st century.
Previous spread: Son Blanc Farmhouse Menorca, a boutique hotel that had been a dormant, late 1800’s Spanish home and barn until a recent renovation by Atelier du Pont, includes a pine-beamed yoga studio with a site-specific mural by local artists Adriana Meunié and Jaume Roig, its natural materials echoing those used throughout the 9,500-square-foot property. Left, from top: Restored limestone archways cover a terrace furnished with Radassié seating in oak and straw, wooden tables by Lucas Castex, and a Heaps & Woods Cronos lamp woven of sustainably sourced rattan. Combed plaster wainscotting anchors more limestone in the living room, Space Copenhagen’s Fly chair standing on its wool rug. Right: The 300-acre property has been landscaped by Eugenia Corcoy and returned to a working farm by Minorcan firm Agroassessor, including an edible garden by Sergi Caballero, which provides produce for the hotel’s restaurant. Opposite: Custom sconces flank the fireplace, which was carved from marés, the local limestone, and faces a burnt-wood table by Vincent Vincent, Louise Liljencrantz’s Margas chair, and a Palma sofa upholstered in wool bouclé.
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“The farmhouse was conceived to not only respect the traditions of its place but also tread lightly on the earth”
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Opposite: A new sculptural stair in concrete poured on-site connects the main and upper levels of the 11-room finca, or main building. Right: Tucked behind it is another work in ceramic by Meunié and Roig and a two-story-high, woven-wool piece by Perrine Rousseau.
Looking around for the best team for the job, they met architects Anne-Cécile Comar and Philippe Croisier, founding partners of Atelier du Pont. While the studio is based in France, Comar has a Minorcan connection, as well: Her family has a home there. All four discovered “a common fascination for nature, traditional architecture, and the powerful link that the Minorcans have for their island,” she recalls. In fact, the former two notions synchronize with Atelier du Pont’s approach to all its projects: aiming to create buildings and interiors that take inspiration from their contexts, in both geographical and cultural terms. From the start, the 11-key finca, or 5,000-square-foot main house, and the boyera, or 4,500-square-foot barn, which now contains a restaurant and a yoga studio plus three suites, were conceived to not only respect the traditions of their place but also tread lightly on the earth, to be “self-sufficient in water, energy, and food production,” the clients say. “Son Blanc was born from a synergy between traditional know-how and collective creativity,” Comar adds. She, Croisier, and their team began the renovation in 2018 with local firm ARU Arquitectura, engineers, master craftsmen, landscape designers, and agricultural experts (the property had once been a working farm, and the goal was to get it functioning as such again, to provide produce for the restaurant).
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The result is a thoroughly Minorcan entity—marés is nearly everywhere, much of it sourced directly from or carved into what existed on the site, such as the void that created the new swimming pool and what surrounds it, as are archways, another nod to local architecture—filtered through a gently contemporary yet thoroughly bioclimatic lens. Traditional passive processes—stone and cork for insulation, whitewash finishes—work in tandem with energy-conservation systems of today, including geothermal heat pumps and a solar array (all the property’s electricity comes courtesy of the sun, as Menorca averages 300 days of it per year). Water, however, is less abundant on the island. So, much attention was paid to efficiently sourcing it for irrigating the farm and gardens. Nearly 160,000 gallons of rainwater are harvested from the roofs of the two buildings annually, then stored in a retention basin and two existing underground cisterns rehabilitated during the renovation. For domestic needs, water from an underground aquifer is purified on-site; any resulting gray water is treated and reused for irrigation. Respect for nature extends to the hotel’s artwork, many pieces handmade from such materials as rattan, wood, and ceramic. The most dramatic of which may be in the yoga studio, where almost an entire wall is devoted to a mural of sorts in vegetable fibers and chamotte orbs. At the finca entry, a tapestry of fluffy white wool hangs to span the structure’s two levels, while cotton is woven into a headboard in one of the guest rooms. Another room features a floor-to-ceiling screen of terra-cotta blocks separating it from its bathroom, where the sinks and tub are the same warm-hued clay. Left: Custom bedside pedestals/lamps in a guest room frame Mariona Cañadas and Pedro Murúa’s wooden headboard wrapped with cotton sourced from the Guadalquivir Valley in Andalusia.
Previous spread: ARSP Architekten Rüf Stasi Partner’s mixed-use building in Hard, Austria, includes the owners’ apartment, where the living area features a sectional by Piero Lissoni.Atur magnatem inus, con pra quis maximendam inciis accum as aut maios utat ea aut por reperum, volupta epraecu ptatio conectint. Icillab orporem quat. Da ium alibus quam eatibus danimus am, volorio. Ita quaeper ciliquam aut es nulpa ducium is et quia vendiae peraepr ectusci llorumque nam, officiatem alisquam ratia con resti rerioris rest fugitat rem quia dolo eossimus. Oluptas netur, que sapis voluptatem ariasin reperio nsequid maio. Etur ma cus nia ipiendit ma susant ommolorit, omnis nihicitem ea volupta tessimus. Offic tem imet rest earum qui dent illabor ehenditecus int volor suntibusam etus, quaeMus. Cerum quiaess itatecea quam ipic tem cuptasitas aliberem eat. Daest de inciasi molupta tatatur, cusam eum alit laborum dolupta eliquam, sit as sequatur, simus doluptat at erae molorporro coriti dolupis adicte im dundia pelestr
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Opposite top, from left: A walnut Wilson chair by Eloi Schultz and Jose Carvalho ceramics on the upstairs landing. The breakfast kitchen’s island formed from locally sourced marble. The landing’s built-in couch and Isole side tables. Opposite center, from left: The stair’s marés treads and risers. More of the finca’s masonry and arches, which are typical of Minorcan architecture. Ceramic sconces by Roig. Opposite bottom, from left: Schultz’s Mirador stools along the hotel’s marés bar. Vegetable fibers and chamotte clay on the wall in the yoga studio. Tub and sink in terracotta tile in a guest bathroom.
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Left, from top: A terra-cotta screen separates a guest room from its bathroom. A built-in banquette forms a nook in the restaurant in the boyera, or barn, joined by Hvidt & Mølgaard’s Drawn chairs. Right: The swimming pool’s irregular shape was carved right into the island’s limestone. Opposite: Also terra-cotta, raw and porous on the outside, sealed inside, a guest bathroom’s sinks are set within a custom pine vanity.
Furniture pieces continue the effort. There is seating in oak and straw, a floor lamp of sustainably harvested rattan, and wool rugs and upholstery. Where there isn’t marés, there’s textured-plaster wainscotting created on-site by local craftspeople using a metal comb—the ideal accompaniment to the sculptural sconces by Atelier du Pont that appoint walls throughout. In the finca’s breakfast kitchen, a slab of lava stone has been formed into a massive island. Sustainability clearly reigns supreme at Son Blanc, as does simplicity of form, quietly exquisite taste, and purity of materials. It’s a pared-down luxury that facilitates long days of sun-drenched ease and reconnection with the natural world.
PROJECT TEAM ARIANE AUDEBERT; CHARLOTTE MARTIN: ATELIER DU PONT. ARU ARQUITECTURA: ARCHITECT OF RECORD. EUGENIA CORCOY: LANDSCAPE DESIGN. CARPINTERÍA GAVILA: WOODWORK. PRODUCT SOURCES FROM FRONT MIDI: SEATING (TERRACE). LUCAS CASTEX: TABLES. HEAPS & WOODS: LAMP. ÉLITIS: RUG (TERRACE), BUILT-IN SOFA FABRIC (LANDING). FUGUET: CUSTOM FIREPLACE (LIVING ROOM). KARPETA: RUG. &TRADITION: CHAIRS (LIVING ROOM, RESTAURANT). PIERRE FREY: SOFA (LIVING ROOM). DEDAR: SOFA FABRIC, WHITE CHAIR FABRIC. VINCENT VINCENT: TABLE. BONADONA TERRISSERS: PLANTER (EXTERIOR). STUDIO PERRINE: WOVEN INSTALLATION (STAIR). GAN RUGS: RUG (GUEST ROOM). NÚRIA EFE: CUSTOM PEDESTALS. ELOI SCHULTZ: CHAIR (LANDING), STOOLS (BAR). TOSCOT: CEILING FIXTURES (KITCHEN). CONTAIN: PENDANT FIXTURES (BAR). ATELIER DE TROUPE: SCONCE (RESTAURANT). WATER MARK COLLECTION: SINK FITTINGS (BATHROOM). THROUGHOUT STUDIO DANIDEVITO: CUSTOM SCONCES. MAGIC LINEN: BED LINENS. FLORES: BED PILLOW COVERS, LANDING TABLES. CERÀMICA CUMELLA: TERRA-COTTA ELEMENTS.
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text: peter webster photography: ty cole styling: cate ragan
water music dSPACE Studio strikes all the right notes with an artfully composed lakeside house high on a dune in Saugatuck, Michigan
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Previous spread: On top of a lakeside dune in Saugatuck, Michigan, the lap-pool terrace at a new two-story house by dSPACE Studio—the architect and his partner’s own residence—is clad in Matteo Thun’s Sensi porcelain stoneware, as are most interior floors and countertops; the commissioned sculpture, Icarus, is by Curt Pieper. Top: A custom palisade of rotatable Cor-Ten panels guards the front courtyard. Bottom: Oak slats, a recurring motif throughout, cover a wall in the entry foyer. Opposite top: A 30-foot-long expanse of triple-pane glass sliding doors in the great room opens to a balcony and Lake Michigan beyond. Opposite bottom: Shading the courtyard, a pergolalike roof extension with fixed aluminum louvers has a central aperture for a ginkgo tree.
Thousands of years of westward winds have built up clusters of rolling sand dunes along Lake Michigan’s eastern shoreline. One of the largest and most impressive of these groups is at Saugatuck, and it’s there—on top of a dune—that architect Kevin Toukoumidis and his partner, a doctor, built their new house. “We sought a place that blurred architecture, art, and nature,” says Toukoumidis, founding principal of dSPACE Studio across the lake in Chicago, where the couple also has an apartment. “In short, a home that offered an innovative, highly tailored response to the nuances and con siderations involved in coastal living amidst sand hills.” The first challenge was the 4-acre site: Not only did zoning regulations reduce its buildable area to a mere 40-by-50-foot postage stamp but a 2007 fire had also decimated the undeveloped dune, stripping it of all trees and greenery. “We replanted it with native vegetation—dune grass, junipers, even some cacti,” the architect continues. “As the landscape grows in, it will naturally obscure the structure over time.” The two-level, 4,000-square-foot residence sits lightly on its constricted footprint, as if it has landed gently on the ridge without disturbing the sur rounding ecology. A series of massing studies led to its compact, blocky form, which appears to be single-story from the entry but, as the land falls away, presents a full-height glazed facade to the lake. The ultrathin steelframe roof looks flat but actually slopes slightly upward to embrace even more of the sky-and-water vista. From the shore below, only the upper portion of the house is visible—a low-slung composition clad in sand-color stucco and sheltered by broad eaves lined with hemlock planks, the ambertone wood helping further integrate the structure into the natural setting. “Connecting to nature is important to us,” Toukoumidis affirms, noting that the region offers four seasons’ worth of alfresco pursuits, from water activities in summer to cross-country skiing in winter. “I created an abundance of outdoor spaces,” roomlike enclaves that include a two-tier ipe deck, one level for dining, the other with a firepit and lounge seating; a slender lap-pool terrace; and an upper-level lake-facing balcony. The latter two areas are paved with porcelain stoneware, a tawny material that’s used for floors and countertops throughout, another link between interior and exterior zones.
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“I wanted a sense of calmness and uniformity throughout, nothing to compete with the lake or the landscape”
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Top: Konstantin Grcic’s Noctambule pendant fixture hangs over the kitchen island, while a pair of commissioned artworks by Martina Hamrik animates the wall. Bottom: On the lower level, prints by Rachel Breeden complement a guest bedroom’s oak headboard, nightstands, and window seat, all custom. Opposite top, from left: Sanja Knezović’s Match sectional and Pierre Paulin’s Pumpkin swiveling chair flank custom nesting cocktail tables in the living area. Decimated in a fire, the undeveloped dune has been stabilized with replanted native marram grass and junipers. Opposite bottom, from left: A welcoming vignette in the courtyard comprises a fire bowl, Tadao Inouye’s Kantan chair, a Walter Lamb table, and a custom bench and wine holder. In the powder room, a custom porcelain sink joins Allied Maker’s Trimless Mini Orb sconces.
That connection is played with virtuosic skill in the entry courtyard, a place of welcome, transition, and respite with a ginkgo tree at its center. The gravel-floored quadrangle is guarded by a palisade of rotatable Cor-Ten panels that function like massive vertical louvers—a kinetic, Richard Serraesque sculpture that serves as the property’s front gate. The ½-inch-thick steel vanes can be angled to frame views—inviting glimpses into the house or broader vistas of the forested hillside behind it—as well as provide shelter on windy days. A pergolalike roof extension incorporating fixed aluminum louvers “helps define the courtyard as an outdoor room as well as protecting it from the intense midday sun,” the architect observes, while a fire bowl, chairs, and bench with a Cor-Ten wine-bottle holder create a hospitable spot for plein air entertaining. Entry is on the top level, which encompasses a great room flanked by the balcony and pool terrace; an intimate, glass-enclosed dining room; and the main bedroom and adjoining porch, screened with more fixed aluminum louvers. The lower floor, which emerges from the dune, includes two guest bedrooms with a shared patio and glass-walled showers overlooking the water; a bunk room; and a flex room “that’s currently a home gym,” Toukoumidis reports. The interior material and color palettes are limited: Along with the porcelain stoneware, oak or painted plaster clads most surfaces. “I wanted a sense of calmness and uniformity throughout,” the architect explains, “nothing to compete with the lake or the landscape, which are the real stars of the show.” They can be enjoyed via extensive, eco-friendly triple-pane glazing, not least the great 140
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Top: Enclosed with fixed aluminum louvers, the screened porch is furnished with Ann Marie Vering’s Moto sofa and Richard Frinier’s Stretch chairs. Bottom: The overhanging roof’s soffits are lined with hemlock planks, while steps and decking are ipe. Opposite top: The upper level of the two-tier deck is for dining, the lower one for lounging around a firepit. Opposite bottom: Jordi Canudas’s Dipping Light pendants frame the custom oak headboard and wall slats in the main bedroom, which opens onto the porch, its ceiling fan and heaters allowing for near year-round use.
room’s 30-foot-long wall of sliding doors. Above the custom kitchen island hangs a striking Konstantin Grcic pendant fixture, a 4-foot-tall sculptural form in handblown glass that almost disappears against the windows during the day, epitomizing the non-compete aesthetic of the interiors. Furniture—contemporary pieces, modernist classics, and custom builtins—is elegantly low-key. Hans Wegner’s iconic Elbow chairs in a custom sandy color pull up to the kitchen island, while in the living area Pierre Paulin swivel chairs sit next to the windows. “They rotate perfectly,” Toukoumidis notes, “so you can turn to gaze at the lake, face the fireplace,” or join a conversational group seated around the architect’s nesting cocktail tables— “the idea is they’re planes that shift like the dune does, though we hope that doesn’t happen too much in our lifetimes,” he adds with a laugh. In fact, the replanted vegetation will ensure the dune is absolutely stable. “One of my favorite things is walking up to the house from the beach, getting immersed in the grassy landscape,” Toukoumidis concludes. “You’re really presented with the architecture and nature as one.” And with luck, the strains of a Debussy piano prelude will drift down the slope, the doctor playing the baby grand in the living room high above. PROJECT TEAM JORDAN SNITTJER: DSPACE STUDIO. R:HOME: AUDIOVISUAL CONSULTANT. GOODFRIEND MAGRUDER STRUCTURE: STRUCTURAL ENGINEER. STONE HEDGE LANDSCAPE SERVICE: LANDSCAPING CONTRACTOR. ARMAZEM DESIGN: WOODWORK. STUDIO G: GLASSWORK. HARMSEN STEEL: METALWORK. ZAHN BUILDERS: GENERAL CONTRACTOR. PROJECT SOURCES FROM FRONT ORE: PLANTERS (POOL TERRACE). JANUS ET CIE: CHAISE LOUNGES (POOL TERRACE), RUG (PORCH). CORTEN: STEEL PANELS, BENCH, WINE HOLDER (COURTYARD). KAFKA GRANITE: STABILIZED GRAVEL. PALOFORM: FIRE BOWL (COURTYARD), FIREPIT (LOWER DECK). DIZAL: LOUVERS (COURTYARD, PORCH). CARL HANSEN & SØN: CHAIRS (KITCHEN). SUB-ZERO: REFRIGERATOR. WOLF: OVEN. PITT COOKING AMERICA: COOKTOP. THE GALLEY: SINK. FLOS: PENDANT FIXTURE, SPOTLIGHTS (KITCHEN), OUTDOOR FIXTURES. CEADESIGN: SINK FITTINGS (KITCHEN, POWDER ROOM). VISUAL COMFORT & CO.: RECESSED CEILING FIXTURES (KITCHEN). CARNEGIE FABRICS: WINDOW SEAT FABRIC (BEDROOM), CURTAIN FABRIC (BEDROOMS). PROSTORIA: SECTIONAL (LIVING AREA). JAYSON HOME: PILLOWS. LIGNE ROSET: ARMCHAIR. RH: RUG. ALLIED MAKER: SCONCES (POWDER ROOM). RBW: SCONCES (PORCH). CHRISTIAN NYBERG: WOOD BOWL. SHED FINE GOODS: LINEN THROW (PORCH), BEDSPREAD, PILLOW (MAIN BEDROOM). MARSET: PENDANT FIXTURES (MAIN BEDROOM). EQ3: RUG. THROUGHOUT FLORIM: STONEWARE SURFACING, FLOOR TILE. BABMAR; BROWN JORDAN: OUTDOOR FURNITURE. PANORAMAH!: CUSTOM WINDOWS, CUSTOM EXTERIOR DOORS. DELTA MILLWORKS: EXTERIOR SOFFITS. BENJAMIN MOORE & CO.: PAINT.
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come right in Plush seating, expansive kitchens, surprising yet pleasing palettes—a global foursome of residential interiors are as welcoming as they are distinctive text: annie block and georgina mcwhirter
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GoszczDesign project Three-bedroom, 1,500-square-foot apartment, Warsaw, Poland. standout Curves abound in this confection of a home with bones dating to the late 1800’s, beginning with a dichroic Patricia Urquiola Shimmer table at the entry. In the living room, backdropped by arched built-ins, a 370 sofa by Pierre Augustin Rose cocoons 12 feet around onyx Tebi cocktail tables from Baxter and Pierre Paulin Pacha chairs, while French oak herringbone flooring and a custom colored-glass mirror by Os & Oos above the Turkish marble mantel maintain a mesmerizing rhythm. photography Dariusz Jarzabek/Alicja T. Agency; styling: Anna Salak.
“It’s a pastel world full of softness and unique forms”
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Giuliano Andrea dell’Uva Architetti
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project Five-bedroom, 2,000-square-foot apartment, Naples, Italy. standout A renovation and expansion resulted in a warm yet sophisticated family home, where velvets, carpets, Zellige, and paints are saturated azul or aquamarine, sienna or sage. Equally varied, provenances of the early and mid 20th–century furniture and art span Italy, Germany, Japan, and Sweden— from the entry’s Porcino table lamp by Luigi Caccia Dominioni and Mario Bellini Camaleonda sofa in the living room to the Marcel Breuer Cesca chairs in the kitchen to the main bedroom’s golden screen and Hans-Agne Jakobsson sconce and pendant fixture. photography Nathalie Krag/Living Inside.
“I drew inspiration from the colors of Pompeii frescoes, creating spaces where different eras coexist harmoniously”
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“It serves as an experimental zone for testing new ideas, where geometries weave their way through an array of materials”
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Mike McMahon Studio project Three-bedroom, 970-square-foot apartment, London. standout In this home of MMS’s husband-and-wife directors, sustainably minded furniture and cabinetry were crafted of natural materials by the couple themselves. The concrete siding on the kitchen island, for instance, is board-formed from timber reclaimed from a London roof garden, while the living area sofa sits on concrete pillars cast in recycled rainwater pipes. The dining room chairs and table with integrated sunken fruit bowl are birch plywood and, throughout, floor planks are Douglas fir. photography Peter Molloy. MAY.24
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Reflect Architecture project Four-bedroom, 7,200-square-foot house, Toronto. standout A renovation of a home for an art-collecting couple who own works by the likes of Robert Mapplethorpe features a tone-on-tone travertine kitchen overlooking a picture-perfect Japanese maple and stark white walls. But such sculptural interventions as a jagged-balustraded staircase wrapping a Kelly Wearstler totem, Lindsey Adelman’s Knotty Bubbles pendant fixture over Giraffe dining-room chairs by Juliana Lima Vasconcellos, and Reinaldo Sanguino ceramic half-domes on the living room’s walls inject traditionbucking playfulness. photography Doublespace Photography.
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“The idea of living in a gallery, not a museum, was important to the clients”
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on the beach
David Montalba Architects and Matt Blacke create a carefully curated, yet effortlessly relaxed, coastal retreat in Malibu, California
text: edie cohen photography: william abranowicz
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Architect David Montalba knows the Malibu, California, coastline almost as well as he does Santa Monica, where he maintains his eponymous American studio, and Lausanne, Switzerland, home of its European counterpart. The rarefied real estate along a certain stretch of the Pacific Coast Highway includes several Montalba Architects–helmed hospitality projects, Nobu, Nobu Ryokan, and Little Beach House Malibu among them. Discreetly private, however, are the nearly dozen residences the firm has completed in the enclave over the past two decades. The most recent, a beachfront getaway retreat Montalba calls the “Graoni house”—a blend of the married homeowners’ surnames—was technically a renovation. But while existing pilings, seawall, and other buttresses against rising tides were retained, the two-story interior was stripped to the studs and the exterior completely reclad with a charred-wood rainscreen, essentially turning the makeover into a new build. Designer Cliff Fong, principal and founder of Matt Blacke studio, collaborated with Montalba on the 2,950-square-foot, three-bedroom house. It was their first joint venture, though both had long relationships with the clients, a couple with college-age kids whose involvement in women’s fashion takes them frequently to Europe and Asia, where they acquire recherché pieces for their homes. “They’re huge design enthusiasts,” says Fong, who has worked on a number of their residences over the past 30 years, including their primary place, a semi-brutalist steel, glass, and concrete structure in Beverly Hills. For his part, Montalba de signed them a store in L.A. featuring polished concrete flooring, rough stucco walls, and exposed ceiling beams. The Malibu house was to be “the alter ego of Beverly Hills,” Fong notes. Translate that to organic, cozy, and inviting. Chic, but far from super-slick or ostentatious, it would be a place where the family could kick back. Given Montalba’s dualcontinent creds, it would also be the epitome of California cool meets Swiss
Previous spread: The main bedroom of a Malibu, California, beach house gut renovated by Montalba Architects and Matt Blacke design studio features Douglas-fir ceiling planks, a patinated-brass LUdish fixture above a custom white-oak bed, and up-close views of the Pacific Ocean. Below: Perched on columns, the 2,950-square-foot, three-bedroom residence sits more than 16 feet above current sea level. Photography: Kevin Scott. Opposite top, from left: Georges Pelletier totem lamps and a vintage armchair upholstered in wool bouclé occupy opposing corners of the den, in front of which is a 1970’s Roger Capron tile-top table. The dining room’s 19th-century French pine table comple ments Pierre Jeanneret Chandigarh chairs from the ’50’s. Opposite bottom, from left: A retaining wall of plastered and painted concrete and a charred-wood gate define the entry court. A Mario Marenco sofa, Michael Wilson’s walnut cocktail table, and a Hans Wegner CH-22 chair gather on a vintage Oushak rug before the living room’s granite fireplace.
FROM FRONT CIRCA LIGHTING: PENDANT FIXTURES (DINING ROOM). THROUGH LUMBER LIQUIDATORS: CEILING PLANKS. D U CHATEAU: FLOORBOARDS. BRINTONS CARPETS: CUSTOM RUGS. KARTELL: PENDANT FIXTURE (PHONE BOOTH). THROUGH HOME DEPOT: PANELING. FOSSIL FAUX STUDIOS: COUNTER MATERIAL (BAR). MOOOI: PENDANT FIXTURES. THROUGH MOSAIC TILE COMPANY: FLOOR TILE (ENTRY). FLOS: LAMP, PENDANT GLOBES (DINING ROOM). DAY BASKET COMPANY: CUSTOM PENDANT GLOBE SHADES. DALTILE: SMALL FLOOR TILE. STONE SOURCE: LARGE FLOOR TILE, WALL TILE. CATELLANI & SMITH: SCONCE. INNOVATIONS IN WALLCOVERINGS: WALL COVERING. THROUGHOUT CAMLEN: CUSTOM TABLES. BEACHLEY FURNITURE: CUSTOM BANQUETTES. DESIGNERS GUILD; MAYER FABRICS; QUADRILLE WALLPAPERS & FABRICS; STUDIO BON: SEATING FABRIC. RC LIGHTING: TRACK LIGHTING. BENJAMIN MOORE & CO.; WOLF-GORDON: PAINT. BRISCO: STEEL SUPPLIER. GEORGE SEXTON ASSOCIATES: LIGHTING CONSULTANT. CFR ENGINEERING: MEP. ILEX CONSTRUCTION; HUGH LOFTING TIMBER FRAMING: WOODWORK. WINMAR CONSTRUCTION: GENERAL CONTRACTOR.
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Below: A frosted-glass window provides privacy for the neighbor-facing kitchen, where vintage barstools by Charlotte Perriand pull up to the island topped in Calacatta Vagli marble and cabinetry is white oak.
precision. First glance conveys the vibe. Perched more than 16 feet above the ground (and current sea level), the structure comprises two stacked, terraced volumes crafted from glass, steel, and wood, the latter material being particularly noteworthy: Used in the form of vertical pine fins blackened with shou sugi ban charring, it helps the house blend in with the rock- and tree-dotted environs while adding a note of dark glamour. Most of the interior is wood, too, but all blond: wire-brushed Douglas fir planks on floors and ceilings and white-oak cabinetry, plus light-toned stonework. “It was important to us how you enter the site,” Montalba says. Located at the back of the property, the entry court is defined by a charred-wood gate and a retaining wall finished in equally dark plaster—a small, compressed space that seems to celebrate its lack of a view. Walk through the door and enter the main living area, however, and a 180-degree natural panorama unfolds. Straight ahead lies the ocean, framed by glass walls on either side of a massive stone fireplace. To the left, the undeveloped neighboring bluff seems close enough to touch; behind, a sequestered courtyard is visible through the adjoining den. Extending out toward the water, the kitchen and dining area can be seamlessly merged with the full-width beachfront deck via retractable floor-to-ceiling glazing.
Riveting as the views outside are, the interiors have their own gravitational pull. Take the living area. Its monumental fireplace is practically a natural wonder, although the geometry of its rough-cut granite was painstakingly calibrated by the architect. Nearby are pieces that share a similar aesthetic: a live-edge walnut cocktail table and Hans Wegner CH-22 teak armchair, the latter draped with a fluffy sheepskin. The dining area follows suit, with Pierre Jeanneret’s teak-andcane Chandigarh chairs flanking a 19th-century French pine table. 158
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Opposite: Joining the bedroom’s headboard upholstered in a vintage Moroccan textile is a silk shag rug, a mixed-media painting by Serge Attukwei Clottey, and a Francois Weiss sculpture.
“Chic, but far from super-slick or ostentatious, the house is where the family can kick back”
PROJECT TEAM MARIE RODGERS: MATT BLACKE. GREG STUTHEIT; GREGG OELKER; JONATHAN NADEL; KRISTIN HOLBROOK;
A couple of the house’s delights are small and hidden behind oak cabinetry in the kitchen: the first, a pocket-size bar incorporating marble, brass, and oak; the second, a powder room outfitted with John Pawson’s minimalist stone-column sink and faucet. Both play into Montalba’s mantra of creating “bespoke detailing for our clients, shaping how they live in the house.” The same wall that conceals them also screens the stairwell, which is lined with shelves displaying the owners’ objets d’art and topped with operable clerestories. Upstairs, the main bedroom suite “is a rectangular volume of three parts,” the architect continues. Behind the sleeping area, which opens to its own oceanfront deck, a large walk-in closet doubles as a small office, thanks to a second live-edge surface neatly tucked into a window nook, and a passageway to the bathroom, a spalike retreat sheathed in Brechia di Nola marble. Two additional bedrooms and bathrooms accommodate offspring or guests. The ambiance, though relaxed, was not achieved casually. Because COVID led to construction delays, “We had the luxury of time,” reports Fong, who was able to assemble the furnishings—vintage and contemporary pieces mixed with the owners’ existing collection—months before they were installed. Spanning decades with diverse provenance, the characterful ensemble perfectly realizes the designer’s self-imposed task: “Make the home personal.” Below: A Perriand three-leg stool sits next to the freestanding tub in the main bathroom where the floor, custom sink, and most walls are sheathed in Brechia di Nola marble. Opposite top, from left: Studio Glustin’s Scarface armchair, Wilson’s Stump stool, and Arne Jacobsen’s AJ lamp form a corner vignette in the bedroom, while Rose Tarlow’s Cat’s Cradle chair and a custom double chaise lounge populate the adjoining deck. In the powder room, John Pawson’s JP sink and faucet accompany Kim Dova’s KHB pivoting mirror and a vintage Wilhelm Wagenfeld sconce. Opposite bottom, from left: In contrast to the house’s blond fir interiors, the exterior is enveloped by a dark rainscreen of vertical pine fins treated with shou sugi ban charring. A custom live-edge walnut desk and vintage Poul Kjærholm PK9 chair turn the passage between the main bedroom and bathroom into an office.
OWEN BRADBURY ARANDA; CARSON HALL: MONTALBA ARCHITECTS. SEAN O’CONNOR LIGHTING: LIGHTING CONSULTANT. NIKOLAKOPULOS: ELECTRICAL ENGINEER. RJR ENGINEERING & CONSULTING: CIVIL ENGINEER. DAVID C. WEISS STRUCTURAL ENGINEER & ASSOCIATES: STRUCTURAL ENGINEER, COASTAL ENGINEER. THE SULLIVAN PARTNERSHIP: MEP. DPC WOODWORK: WOODWORK. SARLAN: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT LUMFARDO: CEILING FIXTURE (BEDROOM). SOCIETY LIMONTA: BED LINENS. PAT MCGANN GALLERY: THROW. JF CHEN: CONSOLE (BEDROOM), COCKTAIL TABLE (LIV ING ROOM), CHAIR (OFFICE). THROUGH GALERIE GLUSTIN: TOTEM LAMPS, COFFEE TABLE (DEN), CHAIR (BEDROOM). PIERRE FREY: ARMCHAIR FABRIC (DEN). THROUGH OBSOLETE: TABLE (DINING ROOM). ARFLEX: SOFA (LIVING ROOM). CARL HANSEN & SØN: ARMCHAIR. ORTAL: FIREPLACE. CARNEVALE & LOHR: FIREPLACE FABRICATOR. GAGGENAU: APPLIANCES (KITCHEN). WALKER ZANGER: COUNTERTOP MARBLE. COCOON: SINK FIT TINGS (KITCHEN), TUB FITTINGS, SINK FITTINGS (BATHROOM), SINK, SINK FITTINGS (POWDER ROOM). APAISER: TUB (BATH ROOM). SPLENDID STONE AND TILE: CUSTOM SINK. HULLE BUSCH: VANITY MARBLE. LUCCA STUDIO: BENCH. CASSINA: STOOL. GIOPATO & COOMBES: SCONCES. LOUIS POULSEN: FLOOR LAMP (BEDROOM). SUTHERLAND: DECK FURN ITURE. KØBENHAVNS MØBELSNEDKERI: MIRROR (POWDER ROOM). BERKELEY MILLS: CUSTOM DESK (OFFICE). THROUGHOUT WOVEN: RUGS. DINESEN: WOOD FLOORING. DELTA MILL WORKS: CHARRED-WOOD CLADDING. LUTRON: LIGHTING SYSTEM. HARTMANN&FORBES: WINDOW SHADES. SKYFRAME: CUSTOM WINDOWS, CUSTOM DOORS.
FROM FRONT CIRCA LIGHTING: PENDANT FIXTURES (DINING ROOM). THROUGH LUMBER LIQUIDATORS: CEILING PLANKS. D U CHATEAU: FLOORBOARDS. BRINTONS CARPETS: CUSTOM RUGS. KARTELL: PENDANT FIXTURE (PHONE BOOTH). THROUGH HOME DEPOT: PANELING. FOSSIL FAUX STUDIOS: COUNTER MATERIAL (BAR). MOOOI: PENDANT FIXTURES. THROUGH MOSAIC TILE COMPANY: FLOOR TILE (ENTRY). FLOS: LAMP, PENDANT GLOBES (DINING ROOM). DAY BASKET COMPANY: CUSTOM PENDANT GLOBE SHADES. DALTILE: SMALL FLOOR TILE. STONE SOURCE: LARGE FLOOR TILE, WALL TILE. CATELLANI & SMITH: SCONCE. INNOVATIONS IN WALLCOVERINGS: WALL COVERING. THROUGHOUT CAMLEN: CUSTOM TABLES. BEACHLEY FURNITURE: CUSTOM BANQUETTES. DESIGNERS GUILD; MAYER FABRICS; QUADRILLE WALLPAPERS & FABRICS; STUDIO BON: SEATING FABRIC. RC LIGHTING: TRACK LIGHTING. BENJAMIN MOORE & CO.; WOLF-GORDON: PAINT. BRISCO: STEEL SUPPLIER. GEORGE SEXTON ASSOCIATES: LIGHTING CONSULTANT. CFR ENGINEERING: MEP. ILEX CONSTRUCTION; HUGH
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LOFTING TIMBER FRAMING: WOODWORK. WINMAR CONSTRUCTION: GENERAL CONTRACTOR.
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For his Amsterdam home, Framework Studio founder Thomas Geerlings restores a 1700’s former warehouse and fills it with contemporary art, furnishings, and finishes
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text: rebecca dalzell photography: kasia gatkowska/photofoyer
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Designers often complain about the hassle of working with landmarked properties. Yet to hear Thomas Geerlings, founder and creative director of Framework Studio in Amsterdam, talk about it, the yearlong permitting process sounds like a fun adventure. He and his team have renovated hundreds of buildings in the UNESCO World Heritage–listed city center, so he knows his way around the archives. “It’s always a nice journey with these historic buildings. You really have to do your research and see what’s original, what was added on later, and what you want to enhance or renew,” Geerlings says. His latest such project is his own five-story home on the Prinsengracht canal. Although Framework’s portfolio includes Karl Lagerfeld’s neoclassical headquarters along with residential and hospitality interiors, every few years, Geerlings likes to do something for himself. His wife and 8- and 13-year-old daughters come along for the ride. When they moved into what they call the canal house last year, it was the third that Geerlings had
designed for them; the previous one was only three doors down. Why move again? “There’s nothing for sale in this neighborhood,” he explains. “So, if something comes up, you have to grab it immediately.” At nearly 4,000 square feet, the home was also twice the size of their previous one. The property may have been a find, but it was in a state of disrepair. The edifice dates to 1720 and was originally a warehouse for storing wine; later, it was a shoe factory. In the 1950’s, it became a four-unit apartment building and was poorly maintained, with many historical details covered up. Because it is a landmark, a gut renovation was out of the question. Nearly every intervention is subject to approval by the City of Amsterdam’s Monuments and Archaeology Department, or MenA; the structure, walls, and notable features must be restored. Geerlings began by studying centuries-old layouts and permits in the city archives to figure out what was original and what had been added on when. For example, the second floor had a plaster ceiling, but he found 19th-century drawings that showed exposed wood beams. They are in fact masts from old sailing ships, a common building material for the seafaring nation. “Some of those boats had traveled the world,” Geerlings notes. “When you sit and look at these heavy ceilings, you think, Where has this piece of wood been?” 164
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Previous spread: A five-story, 3,875-square-foot Amsterdam building dating to 1720 restored by Framework Studio founder Thomas Geerlings as the home for him, his wife, and their two daughters features a library where unearthed ceiling beams are wood from the masts of 18th-century ships and modern furnishings include clear Rick Resin armchairs by Joris Poggioli, Floris Wubben’s Twist table and Ghost stool, and a custom tile fireplace surround by Eva Crebolder, the latter two de signers also Dutch. Opposite top: Painted plywood 1970’s doors from the home of late Brazilian artist Athos Bulcão open into the living room with a decorative 1920’s plaster ceiling. Opposite bottom: Custom oak cabinets line a corridor with floor tiles of Italian terra-cotta, a vintage wall piece by Gruppo NP2, and a Rob Parry chair from 1952. Top: The library’s Jindřich Halabala armchairs flanking a Rodrigo Pinto table are upholstered in mohair and backed by custom stainless-steel shelves. Bottom: Above the living room’s limestone-brushed mantel, Dirk van der Kooij’s recycled-plastic sculpture overlooks a Specchio di Venere cocktail table by Massimiliano Locatelli, a custom sofa, and a 1930’s armchair.
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MenA agreed that Geerlings should restore some of the beams, but asked him to preserve an early 20th– century decorative plaster ceiling in what’s now the formal living room. “The agency thinks the timelines of a building are super interesting, and I agree,” he says. “It doesn’t want to make it Disney where everything goes back to zero.” The four-bedroom house is therefore not a time capsule, but a mishmash of eras—especially when the family’s art and furniture collection is added into the mix along with a materials palette that includes Italian terra-cotta tile, veined marble, and oak. The house generally follows a traditional floor plan. The kitchen, dining area, and guest bedroom are on the ground level, and the living room and library occupy the airy second floor. The family bedrooms are farther upstairs. The parents are on the third floor, the daughters on the top two floors, each with their own lounge. His wife and children had only one request: “Don’t make it too gray,” Geerlings laughs. He agreed that it should be cheerful, quirky, and brighter than their last home. He was also looking to display his large art collection, which is composed of works in a mix of mediums by a roster of an international and local artists—Noémie Goudal, Alma Haser, Thomas Kiesewetter, Miguel Sbastida, and Dirk van der Kooij among them. The centerpiece of the library is a blocky yellow ceramic table by Dutch designer Floris Wubben, whom Geerlings has known for years. “When I first bought
Top, from left: Marble clads and forms a built-in bench in the main bathroom’s shower. A photo graph by Noémie Goudal hangs behind custom leather-upholstered seating and a bronze table by Ado Chale in the kitchen’s dining area. Bottom: Marble tops its cabinets in custom chiseled oak. Opposite: Terra-cotta flooring reappears in the study, where vintage chairs pull up to a Pierre Chapo table lit by Achille and Pier Giacomo Castiglioni’s Snoopy lamp.
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this house, I said to him, I want a big table in this room. He asked what color, I said: up to you.” It now joins clear resin armchairs by Joris Poggioli near a fireplace surrounded with green tiles by local sculptor Eva Crebolder. Leading to the living room are vintage double doors from the private home of late Brazilian painter Athos Bulcão. Nothing matches, but everything works, unified by Geerlings’s own eclectic taste. During the renovation, Geerlings discovered something rare in the back of the house: a floating basement. Amsterdam is below sea level and has a high water table, so anything more than 2 feet underground sits in water. In the 18th century, builders created cellars without structural posts that float untethered in the ground water; like houseboats, they need a ballast to keep from tipping over. “It was a nice original basement with a marble floor,” the designer says. “There aren’t a lot left, because of course they leaked and got destroyed. But we restored this one.” It was like a prize bequeathed by the landmark for all that archival research. Fittingly, Geerlings and his wife have turned it into a wine cellar. PROJECT TEAM PSLAB: LIGHTING DESIGNER. PRODUCT SOURCES FROM FRONT JORIS POGGIOLI: ARMCHAIRS (LIBRARY). STUDIO EVA CREBOLDER: CUSTOM FIREPLACE TILES. THROUGH THE FUTURE PERFECT: TABLE (LIBRARY), FLOOR LAMP (LIVING ROOM). GLASITALIA: COCKTAIL TABLE (LIVING ROOM), TABLE (LOUNGE). PIERRE FREY: ARMCHAIR MOHAIR (LIBRARY), CURTAIN FABRIC. THROUGH SIDE GALLERY: SIDE TABLE (LIBRARY). THROUGH FUNDAMENTE: CHAIR (LIVING ROOM). ADO CHALE: TABLE (DINING AREA). THROUGH MORENTZ: CHAIRS (DINING AREA), TABLE, SHELVES (STUDY). GAGGENAU: APPLIANCES (KITCHEN). MAISON VERVLOET: CABINET HARDWARE. FLOS: TABLE LAMP (STUDY). STUDIO JULIEN MANAIRA: CHAIRS (LOUNGE). CASSINA: SOFA (BATHROOM). ELITIS: SOFA FABRIC. AL STUDIO: TUB. JANJANSSENWERKEN: STOOL (HALL). THROUGHOUT DEDAR; NOBILIS: CURTAIN FABRIC. GESSI ITALIA: SHOWER FITTINGS, TUB FITTINGS.
Opposite top: Studio Julien Manaira chairs meet Patricia Urquiola’s Liquefy table in one of two children’s lounges. Opposite bottom: Antonio Lupi’s Reflex tub joins a vintage Vico Magistretti Maralunga sofa and custom oak cabinets in the main bathroom. Top: In the main suite, Guillerme et Chambron armchairs meet custom side tables at the foot of the bed, its oak headboard custom. Bottom, from left: Another custom headboard, this time upholstered, furnishes a daughter’s bedroom on the top floor. A Peter Demetz wood carving and Jan Janssen stool form a vignette in a corridor.
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c o n ta c t s DESIGNERS IN SPECIAL FEATURE Giuliano Andrea dell’Uva Architetti (“Come Right In,” page 144), giulianoandreadelluva.it. GoszczDesign (“Come Right In,” page 144), goszczdesign.com. Mike McMahon Studio (“Come Right In,” page 144), mikemcmahonstudio.com. Reflect Architecture (“Come Right In,” page 144), reflectarchitecture.com.
PHOTOGRAPHERS IN FEATURES William Abranowicz (“On the Beach,” page 154), williamabranowicz.com. Ty Cole (“Water Music,” page 136), tycole.com. Barbara Corsico (“Aged to Perfection,” page 116), barbaracorsico.com. Greg Cox (“Natural Wonder,” page 126), Bureaux, bureaux.co.za. Kasia Gatkowska (“Mix Master,” page 162), kasiagatkowska.com.
DESIGNER IN WALKTHROUGH FXCollaborative Architects (“The Wild West,” page 43), fxcollaborative.com.
PHOTOGRAPHER IN WALKTHROUGH Adam Kane Macchia Photography (“The Wild West,” page 43), adamkanemacchia.com.
DESIGNERS IN HOMES Masquespacio (“At Home,” page 79), masquespacio.com. Sagaría (“On a High Note,” page 67), sagaria.it. Sanchez+Coleman Studio (“Refuge Sought, Refuge Found,” page 73), sanchezcolemanstudio.com.
PHOTOGRAPHERS IN HOMES Helenio Barbetta (“On a High Note,” page 67), Living Inside, livinginside.it. Ken Hayden (“Refuge Sought, Refuge Found,” page 73), kennethhayden.com.
DESIGNER IN CENTERFOLD
Interior Design (ISSN 0020-5508), May 2024, Vol. 95, No. 4, is published 12 times per year, monthly except combined issues in July/August and December/January with seasonal issues for Spring and Fall by the SANDOW Design Group, LLC, 3651 FAU Boulevard, Boca Raton, FL 33431. Periodicals postage paid at Boca Raton, FL, and additional mailing offices. POSTMASTER: Send all UAA to CFS; NON-POSTAL AND MILITARY FACILITIES: send address corrections to Interior Design, PO Box 808, Lincolnshire, IL 60069-0808. Subscription department: (800) 900-0804 or email: interiordesign@omeda.com. Subscriptions: 1 year: $69.95 USA, $99.99 in Canada and Mexico, $199.99 in all other countries. Copyright © 2024 by SANDOW Design Group, LLC. All rights reserved. Printed in the USA. Material in this publication may not be reproduced in any form without permission from the publisher. Interior Design is not responsible for the return of any unsolicited manuscripts or photographs.
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TY COLE
Luo Studio (“Here Comes the Sun,” page 111), luostudio.cn.
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immersive installation Prior to launching his Seattle-based firm Best Practice Architecture in 2011, Ian Butcher was part of the team that designed a local private home. It’s that history that made Best Practice, well, the best candidate for a new project in the tidy 1,300square-foot rear yard of that residential site: “Lil Dipper,” aka the name Butcher’s crew gave to the heated pool that, at 11 by 28 feet, and only 4 1/2 deep, is just big enough for swimming laps or inviting grandchildren over to splash around. “It was important to remain respectful of the original architecture and landscape,” Butcher recalls, referring to such choices as ipe for the boardwalk to coordinate with the house’s exterior detailing. “But we also made it unique to our client.” As the client is a collector, Best Practice literally integrated art into the pool with the aptly named Liquid Center, a commission from the late sculptor Jim Melchert and his grandson Galen of ceramic tiles down the center and one side, their pattern mimicking wavering swim lines when viewed from the water’s surface. They can also be seen from the new grassy turf—populated by additional commissions from Jeffry Mitchell and Mungo Thomson— or the poured-concrete bench built into one end of the pool. Elevated 18 inches, it’s the perfect perch for dipping toes. —Wilson Barlow
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