A1 THE INTERNATIONAL MAGAZINE OF INTERIOR DESIGN AND ARCHITECTURE
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JANUARY 2000
MARC APPLETON 1556 Seventeenth Street, Santa Monica, california 90404; telephone: 310/828-0430 Jj 4 arc Appleton has ± Via relatively re strained view of the ar chitect’s role; he quotes William Wurster’s opin ion that architecture is ‘the picture frame and not the picture.” In the twenty-eight years since Appleton graduated from the Yale School of c~tecmre, he has snack to this coni~cdon, sth~ng to avoid a personalized s~Ie and finding that his favorite projects have been ‘happy collaboradons q, r be~een client, architect, interior designer and contractor.” Appleton worked for Frank Gehry for three years before founding his own firm in 1976, J which has since accepted commissions from clients I r’1 such asJamie antI Steve Tisch and Richard and Lili Fini Zanuck. While his designs are often modern in form, they evince inspiraüon from the past, in pardcular the work of Luis Barragán, Ining Gill and Palladio, and he frequently uses vernacular materials, including stucco, stone and wood, to connect the modernist model to a sense of place
Architecture
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D100 MARC
APPLETON
1S56Seventeenth Street, Santa Monica, California 90404; telephone: 310/828-0430
rchitecture
a relatively re Marc Appleton has strained view of the ar chitect’s role; he quotes William VVurster’s opin ion that architecture is “the picture frame and not the picture.” In the twenty-eight years since Appleton graduated from the Yale School of Ar chitecture, he has stuck to this conviction, striving to avoid a personalized style and finding that his favorite projects have been “happy collaborations between client, architect, interior designer and contractor.” Appleton worked for Frank Gehry for three years before founding his own firm in 1976, which has since accepted commissions from clients such asJamie and Steve Tisch and Richard and Liii Fini Zanuck. While his designs are often modern in form, they evince inspiration from the past, in particular the work of Luis Barragán, Irving Gill and Palladio, and he frequently uses vernacular materials, including stucco, stone and wood, to connect the modernist model to a sense of place. ____
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JUNE 1997
BAi~i~ BMu~Y 9526Pico Boulevard, Los Angeles, California 90035; telephone: 310/276-9977
Design the essence of my Gracious living is work,” says Barbara Bar ry; who has designed residences for Eli Broad, Michael Ovitz and Vic- ~ toria Principal. “I seek to create tranquil rooms above all else—spaces led by emotion rather than by any one style. Though I’m most strongly influenced by Euro pean—especially French—work of the thirties and forties, I’m not interested in a curatorial approach, where everything has a pedigree. I like pareddown forms in simple rooms.” Barry, who has three architects on her staff of twenty-two, started her Los Angeles firm~ in 1986 and also designs fur niture, typically characterized by neutral colors, a restrained scale and gently curving shapes, as well as tableware for Baccarat and Haviland. Modernists such as Adolf Loos and Richard Neutra are among her favorite architects, but Barry says, “I enjoy many styles of architecture as long as there are well-proportioned rooms, truly meant for living.” continued on page 30 —
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AUGUST 1998
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