est Magazine issue #43 | Design Intelligence

™

10

the esteemed 2022 DESIGN VISIONARIES

& KELLY

FAYE TOOGOOD

WEARSTLER

DESIGN INTELLIGENCE How art, fashion, architecture and design shape our world

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ISSUE #43 / DESIG N INTELLIG ENCE

EDITOR’S LETTER

Sophie Lewis Managing Editor @sophlew_says

Welcome to 2022. To kick off the New Year, we’re paying tribute to those with design in their DNA, profiling leaders and innovators and the unique contributions they make to our world.

We’re recharging our creativity through the cross-pollination of ideas in art, fashion, furniture, architecture and design, recognising how each discipline informs the other, shaping how we live today.

Design luminary Kelly Wearstler offers a personal glimpse at this convergence in her case study Beverly Hills home – her self-described ‘laboratory’. At the same time, we tease out the work of three leading multi-disciplinary designers and how their ingenuity translates from furniture to couture.

We head to Paris to explore the synergy between Belgian architect Nicolas Schuybroek and BA&SH founder Barbara Boccara in her own home, while in Sydney’s Northbridge, we see interior designer Nina Maya’s background in textiles at Italy’s Grazia Bagnaresi present through a layered, artisanal approach. Further abroad, New York-based designer Giancarlo Valle expresses his penchant for bold and bespoke spaces in a Soho townhouse.

We find out where our esteemed 10 Australian and international Design Visionaries experience exceptional design in 2022 and in turn, what makes them tick. Architect Kerstin Thompson, one of Australia’s esteemed 10 attests, “ultimately, exceptional design should be for and about the everyday.”

Looking to the future, we forecast 10 pieces across furniture, lighting and accessories you should know about this year, just as our Detail pages manifest our appreciation for design curiosity and collaboration.

Sophie x

CONTENTS the latest

est style

a life in colour

the esteemed 10

Kelly’s world

design intersection

solace in the city

the library

10 for 22

where architects live Richard Found

design odyssey

artisanal provenance

lessons in subtlety

the detail

ISSUE #43 / DESIG N INTELLIG ENCE

MEET THE CONTRIBUTORS

Meg Rawson | writer Meg Rawson’s formative years living in London and Melbourne shaped an unconventional path into design communication by learning from some of the best. A regular contributor within the est team, Meg also works alongside the Sydney-based architectural practice Alexander &CO. In this issue, Meg penned ‘Solace in the City’ which steps inside fashion creative Barbara Boccara’s meticulously renovated Parisian apartment, where a quiet sense of luxury has built a welcoming home at the hands of Belgian-based architect Nicolas Schuybroek.

@meganmayrawson

Felix Forest | photographer Sydney-based photographer Felix Forest draws on extensive travel and a love for urban and natural landscapes to shoot unique moments with people, spaces and places. A strong sense of personality and narrative pervades Felix’s portfolio through his fascination with light, capturing the dance of soft and contrasting palettes in Nina Maya’s latest waterfront home as part of ‘Design Odyssey’.

@felix_forest

Rachelle Unreich | writer With three and a half decades of experience as a journalist, Rachelle has lived in New York, Los Angeles, Sydney and now Melbourne, working as both writer and editor. Having spent many years writing celebrity profiles, her cover stories on subjects such as Nicole Kidman, Leonardo DiCaprio and Tom Cruise appeared in publications including Empire (UK), Harper’s Bazaar, Marie Claire and Rolling Stone.

She now prefers to cover a range of subjects, including travel and interiors. In this issue, Rachelle explores when design luminaries hopscotch between fashion and design in ‘Design Intersection’.

@rachelleunr

Stephen Crafti | writer Stephen Crafti has always been drawn to design that has a sense of longevity rather than fashion. After writing for nearly 30 years, and with more than 40 books, countless articles and a podcast to his name, he can certainly tell the difference. Not only that, but Stephen seeks to share the experience of good design through his regular architectural tours in Australian cities and further abroad. For this issue, Stephen, alongside the est editorial team, forecast the 10 design pieces – from furniture and accessories to tapware – you should know about this year and beyond.

#stephencrafti

ISSUE #43 / DESIGN INTELLIGENCE

CREDITS CONTRIBUTORS

est TEAM Managing Editor Sophie Lewis

Style Editor & Copy Yvette Caprioglio

WORDS Karen McCartney, Alexandra Gordon, Stephen Crafti, Rachelle Unreich, Megan Rawson, Bronwyn Marshall, Haydn Spurrell, Sarah Knight, Sophie Lewis PHOTOGRAPHY

Design & Creative Jack Seedsman

The Latest Derek Swalwell, Lillie Thompson, Frederik Vercruysse, César Béjar, Carlos A. Mora

Design Assistant Georgia Hodgkinson Product Editor Brigitte Craig

Life in Colour Stephen Kent Johnson

Editorial & Social Media Coordinator Lidia Boniwell

The esteemed 10 Dave Kulesza, Derek Swalwell, Felix Forest, Timothy Kaye, Anson Smart, Willem Dirk Du-Toit, Dan Preston, Tom Ferguson, Romello Pereira, Dave Wheeler, Joe Fletcher, Ricardo Labougle, Thomas De Bruyne, Stale Eriksen, Givlio Aristide, Pep Sau, Mateo Soto, César Béjar Studio, Rory Gardiner, Helenio Barbetta, Joyce Park, courtesy of Kelly Wearstler

Editorial Assistant India Curtain

Kelly’s World

Courtesy of Kelly Wearstler

Sales Coordinator Emmy Ford

Design Intersection Courtesy of Rick Owens, Faye Toogood & Ann Demeulemeester

Editorial Strategy Advisor Karen McCartney Associate Editor & Marketing Manager Sarah Knight

Managing Director Miffy Coady Advertising & Partnerships Mandy Loftus-Hills | mandy@estliving.com Astrid Saint-John | astrid@estliving.com Deb Robertson | deb@estliving.com

ON THE COVER Design Walker Workshop Photography Joe Fletcher Location Mandeville Canyon, Los Angeles CONTACT editorial@estliving.com advertising@estliving.com

CONNECT

Solace in the City Claessens & Deschamps The Library Mateo Soto Where Architects Live: Richard Found Andrew Meredith & Hufton and Crow Design Odyssey Felix Forest Artisinal Provenance Ben Anders Lessons in Subtlety Salva Lopez Playlist Curation | Will Pyett Photography | Salva Lopez The Detail Courtesy of Kelly Wearstler, Sean Fennessy, Stephen Kent Johnson, Anson Smart, Lauren Bamford, Courtesy of MENU Back Cover Joe Fletcher

S E R V

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LATEST An up-to-date look at what’s happening on estliving.com and across our social platforms.

NYC-based Apparatus Studio unveils its fourth instalment that takes cues from the 1960s.

News

Get to know the esteemed 10: our Australian and international Design Visionaries in 2022.

Go-to Designers

The recently launched Curl chaise lounge designed by Piero Lissoni is inspired by the stonework of Michelangelo, carved from Bianco Carrara and Pietra d’Avola marble.

Product Library

ISSUE #43 / DESIG N INTELLIG ENCE

Visit the new home of Melbourne’s beloved Parisian eatery.

Architecture & Interiors

Celebrate the release of Nicolas Schuybroek’s Monograph, ‘Selected Works Volume One’.

News

Pin design destinations to inspire your next adventure in 2022.

Pinterest Your exclusive video tour through some of est’s favourite projects, including Villa Peduzzi by Studio Daminato.

Instagram Reels

Natural paints made by utilising the elemental cycle of earth, fire, water + air. The result is 400 natural colours with extraordinary depth, a unique textured effect, a finish like no other. bauwerk.com.au

ISSUE #43

Future Focused

BY YVETTE CAPRIOGLIO STYLE EDITOR

This year, create a new design currency, one not always intended for an occasion. Think of functional and wearable pieces, borne from converging disciplines that are a fusion of technology, design and materiality; the same principles akin to art and architecture. Focus on new designers, intent on forging a path through artisanal provenance and sustainability, inspired by street culture and a collision of ideas to create a future-forward mindset.

BOMBER JACKET WITH FAUX FUR COLLAR COPERNI

GREEN + FRANKIE SHOP LEATHER SANDALS PORTE & PAIRE

GOSHA RUBCHINSKIY EDT COMME DES GARÇONS HIGH-RISE WIDE-LEG PANTS ROKH SHOP THE COLLECTION >

ISSUE #43 / DESIG N INTELLIG ENCE

est style

BRACELET CÂBLE OCTOGONE LE 7G LE GRAMME CORSET BUSTIER ROKH

GREEN MOUNTAIN COTTON-BLEND RIPSTOP SHIRT NORBIT BY HIROSHI NOZAWA

NEW WAVE SWIM SHORT OLIVE KLOKE

PERSONAL ALUMINIUM CROSSBODY BAG | SILVER RIMOWA

COTTON HIGH WAISTED TROUSERS | NAVY BASIC RIGHTS

A LIFE IN COLOUR

STUDIO

GIANCARLO

VALLE In a young family’s Manhattan home, colour defines the mood for each room.

DESIGN| Studio Giancarlo Valle PHOTOGRAPHY| Stephen Kent Johnson STYLIST | Colin King WORDS | Alexandra Gordon

The breakfast area adjacent to the kitchen is painted in the same pungent Farrow & Ball green. It features the circa 1960s S11 chairs designed by Pierre Chapo around an antique trestle table with ceramic Funnel pendants by artist Natalie Page above. Artwork by Yulia Iosilzon and ceramics by Maggie Wells.

Studio Giancarlo Valle stools sit up at the kitchen island, upholstered in Rose Tarlow Melrose House for Perennials stripe. Vessel by Kazunori Hamana.

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A

n unassuming five-storey Manhattan townhouse provided a blank canvas for acclaimed New York-based designer Giancarlo Valle, where he transformed the existing white walls and generic details into a rich tapestry of bold coloured rooms, peppered with unique furniture and finishes. “They trusted us

completely and bought into the idea of creating a mood in each room from the beginning,” Giancarlo says, whose brief was to create a cool collective for the young creative family.

The designer worked closely with his clients who had strong opinions about colour, so the palette was the starting point for a lot of the rooms. “The colours were set very early on and we built up from that,” Giancarlo recalls. “My clients requested dark burgundy for the dining room where weekly dinner parties are hosted, and this captured the spirit of what they wanted,” he says. The colour wheel exploration plays out in the warm terracotta den, in the lettuce green kitchen, and in the aubergine bathroom. “The idea of the dark blue master bedroom came from having a dark space to sleep in and we just kind of ran with it,” Giancarlo adds.

ISSUE #43 / F EATURED HOME

The spaces, although varied in colour and style, are unified by handcrafted details. “Each room had to have its own feel, but it was important to make sure we did not lose the continuity of it feeling like one family and home,” Giancarlo says. Traditional Moroccan Zellige tiles add a defined texture to the fireplaces in the living and dining rooms and vanities in powder rooms, while plaster lines the walls of the living room and sculptural staircase. “The plaster stair is a palette cleanser in many ways, while each room is saturated in its own distinct way,” Giancarlo explains.

Giancarlo’s distinctive design language weaves seamlessly throughout the home, creating a subtle cohesiveness, where bespoke furniture like the sculptural burled oak dining table form the centrepiece of many of the spaces. “We didn’t want it to feel like a conference table so we carved the table to create two zones at either end so it could also be used for smaller parties and not feel empty,” Giancarlo says.

The custom components move from the macro to the micro, from the sinuous shelving in the children’s rooms to the joinery handles throughout. “There is a thinking that we have a lot of ingredients we like to use but we are always tweaking the recipe,” Giancarlo says. It’s this unique approach to the project that ensures an unexpected outcome, tailored for the client yet exemplar of the unmistakable handwriting of the studio.

Pictured: Giancarlo Valle The living space features a custom baby blue sofa, vintage Chan coffee table by Philip and Kelvin Laverne and chairs that are the result of a collaboration between design studio Green River Project and fashion label Bode. Artwork by Martin Kippenberger features on the left of the Moroccantile clad hearth, and a piece by artist Robert Bittenbender on the right.

ISSUE #43 / F EATURED HOME

T

“ he colours were set very early on and we built up from that…”

– G i a n c a r l o Va l l e

A vintage Pierre Paulin Groovy chair in a creamy wool boucle and large Lampampe table lamps by Ingo Maurer contrast the navy walls in the master bedroom. Artwork by Ernst Yohji Jaeger.

ISSUE #43 / F EATURED HOME

ISSUE #43 / F EATURED HOME

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DANDELION HAIRBAND 2021 YULIA IOSILZON

SENIOR HAND-PAINTED COTTON-CORDUROY JACKET + TROUSERS BODE

TERRA RUG - NATURAL ARMADILLO X HOUSE OF GREY

ISSUE #43 / F EATURED HOME

CHICKWEED BAUWERK COLOUR

A Life In Colour

Studio Giancarlo Valle Signature Style

TOASTED OAK ROYAL OAK FLOORS

MODEL 9609 FLOOR LAMP BY PAAVO TYNELL OY TAITO AB

Paavo Tynell Finland, c. 1940

ZELLIJ PAMPAS EARP BROS

MODEL S11 CHAIR PIERRE CHAPO

Pierre Chapo France, c. 1966

LARGE CERAMIC JUG EMILY ELLIS

NEXUS - AZALEA 8329 FYBER

SALONE 1887 MUROBOND

SOUTH PACIFIC NATURAL GIANT CLAM SHELL SPECIMEN 1ST DIBS

CALACATTA ORO VICTORIA STONE GALLERY

ISSUE #43

DESIGN ALIGNED

Italian bathroom leaders Falper and Fantini recognise

the value of collaborating with some of the world’s most influential architects and designers. We explore three case study product collaborations, available exclusively through Rogerseller, Australia.

Piero Lissoni Lissoni Basin Mixer AboutWater Boffi & Fantini

estliving x rogerseller

Fattorini + Rizzini Partners Quattro Zero Bath Falper

Salvatore Indriolo Lavamani Wall Hung Basin Falper

VIEW MORE ROGERSELLER PRODUCTS >

Australia

Adam Kane Architects

Akin Atelier

Alexander &Co

Architects EAT

Studio Goss

Esoteriko

Kerstin Thompson

Architects

Rob Kennon

Tamsin Johnson

Smart Design

Studio Proudly supported by Rogerseller

ISSUE #43 / DESIG N INTELLIG ENCE

10

the esteemed

2022 Australian Design Visionaries

The esteemed 10 recognises a cross-section of visionary architects and designers in 2022. Spanning perspective, aesthetic and intent, the esteemed 10 comprises influential voices in the Australian and international design community.

Criterion is based on approach, current achievements, completed and anticipated projects, insights and analytics.

Project Brighton House Design Adam Kane Architects Photography Timothy Kaye

Adam Kane Director Where do you go to appreciate exceptional design?

Digital media, newsletters and social media are limitless and everchanging resources these days for finding designs of a specific region, typology or aesthetic.

The one thing people always ask me is...

“Would you do this (design) in your own house?” (Absolutely, if not, I’d take it up a notch!)

Three words that most appropriately sum up my approach to design are...

Purpose, refined, balanced.

What is a key influence that we can anticipate seeing in projects you are yet to release?

Western European design.

What is the one piece of advice you would share with a young designer?

Follow your passion, don’t settle and never stop absorbing as much as possible.

Your 2022 capsule collection: what products and materials do you have your eye on?

A continued evolution, refinement and sculpture of our designs (macro and micro), with an increased harmony of materials, creating beauty and calm.

When you walk into a space, what’s the first thing you always notice?

The ceiling – reason unknown!

What does sustainable design mean to you in 2022?

Timeless design that doesn’t follow quick trends.

Photography Felix Forest

Project Brighton House Photography Timothy Kaye

Adam Kane Architect

esteemed 10 | Australia

Adam Kane Architect

Project Gunnamatta House Photography Anson Smart

Kelvin Ho Founder Where do you go to appreciate exceptional design?

Spain holds some true design treasures such as Can Lis (Jorn Utzon) and Neuendorf House (Claudio Silverstein and John Pawson) in Mallorca. The work of Bofill, Corbero and of course Gaudi, reflect endless originality and inspiration.

The one thing people always ask me is...

“Do you play basketball?”

Three words that most appropriately sum up my approach to design are...

Singular, empathetic, casual.

What is a key influence that we can anticipate seeing in projects you are yet to release?

Positivity. I want our projects to embrace and cultivate inclusivity, playfulness, and thoughtfulness.

What is the one piece of advice you would share with a young designer?

The importance of having strong hand-drawing skills in our industry. It’s an invaluable communication tool.

Your 2022 capsule collection: what products and materials do you have your eye on?

I’m always interested in mundane, typically overlooked materials and then presenting them in new ways. For 2022 we will be working on some exciting Bio-Resin projects.

When you walk into a space, what’s the first thing you always notice?

I love to experience the energy of a room, working out what makes it feel special. It could be a busy restaurant or a quiet corner of a private residential space, but it’s the balance of positive and negative space – and often a sense of the incomplete, that allows you to form your own narrative.

What does sustainable design mean to you in 2022?

Construction is inherently unsustainable. As designers, we need to make informed decisions on how and who we collaborate with to build a community that prioritises and values the making of responsible choices.

Jeremy Bull & Tess Glasson Principal & Marketing Director Where do you go to appreciate exceptional design?

We are surrounded by so much creative noise, both good and bad.

I think the challenge is not that one needs to go anywhere, but instead needs to be able to separate the moments of brilliance from what could just be moments of passing trend, or worse, commodified creative waste from the many messages and experiences being delivered fresh daily.

The one thing people always ask me is...

“Where does the ‘Alexander’ come from?” And after that if I’m an architect or an interior designer, I tell them at this stage I am not sure either but will happily settle for anything.

Three words that most appropriately sum up my approach to design are...

Old and new.

What is a key influence that we can anticipate seeing in projects you are yet to release?

We are still singing from the same song sheet. Timeless, handmade and spirited design. Perhaps with a little more ecological sensibility, I hope. The work being produced by our team is just beautiful, classic thinking.

What is the one piece of advice you would share with a young designer?

You are your greatest asset. If you won’t invest in yourself; incredible hard work, passion, love, then why would anyone else? Be your greatest design and don’t leave this up to chance or someone else’s rule. There is no ‘system’ holding you back or even pushing you forward, just you.

Your 2022 capsule collection: what products and materials do you have your eye on?

Recycled brick, reclaimed ironbark, carbon-neutral concrete, broken stone and pewter. Garnish with a little burnt orange wool.

When you walk into a space, what’s the first thing you always notice?

The feeling it gives me.

What does sustainable design mean to you in 2022?

Carbon neutrality and waste reduction, end of life reusability and renewable power. Use less, make more with fewer resources. Care for your people, care for yourself, respect the spirit of all the beauty and beautiful minds that have done amazing things before we arrived.

esteemed 10 | Australia

Project Spotted Gum House Photography Anson Smart

Albert Mo & Eid Goh Co-directors

Photography Dave Kulesza

Where do you go to appreciate exceptional design?

A while ago I created the hashtag #ohshitseries on Instagram (now taken over by some band and foodies). I used it when I came across those ‘shiver down the spine architecture’ moments when I was travelling. Exceptional design is everywhere, for me the question is not where, but rather when. I find myself only being able to appreciate things when I’m in my most relaxed state – when I’m happy.

The one thing people always ask me is...

“What’s your favourite project or dream commission?” My answer always is the next one. I’m an eternal optimist and I always think that it will be my best project yet, there are so much more that I want to do and I can’t wait.

Three words that most appropriately sum up my approach to design are...

Functional, experiential, detailed.

What is a key influence that we can anticipate seeing in projects you are yet to release?

Belgian, Japanese, South American, German, Indian, Queenslander. This is really hard to answer, the list is nearly the whole world.

The fact is every project that we work on is totally different, what remains constant is our obsession with tactility, craftsmanship and the feeling of a space.

What is the one piece of advice you would share with a young designer?

Do more research on everything. It’s amazing when you treat a project as if it’s your own, you care about it so much more, so don’t just rely on what you already know.

Your 2022 capsule collection: what products and materials do you have your eye on?

Low carbon concrete, carbon neutral bricks, and the colour beige.

When you walk into a space, what’s the first thing you always notice?

Light and smell. It’s strange to describe it, but for the start let’s imagine a very still room, with filtering light through sheer curtains and floating particles.

Then let’s pull the curtains back, let the full light pour in, and open the window and let the air move the particles. In varying degrees, that’s how I always notice space and the people that use that space…

What is sustainable design to you in 2022?

Collaboration. A building project in the simplest term comes down to three parties – architect, builder and client. We’ve learnt that one party alone is not going to succeed without the commitments of the other two. I think therefore it is our responsibility to educate and impress our clients and builders on the importance of thinking sustainably, and to have them on board. Sustainable design is systemic, it’s about human context as much as the know-how and the politics that we’ve all been concentrating on in the past decade.

Project Bellows House Photography Derek Swalwell

Architects EA

esteemed 10 | Australia

W

“ e’ve also realised that sustainable design can also mean approaching projects with a sense of restraint and deciding not to re-design everything but instead making some considered, appropriate interventions to bring new life to a space.”

– David Goss

Project Huntingtower Rd, Armadale Photography Willem-Dirk du Toit

David Goss Director Where do you go to appreciate exceptional design?

Without being able to travel in the past two years I’ve realised how important it is to get out of your everyday surroundings and experience that rush of inspiration. I also tend to seek out films to appreciate design.

The one thing people always ask me is...

“How do you find your clients?”

Three words that most appropriately sum up my approach to design are...

Calm, clarity, balance.

What is a key influence that we can anticipate seeing in projects you are yet to release?

I can definitely see colour creeping into our work a lot more. We often like to build quiet, neutral spaces with a focus on texture but there are a few projects coming up that are a lot more colourful.

What is the one piece of advice you would share with a young designer?

Take your time and enjoy the process. We’re so lucky to be part of an industry where we can constantly explore new things and meet new people.

Your 2022 capsule collection: what products and materials do you have your eye on?

Firstly, the Pill lights from Draga & Aurel. They’re so, so fun! Secondly, the Pigreco chair by Tobia Scarpa reissued by Tacchini. Sculptural, elegant, classic.

Thirdly, we’re really loving the custom colour program from Armadillo.

We’re into a terrazzo mix from Marble Büro called Grotto terrazzo that really reminds me of days spent at the beach looking at beautiful pebbles in rockpools.

We’re exploring the use of cork at the moment and I’m excited to see how this neutral, tactile and sustainable material can add a layer of warmth to several of our commercial projects.

When you walk into a space, what’s the first thing you always notice?

Definitely the lighting. But subconsciously it’s the door handle you’ve just touched to enter the room that really sets the scene.

What does sustainable design mean to you in 2022?

To me, it’s about a sense of timelessness and striving to create spaces that will last. When we’re sourcing materials we look for products that have longevity but we also research how and where they are produced. We’ve also realised that sustainable design can also mean approaching projects with a sense of restraint and deciding not to re-design everything but instead making some considered, appropriate interventions to bring new life to a space.

Studio Gos

esteemed 10 | Australia

esteemed 10 | Australia

Anna Trefely Director Where do you go to appreciate exceptional design?

With travel restricted and a new baby, I’m maxing out my screen time instead.

The one thing people always ask me is...

“What is an interior architect?”

Three words that most appropriately sum up my approach to design are...

Sensory, clean, warm.

What is a key influence that we can anticipate seeing in projects you are yet to release?

Narrative and site are always the key influences in our projects. We are so strongly influenced by the context and either the existing or the new ‘story’ of the inhabitants. We tease this out to become a space that has a quiet message (the esoteric meaning).

What is the one piece of advice you would share with a young designer?

Try and be fluid with ideas. They do not define you. Don’t overthink it – just go on the journey, the best is yet to come.

Your 2022 capsule collection: what products and materials do you have your eye on?

Axolotl textured glass, raw fibreglass furniture that has such a handmade, tactile and natural finish from Imperfetto and high performance and sustainable timbers, like Accoya. We’re also focusing on anything ceramic and designing our own collection of light fittings.

When you walk into a space, what’s the first thing you always notice?

The quality of the light and what it smells like. Scent is often overlooked but such an important aspect.

What does sustainable design mean to you in 2022?

It means avoiding trends and focusing on lasting quality and comfort.

Being conscious by understanding how things are made, the processes and the ethical and environmental impact. Question everything, don’t remain naïve on how things come into existence. Consider minimising waste at every opportunity and play to the strengths of the site. Weave it into your culture both in the studio and with the client as part of the design process.

esoteriko

Project Bunker in the Treetops Photography Dave Wheeler

Kerstin Thompson Director Where do you go to appreciate exceptional design?

Cities like Milan where it permeates all aspects of one’s day to day experience from their civically-minded buildings, handsome interiors, metro carriages, graphics of ads to the feel of a glass or cup. But ordinary places and situations too can trigger an appreciation about what is exceptional design, that makes for ease and pleasure of use.

The one thing people always ask me is...

“What’s your favourite building?” or “Who’s your favourite architect?”

Three words that most appropriately sum up my approach to design are...

Embrace, enrich, endure.

What is a key influence that we can anticipate seeing in projects you are yet to release?

COVID-19. It placed renewed attention on the quality of one’s home, especially its amenity. The basics: fresh air, natural light, a view, access to a garden or outdoor room. Our housing work, like Balfe Park Lane will continue to embed these necessities in the bones of a design.

What is the one piece of advice you would share with a young designer?

Distil. A lot of design is over-design and the result of time unnecessarily spent solving additional problems, from the original one, that the designer has introduced. In my experience to distil takes time.

Your 2022 capsule collection: what products and materials do you have your eye on?

Things I have enjoyed over a sustained period is a true test of what I’d choose for a 2022 capsule. Arabia’s Ruska dining set from childhood, still admired for its colours and refined rusticity and the Cestita Alubat portable lamp.

When you walk into a space, what’s the first thing you always notice?

Light. Always the light. Especially if it’s too cold or too bright. The most ordinary, most miserable of rooms can be made intimate and homely with the right quality of light.

What does sustainable design mean to you in 2022?

Re-use as the first option. If a new building can’t demonstrate that it will ultimately reduce our impact on the environment or enable a community and its connection to place to flourish then work intelligently with what already exists.

I

“ f a new building can’t demonstrate that it will ultimately reduce our impact on the environment, or enable a community and its connection to place to flourish, then work intelligently with what already exists...”

– Kerstin Thompson

Photography Dan Preston & Tom Ferguson

KERSTIN THOMPSON ARCHITECT

esteemed 10 | Australia

esteemed 10 | Australia

Project Waffle House Photography Derek Swalwell

Rob Kennon Director Where do you go to appreciate exceptional design?

Last Easter we went camping on the northeast coast of Victoria, where estuaries meet the ocean hugged by beautiful layers of native vegetation. I reminded myself of a thought I often have, that nature is the pinnacle of design.

The one thing people always ask me is...

“How did you achieve that rendered brickwork on your East-West house?”

Three words that most appropriately sum up my approach to design are...

It must belong.

What is a key influence that we can anticipate seeing in projects you are yet to release?

There is no one key influence in our work, many exist. For me, the challenge is how can we best bring all the influences together into architecture with a consistent idea.

What is the one piece of advice you would share with a young designer?

I remember Oscar Niemeyer was once asked a similar question and he responded along the lines of “travel the world and you will be a good architect”. I couldn’t agree more. Go for it, be enthusiastic, get out there, talk to people, understand people and your designs will respond.

Your 2022 capsule collection: what products and materials do you have your eye on?

We like to focus on what is appropriate for the circumstances and are always mindful of using products and materials that will last a long time.

When you walk into a space, what’s the first thing you always notice?

Space is obviously a three-dimensional experience influenced by factors such as light, volume, scale, and sound, so it is impossible for me to say what I would notice first, although I do know you can deliberately influence that first impression. For example, Jørn Utzon in his holiday home Can Lis in Mallorca, placed a tiled wall with a slender moon crest framed view at the entrance, showing only the blue of the ocean. This set the entire mood for the house.

What does sustainable design mean to you in 2022?

We aim to be thinking and designing for the lifecycle of a building, which means considering the building’s current operational performance, as well as its energy consumption and maintenance over its entire lifespan.

Tamsin Johnson Founder Where do you go to appreciate exceptional design?

Travelling. Exceptional design is everywhere, but for me, I’m at my most appreciative when taken out of my everyday environment. My eyes are a bit more open. Locally, I love going to the Sydney Opera House; it’s a magnificent spectacle of imagination. I find it inspiring walking through the botanical gardens and coming across the building; it’s so aloof.

The one thing people always ask me is...

“Where do you find inspiration?”

Three words that most appropriately sum up my approach to design are...

Comfort, freshness, violation.

What is a key influence that we can anticipate seeing in projects you are yet to release?

We’re working on a retail concept drawing inspiration from the late 80s, early 90s northern Italian aesthetic but with a fresh coastal edge giving it a light-hearted touch.

A personal project in Paddington is due to launch early next year. I’ve worked on a blank canvas with multiple purposes to showcase our furniture and decorative art collection in a gallery-like space. I love the Northern Italian liberal approach to design. You can see the long-cultivated formality and elegance, but there is a dynamic and awkward quality that seems to add a little disruption and strange energy to it. I love this irony.

What is the one piece of advice you would share with a young designer?

Go and get practical experience with a designer you respect and admire.

The second piece of advice: travel, of course.

Your 2022 capsule collection: what products and materials do you have your eye on?

I’m working on many different projects, but some of my go-to materials are Venetian plaster, marble, stainless steel, antique bronze, and well-patinated wood, silks and linens.

When you walk into a space, what’s the first thing you always notice?

The light…

What does sustainable design mean to you in 2022?

To save the planet from the sins of the past (and the present), we need to be considerate in all parts of our life. So I look at the materials I’m using and try and be as sustainable as possible. I’m lucky in my design to use a lot of antique and reclaimed finishes and fixtures. It’s central to the feeling of my design, and it demonstrates how beautiful design ought to be valued.

Project Potts Point Photography Anson Smart

amsin Johnson

esteemed 10 | Australia

Photography Martin Mischkulnig

William Smart Principal Where do you go to appreciate exceptional design?

More than anything, I’m inspired by art and sculpture. So, I go to art galleries to appreciate exceptional work. I also love to experience great architecture, so I plan my holidays around visiting buildings that I have read about or studied.

The one thing people always ask me is...

“Is the final building is the same as what you imagined at the start?”

Three words that most appropriately sum up my approach to design are...

Integrity, resolution, spatial.

What is a key influence that we can anticipate seeing in projects you are yet to release?

In many ways, our new projects are developing key ideas and concepts that we have been exploring over the past 10 years, especially the fascination with structural geometry. For example, one of our projects is developing a Ghossein Vaulted roof to bring light into the centre of a column-free photographers’ studio.

What is the one piece of advice you would share with a young designer?

Don’t stop by just giving people what they’ve asked for. Your role is to educate your clients and give them more.

Your 2022 capsule collection: what products and materials do you have your eye on?

I think that we’ve developed a fascination with materials, like brick and concrete – I’d like us to develop our knowledge here to become experts. Concurrently, we are exploring structural wood systems and rammed earth. This exploration is driven by a desire to produce buildings with very low embodied energy.

When you walk into a space, what’s the first thing you always notice?

In a great room, I’m drawn to the light, volume and harmony of the space.

What does sustainable design mean to you in 2022?

Primarily, very low energy and water consumption, and minimising the embodied energy in the construction.

Project Arbutus Photography Romello Pereira

SMART DESIGN STUDI

esteemed 10 | Australia

International

Al-Jawad Pike

CO-LAB Design Office

Framework Studio

Hannes Peer

Kelly Wearstler

MORQ

Olson Kundig

5 Sólidos Studio Arthur Casas Walker Workshop

Proudly supported by Rogerseller

ISSUE esteemed #43 / DESIG 10 | N International INTELLIG ENCE

10

the esteemed 2022 International Design Visionaries

Project Ibiza Design Framework Studio Photography Thomas De Bruyne

esteemed 10 | International

Project Adderbury Hill Photography Ståle Eriksen

Where do you go to appreciate exceptional design?

Instagram is great to see what people are up to, although it’s very image-centric.

Copenhagen is a place where you can really experience a culture of good design. Japan is on the bucket list of places we want to visit.

The one thing people always ask me is...

“Who do you use for timber joinery?”

Three words that most appropriately sum up my approach to design are...

Keep it simple.

What is a key influence that we can anticipate seeing in projects you are yet to release?

Hopefully a bit of Stanley Kubrick and sci-fi.

What is the one piece of advice you would share with a young designer?

Follow your instinct.

Your 2022 capsule collection: what products and materials do you have your eye on?

We are trying to find ways to integrate new, natural and recycled products into our designs, particularly in retail projects. These include using waste plastics in furniture and plant-based bioplastics.

When you walk into a space, what’s the first thing you always notice?

The light.

What does sustainable design mean to you in 2022?

Probably the most sustainable thing one can do is build quality things that last.

l-Jawad Pik

Jessam Al-Jawad & Dean Pike Founders|United Kingdom

Joana Gomes & Josh Beck Founders | Mexico Where do you go to appreciate exceptional design?

We recharge ourselves in natural settings, spending time to understand how nature unfolds. We are particularly interested in the beauty of materials in their raw state, how they integrate, harmonise and age.

We are also inspired by wabi-sabi philosophy and work developed in this meditative practice, where silence, space and time co-create timeless environments.

The one thing people always ask me is...

“Why Tulum?”

Three words that most appropriately sum up my approach to design are...

Timeless, artisanal, fluidity.

What is a key influence that we can anticipate seeing in projects you are yet to release?

We are extremely limited on materials, labour and accessibility – very few materials endure in this climate and getting quality labour is challenging. We do appreciate the work of Aires Mateus, Eduardo Souto de Moura, Axel Vervoordt and John Lautner.

What is the one piece of advice you would share with a young designer?

Learn from experience, be hands-on, trust the process. Experiment more and continuously make things with your own hands to learn more about materials, processing, and discovery.

Your 2022 capsule collection: what products and materials do you have your eye on?

Using more natural materials collected from the sites and context themselves.

When you walk into a space, what’s the first thing you always notice?

The way you feel in the space, the way the energy flows through the space, what views and special moments were created by the designer and how this is composed through design.

What does sustainable design mean to you in 2022?

We are working on a project which aims for net zero carbon emission and we also hope to explore more with bamboo, rammed earth and organic alternatives to concrete.

Project Casa Tepui Photography César Béjar Studio

CO-LAB DESIGN OFFICE

esteemed 10 | International

Thomas Geerlings Founder & Creative Director The Netherlands Where do you go to appreciate exceptional design?

If you search for it, you will not find it. Keep your eyes open and look around you. Go to galleries, museums, parks, forests, city centres and small villages. Everywhere there is detailing and fascinating natural design around you.

The one thing people always ask me is...

“What do you think about my house?”

Three words that most appropriately sum up my approach to design are...

Context – to us context is everything; defined by the people, object and location.

What is a key influence that we can anticipate seeing in projects you are yet to release?

Detailing. We are focusing more and more on craftsmanship and appreciating the quality of detailing that comes with it.

What is the one piece of advice you would share with a young designer?

Learn, listen and try as much as possible.

Your 2022 capsule collection: what products and materials do you have your eye on?

We have always worked with quite rough materials yet we now see a change in direction towards more treated materials. However, methods of treating the materials, the sand casting of concrete, water blasting of natural stone, the rough carving of timber and joinery in carpentry will be visible more and more in our projects, enabling the true identity of the materials to come through.

When you walk into a room, what is the first thing you always notice about a space?

The layout in relation to the front door and entrance. We choose not to reveal a space all at once.

What does sustainable design mean to you in 2022?

Quality. Quality will prevail us, and therefore be our saviour.

Photography Th

Framework Studi

homas De Bruyne

Hannes Peer Founder | Italy Where do you go to appreciate exceptional design?

In Milan, this is very easy, for example, the Triennale design museum where you have literally the best of the best exhibited. Otherwise, there are amazing museum homes, we call them ‘Casa Museo’ like Casa Boschi di Stefano or the amazing Villa Necchi Campiglio in Via Mozart here in Milan.

The one thing people always ask me is...

“Where do you find inspiration?”

Three words that most appropriately sum up my approach to design are...

Eclectic, functional, bold.

What is a key influence that we can anticipate seeing in projects you are yet to release?

A key influence is the client itself. Our job as architects and interior designers is to create spaces around and for our clients. It is important not to forget our social mission. A project only works if it is made-tomeasure, a project cannot be some sort of aesthetic playground to satisfy the architect’s ego. We need to find our roots, focus on materials, comfort and sustainability.

What is the one piece of advice you would share with a young designer?

To research as much as possible, to know as much as possible, to invest in your personal cultural growth.

Your 2022 capsule collection: what products and materials do you have your eye on?

Definitely all available types of wood and in particular composed wood, like plywood and chip wood.

When you walk into a space, what’s the first thing you always notice?

Natural light: how the space is imbued with it, light and shadow, chiaroscuro.

What does sustainable design mean to you in 2022?

The mainstream has shifted. If designers will focus on quality, comfort and sustainability and the customers invest in the same qualities, I can definitely see a promising future in such a pragmatic approach, by ‘making good design’, as Vico Magistretti called it.

Project Casa Ortello Photography Helenio Barbetta

Hannes Pee

esteemed 10 | International

Kelly Wearstler Founder | North America Where do you go to appreciate exceptional design?

Visiting galleries, museums and vintage design stores in my hometown and when travelling. I read every day including magazines, both digital and print, and books that bring historical and contemporary departures of inspiration. Pinterest, Instagram and Tik Tok are also amazing tool for discovering and connecting with other creatives and designers.

The one thing people always ask me is...

“Where do you find inspiration and what’s your advice for finding your own inspiration for projects?”

Three words that most appropriately sum up my approach to design are...

Evolution, experiment, play.

What is a key influence that we can anticipate seeing in projects you are yet to release?

I am always evolving as a designer and to do that I will be consistently aiming to push boundaries, whether that be in materials, medium or collaborations.

What is the one piece of advice you would share with a young designer?

Every space has a unique and inspired narrative to tell. Although daunting at first, it is important to find your own voice. This is a constant and evolving journey, that is continuously carved and reshaped as you explore new narratives, countries and design eras – the list is endless.

Don’t be afraid to take risks, sometimes the most beautiful decor comes from the most unexpected pairing.

Your 2022 capsule collection: what products and materials do you have your eye on?

Next year will be an extremely exciting one for my studio; each year we evolve and grow in new ways. Earlier this month we collaborated with Dutch studio Rotganzen on a special, limited-edition series of its Quelle Fête collection as part of a new platform on our e-commerce site. Working with artists and creatives on projects is truly the highlight of my profession.

When you walk into a space, what’s the first thing you always notice?

The first thing I take in is lighting. It sets the mood to a space. Lighting guides the eye around the room. I love to play around with placement – mixing low, medium and high levels as well as bringing in recessed lighting, table lamps, sconces, and overhead pendants.

What does sustainable design mean to you in 2022?

It’s incredibly exciting to see architects and designers use creativity to develop environmentally-conscious elements in their design endeavours. I think technology will continue to be a huge influence on sustainable design and materiality, making interiors more and more refined, comfortable and sustainable.

Photography Joyce Park

Project Malibu House Photography Courtesy of Kelly Wearstler

KELLY WEARSTLE

esteemed 10 | International

Matteo Monteduro, Emiliano Roia and Andrea Quagliola Co-directors | Italy Where do you go to appreciate exceptional design?

We were all lucky to be born and raised in Rome and enjoy its beautiful architecture and art. The city still has a great impact on our imagination. Australia offers us a completely different scenario and emotions. We appreciate its landscapes and its strong horizontality and vastness. We love it.

The one thing people always ask me is...

“Could you tell us about the penumbra in your work?” A bit curious, a bit worried, bit intrigued…

Three words that most appropriately sum up my approach to design are...

Essential, primitive, Mediterranean.

What is a key influence that we can anticipate seeing in projects you are yet to release?

We do believe that in this moment of our life, it is important to “look inside” ourselves more than outside. Therefore, we think that the projects we are currently working on are more echoes of experiences we have lived.

What is the one piece of advice you would share with a young designer?

Getting deeper into whatever you are passionate about requires time.

Better to start as soon as possible.

Your 2022 capsule collection: what products and materials do you have your eye on?

We try to modulate natural light and use certain materials in our work to achieve an atmosphere and feeling, which we can define as serene and pared down.

When you walk into a space, what’s the first thing you always notice?

Natural light, proportion and depth of space.

What is sustainable design to you in 2022?

Vernacular architecture from the past was already extremely sustainable: careful planning, understanding of the site conditions, orientation, protection from dominant winds, and depending on the latitude, protection from the sun. We believe that they still are the fundamental aspects to consider for a sustainable approach for the kind of projects we are working on.

MORQ

esteemed 10 | International

Project Villa RA Photography Givlio Aristide & Pep Sau

Project Bilgola Beach House Photography Rory Gardiner

Tom Kundig Principal and Owner North America Where do you go to appreciate exceptional design?

I look to other living architects that I admire, whose work always interests me – Glenn Murcutt, Peter Zumthor, Steven Holl, Jacques Herzog and Pierre de Meuron. Travel is another way to experience great design.

The one thing people always ask me is...

“Will there be a gizmo?”

Three words that most appropriately sum up my approach to design are...

Rational, intuitive, authentic.

What is a key influence that we can anticipate seeing in projects you are yet to release?

In every project I’m currently working on, there’s an element that hopefully meets a standard of audacious innovation. It doesn’t work to have a building that’s entirely radical, but there are always experiments happening – whether on a tiny, nanoscale or something much larger.

What is the one piece of advice you would share with a young designer?

Architecture is hard, slow work. I always tell young architects to have patience – the practice of architecture is complicated and there is so much to learn.

Your 2022 capsule collection: what products and materials do you have your eye on?

Throughout my career, I’ve been most interested in working with natural materials. There are some real innovations happening with wood right now especially that are very intriguing. And of course, I’ll continue using other materials like concrete, steel, glass, fabrics and leather, always seeking to use them purposefully and in a way that takes full advantage of their authentic, natural qualities.

When you walk into a space, what’s the first thing you always notice?

I notice my visceral, emotional, intuitive response to what that space feels like. That’s true whether the space is very large, very small, or anything in between. It’s an awareness of how the entire, 360degree volume heightens your senses, what you can feel in the space even if you’re not looking at it.

What is sustainable design to you in 2022?

I often say architecture is the bridge connecting humans to their world. Sustainable design creates a rational response to something that is, as its basis, about consumption. It has to consider what exists already, what could be repurposed or rethought in a disciplined, efficient way. Designing sustainably means engaging a true, holistic understanding of all the implications of your decisions, not just going down a checklist.

LSON KUNDI

esteemed 10 | International

Daniel Correa, Elisa Ortega, Maria Jose Fernandez Co-directors | Colombia Where do you go to appreciate exceptional design?

Now, more than ever, projects that are being built everywhere are presented to us in real-time, and we have the capacity to learn and adapt these ideas to our own resources. Nevertheless, it is also important to understand how exceptional design can be linked to our own historical and cultural context.

The one thing people always ask me is...

“How long do these projects take to complete?”

Three words that most appropriately sum up my approach to design are...

Sophisticated, detailed, cohesive.

What is a key influence that we can anticipate seeing in projects you are yet to release?

We are currently working on J Balvin’s apartment in New York.

What is the one piece of advice you would share with a young designer?

Travel, learn and investigate continuously, this will feed you with the tools you need to build your own voice.

Your 2022 capsule collection: what products and materials do you have your eye on?

We are currently working on our own furniture collection and we will be releasing the brand 5 Solidos Objects very soon.

When you walk into a space, what’s the first thing you always notice?

Light is probably one of the most powerful elements in a space. It completely transforms the energy that inhabits it.

What is sustainable design to you in 2022?

Sustainability can take on a lot of shapes, so we like to understand it from a holistic perspective. The use of natural, local materials and craftsmanship is a way to understand sustainability through its socio-economic impact. Meaningful and timeless design will always eventually translate into sustainable living practices.

Project Casa dos Aguas Photography Mateo Soto

5 Sólidos

esteemed 10 | International

esteemed 10 | International

Project DS House Photography Ricardo Labougle

Where do you go to appreciate exceptional design?

The Milan Design Fair. I go almost every year. What’s new or surprising will certainly be released there.

The one thing people always ask me is...

“How did you start your career?”

Three words that most appropriately sum up my approach to design are...

Comfort, aesthetics, innovation.

What is a key influence that we can anticipate seeing in projects you are yet to release?

I live in a city, São Paulo, that’s very dense and very grey. I’m looking to create sustainable architecture that includes aesthetics and the abundant use of vegetal mass.

What is the one piece of advice you would share with a young designer?

Give up the profession if you don’t feel restless or aren’t losing sleep. It is a profession that requires a lot of talent and resilience.

Your 2022 capsule collection: what products and materials do you have your eye on?

I don’t know about the products, I design according to the demand of those who hire me. As for materials, each company usually works better with a certain material and I like to work with everyone, especially those I haven’t worked with yet.

When you walk into a space, what’s the first thing you always notice?

Everything: I notice the floors, the walls, the ceilings, the finishings.

Observing is a fundamental characteristic of the profession.

What does sustainable design mean to you in 2022?

I don’t think about the conceptual meaning of it much, I worry about the origin of the materials I use. I express my concern for the planet through my actions, how I behave, my choices and certainly through my work.

tudio Arthur Casa

Arthur Casas Founding Architect | Brazil

Project Mandeville Canyon

WALKER WORKSHO

Photography Joe Fletcher

Noah Walker President | North America Where do you go to appreciate exceptional design?

When I’m inspired by something, I turn to books: tactile, slow, and permanent. Of course, the best of all is to see the work in the flesh, whether that be a visit to a special house or to see a piece in a museum.

(Finish this sentence) The one thing people always ask me is…

“Can you create something that nobody has ever seen before?”

Three words that most appropriately sum up my approach to design are...

Attention Attention Attention.

What is a key influence that we can anticipate seeing in projects you are yet to release?

Naoshima Island in Japan... A place with rich dedication to art, architecture and nature in balance. Tadao Ando, James Turrell, Lee Ufan all moved me to consider simple platonic and boolean forms, triangular shapes, cubic shapes and generally pure geometries.

What is the one piece of advice you would share with a young designer?

When you walk into a space, what’s the first thing you always notice?

Keep a measuring tape in your bag, or better yet a laser measuring tool and measure every space you encounter that inspires you or even just a space that simply works well. I still travel with a laser and do the same.

What a room sounds like is often an indication of how well it’s built and maybe, this also has to do with my passion for music. There’s architecture, but then there’s also the architecture of sound, how it becomes, how it’s received, how it fills a space.

Your 2022 capsule collection: what products and materials do you have your eye on?

What does sustainable design mean to you in 2022?

Copper and bronze not only have beautiful patinas as they age, but they also possess anti-microbial and antiviral properties – critical in this era. I’m also paying attention to circadian lighting systems that can subtly modulate colour temperature to better fit the living patterns of inhabitants.

Mass timber construction and 3D printed houses. I’m currently fond of Mutina tiles, especially the Bouroullec Brothers, Nordic Knots carpets, Pelle lighting and sculptural furniture by Jean-Guillaume Mathiaut.

Lastly, “Outsider” art and architecture.

Be smart with passive environmental techniques. Try to design homes that use as little energy as possible. In Southern California, where the weather is often almost perfect and easier, this means designing homes that can open up and breathe. Try to be smart about reclaiming and re-using; source products wisely and ecologically. Finally, take a cue from the fashion world, which is thankfully starting to reject “fast fashion”. “Fast architecture” should also be rejected.

Project Mandeville Canyon Photography Joe Fletcher

WALKER WORKSHO

esteemed 10 | International

Introducing the stylish black oven range.

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Perfect for those looking for something different. www.bosch-home.com.au

KELL WO

Multi-disciplinary designer Kelly Wearst an ever-evolving stage for h

WORDS So PHOTOGRAPHY Court

LY’S ORLD

tler’s home in Beverly Hills, California, is her innately cool creativity.

ophie Lewis tesy of Kelly Wearstler

The custom Kelly Wearstler Bravado Graphite runner on the staircase engages with the Georgian ironwork through unexpected patterning and contrast.

A vintage Marquina marble table accentuates the curved narrative.

ISSUE #43 / FEATURED HOME

T

o enter the world of Kelly Wearstler, founder and principal of her namesake studio and brand, you must first get to know her virtual milieu. She engages with an Instagram following of 1.8 million through a signature mood board of interiors, styling, fashion, art and flea-market finds; a feed that is equal parts evocative, playful and personal.

Since founding her interior design studio in 1995 and playing a pivotal role in the rise of the designer hotel in America, Kelly Wearstler has established an interdisciplinary force for design products and projects.

Her Beverly Hills home for the past 15 years which she shares with her husband Brad Korzen, their two sons Elliot and Oliver and dogs Javier and Willie, is a constant muse on Instagram, distilling both her instinctual design approach and the building’s star-studded history. First built in the 1920s for Hollywood’s famed silent film actor Hobart Bosworth, Kelly purchased the home from the Broccoli family – creators of the James Bond franchise, in 2005. “I love the rich Hollywood history of the house,” she says.

“My style is all about old soul and new spirit, so this home is the perfect embodiment of what I seek to achieve when designing spaces.”

ISSUE #43 / F EATURED HOME

Kelly says lighting sets the mood of a space. She specifies light fixtures that are a piece of sculpture in themselves, such as the playful Shield sconces in her foyer by Luke Lamp Co. that can be moulded into different shapes. Materials, such as the Arabescato Carrara, Nero Marquina and Italian Verde patterned floors, were selected to underpin the home’s glamorous Hollywood history and architectural details.

Kelly creates a sequenced sense of discovery from one room to the next in her home by seeking out rare and unusual pieces and curating them with her custom work. The living space features her custom sofas, and Dolores armchairs designed by Rob Eckhardt, together with vintage and flea market finds.

ISSUE #43 / F EATURED HOME

Originally Spanish Colonial in style, architect James E. Dolena, loved by A-listers at the time, remodelled the home as Georgian in 1934. “The house has so many amazing architectural features – from the intricate Georgian, Federal and Neoclassical mouldings to the handsome marble bathrooms and the solid boiserie panelled doors,” Kelly says. Her material mix speaks to the home’s confluence of styles, engaging with the existing architecture, but at times through tension and unexpected pairings, creating contrast.

The home’s manicured surroundings uphold a sense of place. “What you see outside the window becomes a part of your interior experience,” Kelly maintains. “I designed my garden in collaboration with Art Luna studio to include a sculptural element. I tried to reflect this inside by introducing architectural elements and sculptural furniture to create a conversation between the interior and exterior.”

The designer is quick to admit; she didn’t take any risks in her own home that she wouldn’t with a client. “The only difference is that I use our home as my creative laboratory to experiment with new works I discover by artists and artisans and antique treasures I find in my travels,” she says. This underpins her design sensibility; “my aesthetic has always been about mixology and juxtapositions,” she adds.

Texture is an important part of Kelly’s approach, as seen in the dining room with her goat hair-upholstered Sonnet chair, Entler 6-Globe plaster chandelier and antique ceramic table cast as a tree trunk. A Split mirror by friend Lee Broom also features by the bay window.

The original wood panelling creates a warm atmosphere, together with the vintage leather lounge chairs designed by Illum Wikkelso. A Robert Roesch sculpture and Kelly’s Ives consol designed using ebonised oak and marble also feature.

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Kelly custom-designed her kitchen using stainless steel cabinetry and solid brass trim. The kitchen also features her Precision pendant and Heath bowl.

For Kelly, lighting sets the mood of a space and often resembles a piece of sculpture in her projects. Her innate curiosity emanates from the Shield sconces in her foyer by Luke Lamp Co. – custom LED rope lighting made in New York City that can be moulded into different shapes.

Kelly sees corners as “naturally carved out spaces” for expression, and it’s where she creates a “meeting of meaningful designs” through maximal texture, scale and pattern. Take Misha Kahn’s 2019 bench Somewhere in the Multiverse – a hand-crafted piece made from concrete, steel, glazed earthenware and enamel that Kelly commissioned for her upstairs hallway, or the pair of Utrecht chairs by Gerrit Rietveld in the powder room vestibule, upholstered in Kelly’s geometric District fabric.

Kelly’s home is anything but precious. As the testing ground for unorthodox ideas, it speaks to every part of Kelly’s infectious energy: glamorous, light-hearted and warm, all at once.

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“ The furnishings are by a mél ange of pro gressive contempor ary furniture designers and artists, with i m p o r ta n t v i n ta g e f u r n i t u r e alongside.”

- Kelly Wearstler

Inside the bedroom of one of Kelly’s sons, a four-poster burlwood bed from the 1970s, two buttery leather vintage Togo Fireside chairs by Michel Ducaroy from the same era and a lamp by Los Angeles artist Garry Knox Bennett hone a rich and tonal dialogue.

A pair of Utrecht chairs by Gerrit Rietveld upholstered in Kelly’s district fabric.

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ISSUE #43 / F EATURED HOME

Kelly worked closely with Art Luna studio on the poolhouse and landscaping, reflecting the home’s consistent sculptural thread. The Krios loungers by Conrad Sanchez and coupe-shaped umbrellas by Paola Lenti are for relaxing by the pool – in true Beverly Hills style.

Signature

KELLY

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01. BELTED COTTON-GABARDINE TRENCH COAT | BURBERRY 02. SHIELD SCONCE 4.2 | LUKE LAMP CO 03.

MASK BLACK WITH BLACK LENS SUNGLASSES | RICK OWENS 04. MONOLITH POINTY BRUSHED LEATHER LOAFERS | PRADA 05. STRONG SHOULDER QUILTED LEATHER DRESS | BALMAIN 06. SOUFFLE CHAIR | KELLY WEARSTLER 07. NIKI 105 BOOTS | SAINT LAURENT 08.

MORRO SIDE TABLE | KELLY WEARSTLER

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ISSUE #43 / DESIG N INTELLIG ENCE

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Design Studio Andrew Trotter Photography Salva Lopez Curation Will Pyett

DESIGN INT What happens when designers hopscotch between fashion and design?

This iconic trio learned that it’s possible to go from one to another without compromising their design aesthetic.

WORDS Rachelle Unreich

WORDS xxx CURATION Jack Seedsman

ERSECTION

Photography Courtesy of OWENSCORP

ISSUE #43 / E XCLUSIVE F EATURE

RICK

OWENS

At first glance, the fashion collections of American designer Rick Owens – dubbed “The Lord of Darkness” for his gothic aesthetic, look nothing like his furniture. The clothes are edgy and sculptural, but also wearable. As for his chairs and beds, for example, the pieces are similarly brooding and edgy, but are they comfortable? That isn’t top of Rick’s ethos, who says he tends towards things that look “timeless and noble,” opting for gravitas rather than sentimentality.

The through-line? Everything he touches is a show-stopper. And nothing he does is overdone; that would not be in line with the strength he aims to show. “It’s a doomy era,” he told the New York Times even before the pandemic landed. Perhaps that’s why he veers to monotone colours, especially black, and even his neutrals bear weight. His goal? He once said it was to “elevate the mundane.”

Rick Owens B.Bed (Alabaster) / 2010

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Rick Owens Swan Armchair (Natural Plywood) / 2018

FW21 GETHSEMANE Girdered down bomber jacket

ISSUE #43 / E XCLUSIVE F EATURE

SS22 FOGACHINE objects Rick Owens Knife Rick Owens Tea Spoon Rick Owens Fork Rick Owens Spoon

PHOTOGRAPHY courtesy of OWENSCORP. RICK OWENS FW21 GETHSEMANE, Look 02

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FAY E TOOGOOD As a designer of furniture and objects, Britain’s Faye Toogood understands how to create pieces that will have a cult following.

Take her Roly Poly Chair, and the Puffy Lounge Chair designed for Hem – their names give you a sense of her playfulness, but what customers really loved was the notion that pieces could be both edgy and inviting. A decade ago, she turned her hand to fashion design together with her sister Erica and these days her clothing complements her furniture: her crumpled dress, for example, could be a sartorial version of

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her crumpled armchair. Toogood’s pieces are all stripped down, often highlighting the irregularity of the materials or their raw forms. She told Matches Fashion, “Every time we do a collection, we’re trying to challenge the norm. Objects and clothes that don’t dominate, fit into different environments,

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and make you feel great.”

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01. The Beachcomber Jacket / Quilt Flint, Birkenstock x Toogood

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02. The Beachcomber Sandal / Nappa Chalk, Birkenstock x Toogood 03. The Beachcomber Shorts / Quilt Flint, Birkenstock x Toogood 04. Puffy Lounge Chair / natural and cream steel, Toogood x Hem

Image courtesy of Hem. Photography by Heiko Prigge

Image courtesy of Toogood

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Maquette 234/Canvas & Foam Sofa,designed by Faye Toogood, 2020.

Photography Angus Mill, courtesy of Friedman Benda and Faye Toogood

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ANN

DEMEULEMEESTER When Ann Demeulemeester walked away from the Belgian brand that she started with her husband Patrick Robyn – whose hallmark was being moody, romantic, ethereal and a study in monochrome – she turned to another kind of design, producing homewares including porcelain dinner dishes. “I wanted to leave myself time to try another kind of life,” she explained. I wanted to be vulnerable again. To be starting out, finding something difficult.” Having since stepped back in as an adviser for the label, there’s a clear symmetry between her fashion and furnishings. Her lights, for example, using very fine porcelain ribbons to make them distinctive and reflective; in her clothing, ribbons also played a notable role. Whatever the case, she has always made people reconsider their views on certain things – such as her use of the colour black. “Black is not sad,” she has said. “Bright colours are what depresses me. They’re so empty.

Black is poetic.”

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Kiki table lamp, black/white desigend by Ann Demeulemeester for Serax.

Ann Demeulemeester AW20 Paris Fashion Week.

Photography Ancira Adeon

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Graded-colour silk dress designed by Ann Demeulemeester.

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De Plate range designed by Ann Demeulemeester for Serax.

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Solace

in the City The past and present are artfully united, offering solace from the city in this meticulously renovated Haussmann-style Parisian home in the city’s 16th Arrondissement.

LOCATION Paris, France DESIGN Architect Nicolas Schuybroek PHOTOGRAPHY Claessens & Deschamps WORDS Megan Rawson

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W

hen famed creative Barbara Boccara of covetable fashion label Ba&sh enlisted the expertise of Belgian-based architect Nicolas Schuybroek, to transform a once dated and starkly decorated apartment for her and her partner to escape to, she

gravitated towards Nicolas’s authentic and understated approach.

Barbara approached Nicolas with her ideas of crafting an inviting home that was both natural and artisanal – an aesthetic hallmark that underpins Nicolas’s work. Her brief called for a new era and, with it a calming space that captured the grounding essence of a minimalist retreat to counterbalance her busy jetset lifestyle.

Aligned on delivering a single vision for their project, Barbara and Nicolas worked in synergy together, with Barbara’s respect for the creative process and passionate involvement allowing for greater depth and understanding during each design phase.

Overlooking the leafy avenue below with views towards the Arc de Triomphe, the light-filled apartment was hiding most of its original architectural details and in need of a new, modern chapter. “While we wanted to make the original charm of the apartment visible again, we also had to find a way to create easy circulations and introduce tactile materials, which you don’t usually experience in a typical Parisian apartment,” Nicolas reflects.

Clay-finished walls and Serge Mouille Antony sconces create a sense of quiet sophistication in Barbara’s bedroom. The bedroom is also home to Dan Pollock’s solid cedarwood stools (2014), a Charlotte Perriand Méribel chair, vintage Jean Touret and Artisans de Marolles desk and Domestikator lamp (2018) by Atelier van Lieshout.

With its classical bones still intact, he looked to restructure and rebalance the volumes of each room and introduce a quiet sense of luxury. Changes to the home’s layout were straightforward but profound; the kitchen was relocated from the back of the apartment to the front to allow more space to transform a once confined corridor into two walk-in closets and a utility room, while all ceilings and walls were restored back to their former glory.

Strong but understated material elements were introduced. Walls were finished in a cloud white textured clay, the sandblasted Chambolle sandstone kitchen benchtop is the colour of rich soil and the wide-plank oak floors throughout have been treated to echo a worn farmhouse floor.

Applying a ‘one metal, one stone, one wood, one wall finish’ approach to the interiors Nicolas explains, “All these materials are close to each other, colour and texture-wise, and as a whole, create a soothing harmony”.

Reflective of Nicolas’s signature design, distinctive artworks and objects by local and global artisans deliver authenticity to each space where balanced rustic elements sit alongside buttery-soft textiles, sculptural centrepieces, and a mix of iconic custom and collectable vintage furniture. “The idea was to extend the rough, tactile materials through the furniture and the artworks,” he says.

Nicolas’s eye for texture, surface and shape mean that each item has been carefully considered in its placement. Lighting pieces such as the Raku Yaki ceramic wall sconces by Emmanuelle Simon and Lampadaire Grand Totem by Serge Mouille sit alongside an iconic 280 Zig Zag chair by Gerrit Thomas Rietveld for Cassina and Chandigarh chairs upholstered in linen by Pierre Jeanneret.

Hallmarked with an evocative arrival of creative disciplines, this Parisian apartment offers its equally creative homeowner both respite and an inspiring deep-dive into texture, light and art. Nicolas has ensured that each space sits at ease with an elegant, everyday life in Paris.

In the dining room, a custom table made from Afrormosia wood is paired with Grass-seated chairs in walnut and Danish cord by George Nakashima Studio.

A small lithograph by Jan Schoonhoven (1976) features above the dining table, while a rare circa 1950s ‘Hanakago’ vase by Iizuka Rōkansai sits atop.

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A sculptural Half Box Chair in petrified wood by Rick Owens makes a gallery-like statement in the entrance space. A pair of Raku Yaki ceramic wall sconces by Emmanuelle Simon are a nod to modern French design, while Nicolas’ Belgian influence is revealed through Harold Ancart’s work ‘Perfect Idea, after You Have No Idea’ (2014).

A plush, oversized Living Divani sofa in Belgian linen and concrete coffee table by Kalou Dubus (2019) reflect contemporary design. They feature alongside collected pieces by iconic midcentury design legends including Le Corbusier, Pierre Jeanneret, Serge Moille and Jean Royère.

“While we wanted to make the original charm of the apartment visible again, we also had to find a way to create easy circulations and introduce tactile materials...”

– Nicolas Schuybroek

Custom crafted Obumex kitchen cabinetry in a gunmetal finish and countertop cast in sandblasted Chambolle stone evoke an artisanal appeal within the kitchen.

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Pictured: Architect Nicolas Schuybroek

Project: Balmoral House II | Builder: 3Corp | Architect: PopovBass | Photographer: Pablo Veiga

Keeping true to the original European oak colour, Freado creates a neutral backdrop for any application.

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Project Casa dos Aguas Design 5Solidos Photography Mateo Soto

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THE LIBRARY Start the New Year with the latest design book releases.

PHOTOGRAPHY - A FEMINIST HISTORY EMMA LEWIS

CHARLOTTE PERRIAND: THE MODERN LIFE JUSTIN MCGUIRK

STOP PAINTING PETER FISCHLI

WEATHERING TIME NANCY FLOYD

JAPANESE DESIGN SINCE 1945 POLLOCK & KANAI

REM KOOLHAAS, OMA + AMO / SPACES FOR PRADA BENJAMIN WILKE & REM KOOLHAAS

GRAY MALIN: THE ESSENTIAL COLLECTION GRAY MALIN

TOM FORD 002 TOM FORD & BRIDGET FOLEY

ROOMS STEVEN VOLPE

SEE MORE BOOKS >

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10 22 for

Design is often two steps forward and one back, with some of the most coveted designs loosely referencing the past, yet taking us forward to see things in a new light. From furniture through to lighting, these 10 products selected by the est living editorial team capture the essence of what’s on the horizon for 2022 and beyond.

Criteria selection is based on the product’s timelessness, the frequency of inclusion in projects, and the calibre of designer collaboration.

WORDS Stephen Crafti

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590H VOLA MIXER Arne Jacobson

The 590H one-handle VOLA mixer by Arne Jacobsen does so much with so little. Originally designed in 1969 for Danish brand VOLA, the mixer’s elegant form performs numerous functions and includes a swivel spout and water-saving aerator.

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ACERBIS STORET Nanda Vigo

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The Acerbis storet was first designed by Nanda Vigo in 1984. Although the Memphis period has taken hold in the last couple of years, not all designers warmed to the garish colours used in furniture and objects from the early 1980s.

So, it’s not surprising that Nanda Vigo won over an enormous following for her Acerbis storet, featuring lacquered drawers in softer and calmer hues.

Photography Courtesy of Acerbis

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MOLINARI LIVING BIBENDUM SOFA Lucy Kurrein The Molinari Living Bibendum sofa references the late 1960s through both its stackability and adaptability, presenting as a series of stacked seats and backrests. Designed by Lucy Kurrein, the Bibendum sofa takes on a contemporary edge with its distinctive circular pedestal base.

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BAXTER BARRET Draga & Aurel

Baxter Barret armchair by Draga and Aurel takes the best from the 1970s and creates an armchair that’s perfect for today. With its curvaceous organic form and ruched leather armrests that almost disappear into the chair, the Baxter Barret moulds to the body – offering a sense of cocooning.

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CHIARA FLOOR LAMP Mario Bellini

Chiara floor lamp by Mario Bellini, a re-release from 1969, was originally created as a flatpack design. Reinvented in 2020, the lightweight floor lamp, made of steel, still retains its distinctive hood-like canopy, but is infused with the latest technology. Produced

by Flos, its lightweight, almost skeletal silhouette, has a sense of ‘otherness’ that goes well beyond the traditional floor lamp.

Photography Courtesy of FLOS

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‘GROOVY’ CHAIR Pierre Paulin

Pierre Paulin’s Groovy chair for Artifort is enjoying a resurgence with designers who are seeking contemporary furniture from the 1970s. The Groovy chair, circa 1973, covered in boucle (the originals were often covered in stretch fabrics) adds a tactile quality that’s appreciated in a postCOVID-19 world.

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SERIES 430 CHAIR Verner Panton

Verner Panton’s Series 430 chair, designed in 1967, is part of the late 1960s returning to favour in recent years.

Fully upholstered and also stackable, this multi-purpose chair looks as good around a kitchen table as it does in a more formal setting, such as in a dining room. The chair’s relatively small footprint also makes it highly attractive for the smaller spaces.

SIGNAL Z PENDANT Gabriel Hendifar for Apparatus Part of Apparatus Studio’s latest collection, the Signal Z pendant by Gabriel Hendifar draws on a glamorous 1960s aesthetic. A time of futuristic designs, Gabriel infused the Signal Z pendant with a space-age-like quality through the press glass and brass. Using vintage light components also focuses on our current and future concerns for sustainability.

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SHALLOW POT Vincent Van Duysen for When Objects Work

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The Shallow pot by Vincent Van Duysen for When Objects Work is like the Belgian architect’s residential design; beautifully resolved. The Shallow pot in a new chrome finish, combined with ceramic, sparks the imagination about different combinations of materials in Objet d’art.

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HT313 DINING TABLE HENRYTIMI

HT313 dining table by HENRYTIMI combines both function and art. The dining table appears to be carved from one material, in this case timber, while the pedestal base created as a circular form, frees up legroom. When designers are looking to say more with less, HENRYTIMI’s dining tables say it all.

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WHERE ARCH

RICHARD An unanticipated rethink of plans

ultimately developed a dialogue between the historical and contemporary in architect Richard Found’s stone house in the UK’s Cotswolds.

PHOTOGRAPHY Courtesy of Found Associates ARCHITECTURE Found Associates WORDS Karen McCartney LOCATION Gloucestershire, United Kingdom

HITECTS LIVE

D FOUND

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he original early 19th-century gatekeeper’s cottage set on a 16-acre site of woodlands and lake, was bought by architect Richard Found of London-based practice Found Associates, with plans for a county retreat for himself and

his family. He had ambitious plans for a new build when a Grade 2 heritage listing scuppered any notions of demolition and instead demanded a re-think of the approach to the site. “The local planners were very keen for the cottage to remain the dominant feature on the site therefore the extension needed to be set back,” he says.

No doubt, taking a deep breath, he developed a dialogue between the historical and the contemporary. “I now love the relationship between the old and new; the restrictions only made the project more interesting in my mind,” he notes.

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The ingenious design solution was to tuck the new buildings into the landscape, reducing the perception of built form by using local stone in a series of dry-stone field walls. “These walls descend down the slope of the land behind the cottage articulating the new building into three sections – the entrance and link to the cottage at the same floor level, a lower section to the west housing the main living areas and a raised wing to the east set further back into the slope which provides the more private spaces of the bedroom accommodation,” the architect says. The roof is considered the fourth elevation, as the building only emerges from the ground on three sides. What unites the buildings and reduces visual distraction is the restricted material palette. “The landscape was what I fell in love with originally and I became obsessed with the view looking down to the lake or looking up the valley. I enjoy the smoothness of the concrete against the irregularity of the cottage stone. However, it was important to me to tonally match the two,” Richards says.

The interior is minimal but warm – due to the natural elements – the stone and even the stacks of wood for the fire. The restricted material palette inside and out is a tremendous unifying factor but within that allows for a play of textures – rough and smooth, natural and manmade, irregular and precise.

This setting between woodland and water is remarkable, and Richard has been able to make the most of daylight. “I think we were lucky with the orientation of the site as it is south facing, so we get an incredible amount of sun pouring into the glazed sections of the building,” he says.

As a family, they are drawn to the different qualities of space within the new and old parts of the house at certain times of day, season and occasion.

“We usually enjoy spending most of the day in the main house then coming into the cottage for evening drinks with a roaring fire. If we have guests, we seem to use all areas of the house at different times of the weekend. One night we may have drinks on the roof terrace, another in the main living room below. All card or board games take place after dinner in the intimacy of the cottage.”

With an interior that is minimal but warm – often due to the natural elements such as the characterful stone and the irregular stacks of wood for the fire – it provides a context of calm. “I instantly relax upon arrival at the property.

The tranquility and isolation definitely provide the perfect backdrop conducive to creative thinking,” he says. “It’s the perfect place to write, paint, design as well as being a place where we love to entertain as a family.

It is the tonic required for our frenetic lives in London.”

The orientation of the site was fortunately south-facing letting daylight pour through the new glazed sections of the building. Richard says the last 30 minutes of evening sun on the lake “make for a fabulous view” from the main living room.

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“I instantly relax upon arrival at the

property. The tranquillity and isolation definitely provide the perfect backdrop conducive to creative thinking.”

– Richard Found

Initially, Richard says he had planned to make the cottage more open-planned but realised it made more sense to respect its layout and scale.

He decided the cottage should be restored as sympathetically as possible to its original aesthetic.

The original gamekeeper’s cottage now feels as though it is celebrated – sitting on a limestone plinth and framed by the linear forms of the new wings.

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DESIGN

ODYSSEY Interior designer Nina Maya brings her unique artistic vision to Sydney’s Northbridge.

DESIGN Nina Maya Interiors

PHOTOGRAPHY Felix Forest WORDS Haydn Spurrell

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ina Maya’s career is something of an odyssey. By the age of 21, the textiles graduate was the head of Italian fashion house Grazia Bagnaresi, facilitating a move back to Australia to establish her own range. Yet after exponential growth and six years in the fashion world, Nina realised this was no

longer what she wanted to do.

After a year’s sabbatical back in Europe, Nina seamlessly translated her skills from fashion to interiors, a move she views as a natural progression. “Our fashion and our homes have one crucial similarity; they’re a fundamental form of expression,” she says although she admits despite the transferable skills, new to her was the art of spatial awareness and playing with light and the magical ways in which it can transform one’s experience of a space.

The formal living space showcases a custom sculptural sofa and armchairs, coffee table designed in collaboration with Oliver Tanner Art & Design and rug in collaboration with Robyn Cosgrove. The Agatha 3 Tops coffee table and Jade glass stool by Draga & Aurel echo the waterfront views of Sydney’s Sugarloaf Bay. Artwork, ‘Certain Uncertainties’ (2020) by Marisa Purcell.

The dining space features chairs and a table custom-designed by Nina Maya for the project, with the Covenant pendant in aged brass by Lost Profile.

Custom-designed chairs by Nina Maya Interiors, Collection Particulière KEY bowl, Gem Branch chandelier by Giopato & Coombes and LZF Lola lamp by Ke-zu feature as part of a casual dining area. ‘White Nuances III’ (2020) by Danica Firulovic is exhibited above the cabinetry, with Balloon Ceramic Bowl 05 by Louise Roe and a sculpture by Scott McNeil underneath.

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Her latest project, situated in Sydney’s west by the bay, sees a multi-disciplined approach create the perfect eye in the storm of modern life for its inhabitants. The three-level home speaks to an easy symmetry, with its four bedrooms, four bathrooms, and lowerlevel health and luxury zone.

Ambient interiors meld with sophisticated furnishings, light and dark palettes work cohesively and white-walled bedrooms soaked in daylight contrast with black frames and dark furnishings – much of which is sourced locally. “I like to ‘dress’ interiors with the same ethos that I approached my fashion career,” Nina says. “I always started with a clean and neutral base and then added interest through accessories.” She adds, that one of her favourite tools to employ in interiors is lighting. To address shortages in materials due to the ongoing pandemic, Nina looked to a selection of incredible Australian makers and producers and has started working with these local craftspeople to create all of her custom one-off pieces.

The home is an amalgamation of sophisticated design elements set against a minimalist, pared-back layout and yet its components are never at odds. Artworks act as gateways into some beyond place; a place from which Nina Maya observes our world before she steps through to conjure something of wild imagination.

Pictured: Designer Nina Maya stands beside a fireplace by Bellevarde and Choice Interiors encased in Grey Scape marble and limestone.

“I like to ‘dress’ interiors with the same

ethos that I approached my fashion career. I always started with a clean and neutral base and then added interest through accessories.”

– Nina Maya

A Rio chaise designed by Oscar Niemeyer and his daughter Anna Maria Niemeyer, Celeste Wall sconces by Australian designer Daniel Boddam, custom-designed bedhead by Nina Maya Interiors with Society Limonta bedlinen and Dot stool by Christophe Delcourt create a luxurious guest bedroom suite. Artwork by Sanné Mestrom.

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Bedside tables custom designed by Nina Maya Interiors. The Ceto Double wall lights by Australian designer Ross Gardam feature on the custom wall cladding from Jade Customs.

Nina Maya Interiors custom-designed the mirrors above the Arabescato marble vanity for the master ensuite in an effort not to distract from the view. Sculpture by Carole Crawford and Collection Particulière ROI Stool.

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ARTISANAL PROVENANCE Banda creates cultivated elegance in a London penthouse evocative of a French farmhouse, through considered sourcing and sustainable practices.

DESIGN | Banda PHOTOGRAPHY | Ben Anders WORDS | Sarah Knight

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do Mapelli Mozzi, creative director and CEO of Banda, has a palpable outward-looking focus; not only through his commitment to designing and delivering ‘dream homes’ for his clients but also the deep appreciation he holds for his team. Beneath Edo’s formidable reputation, lies a devotion to ‘thoughtful sourcing’ from skilled craftspeople and environmental responsibility. “The quality and provenance of materials will continue to be a major theme for us,” he says, “as will our signature approach of delicately mixing old with new. We pride ourselves on championing craftsmanship and emerging talent.”

Edo attests sustainability is more than simply being energy efficient.

“Environmental impact must be factored into every decision,” he says.

“To us, mitigating impact means building high-quality homes that last and are ‘built for life’. Reducing unnecessary retrofitting or restoration in the future, which ultimately costs time, money, and energy,” he adds.

A striking black Marquina marble fireplace by Banda provides a mantle for the distressed antique mirror.

The Tadelakt coffee table by Tuomas Markunpoika features atop a Coral & Hive rug, with Apparatus Studio Tassel 19 pendant overhead. Artwork by Hayden Alexander.

The penthouse features finely textured, 100 per cent natural clay walls from Studio Loho in Belgium. The ceramic and patinated brass Emmanuelle Simon Raku-Yaki Applique Triple wall light taps into the handcrafted thread. Original Pierre Jeanneret student chairs surround a linen-dressed dining table.

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A collaboration between Banda and Obumex, the kitchen features dark grey marble, American Walnut cabinetry and Gaggenau appliances. An eclectic ensemble of treasures and collectables feature on the creamy kitchen shelves.

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Banda’s latest project in Notting Hill, London, is a three-bedroom penthouse perched on the fifth floor that conjures the feel of a French farmhouse. Edo deliberately wanted to avoid the typical penthouse aesthetic, seeking inspiration from his travels. The result is a countrystyle retreat in an urban environment, set behind a stucco facade circa 1850. The 2300 square foot abode also features a spiral staircase leading to a 500 square foot roof terrace overlooking Leinster Square gardens.

Following a philosophy of ‘design for living’, Edo created warm spaces with a true sense of ‘home’. “The design unfolded from the oak beams. Once we saw how powerful they were, the rest just flowed.

We wanted to create elegant farmhouse warmth, which is decidedly unusual in a city apartment.”

Banda sourced vintage and artisanal pieces to create focal points. “A French farmhouse tends to be full of pieces built up over the years.

This is exactly what we wanted to convey in the penthouse.” One of Edo’s personal favourites is the cabinet in the snug – an oversized vintage Carlo Hauner (1927-1997) piece crafted in natural cane and jacaranda with delicate brass handles, commissioned in the 1950s for a villa in Sao Paulo, Brazil.

Grey chevron parquetry floors contrast with walnut timber cabinetry, subtly concealing entrances to the guest cloakroom, second bedroom and a snug. Art by Ursula Nistrup Tzeela.

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Left: White marble contrasts with grey chevron parquetry flooring in the light-filled bathroom. Brass tapware and brass-framed mirrors provide warmth through their patina.

Right: The guest bedroom features a custom-designed Banda bed with a walnut headboard and Rose Uniacke side table. The Slim pendant by Australian lighting designers Articolo Lighting also makes an appearance.

Transcending the many treasures within the penthouse is an overwhelming sense of calm. The palette is earthy with creamy, muted neutrals melding with soft khaki and moss greens. Natural materiality including wood, stone and marble subtly contrast with newer bespoke pieces, including a black Marquina marble fireplace and the Obumex marble kitchen; both designed by the studio.

Considered indoor planting was also high on Banda’s agenda.

“Bringing the outdoors in was a pivotal part of the design intent. The olive tree to the left of the fireplace and the ferns positioned carefully in the main living space help lift the aesthetic and improve air quality within the city. Together they bring about an overall sense of wellbeing and harmony.”

‘Heart’ lies at the epicentre of every Banda project and that’s really where ‘home’ is, after all.

The master bedroom features the Apparatus Drum occasional side tables, a Rose Uniacke bench in Pippy Oak and artwork by London-based artist Liam Stevens. An Apparatus Median 3 Surface Mount wall light creates interest above the bedhead.

Pictured: Banda’s chief executive officer, Edo Mapelli Mozzi.

The sage green snug features artwork by Tracey Emin and an Alexandra sofa designed by Charles Zana. Edo’s most treasured furniture piece resides in the snug; an oversized vintage Carlo Hauner natural cane and jacaranda cabinet with ornate brass handles and Caleb Mahoney artwork resting on top.

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LESS SUBT

As an embrace of its idyllic and Trotter’s Villa Cardo drinks in th open love letter to the

ARCHITECTURE & INTERI PHOTOGRAPH WORDS | Bron

SONS IN TLETY

arid surrounds, Studio Andrew he rich landscape of Puglia as an e region and its past.

IORS | Studio Andrew Trotter HY | Salva Lopez nwyn Marshall

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A

s designers and architects, the role often extends beyond the physical and morphs into the intangible, evoking feelings that resonate. At its heart, architecture tells a story, transforming a conceptual idea to a finished form.

Director of namesake studio Andrew Trotter says of his inspiration “The house reflects the old buildings of Puglia – the thick white stone walls, stone floors and narrow windows with shutters. They all tell of the history of the area and those that have lived here over time.” Ideas of tradition, locality and craft are core to his practice and seeing these all take form and be interpreted as the building responds to the surroundings is a testament to those pillars.

“We always try to source everything as close to the site as possible,” Andrew says. “The Tufo (sandstone) walls are from two kilometres away, the windows are made locally, the limestone flooring is local too. A building needs to fit the context that it is in and if you use local materials, then half of the work is done for you.” The simplicity and clean restraint of the surrounding and traditional buildings set the tone for all that comes next and Villa Cardo is no exception.

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The three-bedroom home occupies a site with an abundance of olive and almond trees. While anchored to its site through the thick and weighted architectural elements, the geometric open staircase leads to an open roof terrace, with views stretching out to the ocean. “The house sits in the countryside,” Andrew adds, “so it was important for it to feel relaxed and humble and that the whole house can be opened up, so you feel connected with the nature that surrounds.”

A truly quiet escape, Villa Cardo speaks to a time of simplicity and living harmoniously with the landscape, offering lessons in its subtleties. “The house is angled to work best with the sun and the light,” Andrew says, “and the pool becomes a key connection between what it is to be human and what is nature.” In its honesty and openness and through not trying to change or alter what has already been formulated, Studio Andrew Trotter allows an unmatched stillness to present itself.

Andrew Trotter sourced all materials for Villa Cardo locally, including the sandstone walls called Tufo and limestone flooring – as seen in the vaulted dining space, which features the J39 chairs by Børge Mogensen with a vintage table.

The living room opens up to the olive and almond trees on site, and features a mustard Nanimarquina Tatami rug, vintage lounge chairs, custom built-in sofa and Eames walnut stools – all echoing the surrounding natural palette.

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LRNCE ceramics handcrafted in Morocco invite playful colour into the home.

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The washbasins, kitchen sink and bath were created using a bespoke terrazzo finish by Huguet Mallorca.

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Studio Andrew Trotter created areas to relax and entertain around the home’s exterior, including an outdoor kitchen shaded by a bamboo canopy. This outdoor nook features wall lamps designed by the studio and vintage stools.

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DETAIL The est guide to design integrity in furniture, paint and Objet d’art from our go-to Product Library.

THE DETAIL

BENCHES Designers reimagine the bench seat through new forms and materials.

KIM NESTING BENCH DESIGNED BY LUCA NICHETTO DE LA ESPADA

ECHO LONG BENCH DESIGNED BY KELLY WEARSTLER KELLY WEARSTLER

ANGUI BENCH DESIGNED BY AYTM AYTM

MAD BENCH DESIGNED BY PIERRE YOVANOVITCH PIERRE YOVANOVITCH

QUADERNA BENCH DESIGNED BY SUPERSTUDIO ZANOTTA

MØLLER BENCH #63 DESIGNED BY J.L MØLLER MØLLER

A-JOINT MINI BENCH DESIGNED BY DAVID CAON & HENRY WILSON LAKER

TEAK AND CANE BENCH DESIGNED BY PIERRE JEANNERET PHANTOM HANDS

SONIAH BENCH DESIGNED BY VICTORIA YAKUSHA FAINA

ADEL BENCH DESIGNED BY BAXTER P BAXTER

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Bench Grazia&Co Reeno Bench Project Slow Beam Design Murray Barker Photography Lauren Bamford

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Project Art House Design Studio CD Design Photography Anson Smart

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DESIGN ACCESSORIES Renowned designers and architects apply their craft to accessories.

THORONET DISH DESIGNED BY STUDIO HENRY WILSON HENRY WILSON

CENSER DESIGNED BY APPARATUS STUDIO APPARATUS

KORE - THE VILLAGE PROJECT (PETRA) DESIGNED BY PATRICIA URQUIOLA SALVATORI

MONKEY DESIGNED BY KAY BOJESEN KAY BOJESEN

WOODEN DOLL NO.1 DESIGNED BY ALEXANDER GIRARD VITRA

EAMES HOUSE BIRD DESIGNED BY CHARLES & RAY EAMES VITRA

KUBUS BOWL DESIGNED BY MOGENS LASSEN

BY LASSEN

STRØM CERAMIC BOWL DESIGNED BY NICHOLAS WIIG HANSEN RAAWII

BOWL DESIGNED BY JOHN PAWSON WHEN OBJECTS WORK

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PORTABLE LAMPS A playful approach to take-anywhere lighting.

PANTHELLA PORTABLE TABLE LIGHT DESIGNED BY VERNER PANTON LOUIS POULSEN

ARCA PORTABLE PHILIPPE MALOUIN MATTER MADE

MERIDIAN TABLE LAMP DESIGNED BY REGULAR COMPANY FERM LIVING

FLOWERPOT VP9 PORTABLE TABLE LAMP DESIGNED

BY VERNER PANTON &TRADITION

BICOCA DESIGNED BY CHRISTOPHE MATHIEU MARSET

BELLHOP DESIGNED BY EDWARD BARBER & JAY OSGERBY FLOS

CESTITA BATERÍA DESIGNED BY MIGUEL MILÁ SANTA & COLE

SOFT SPOT SOLAR LIGHT DESIGNED BY MARIA BERNTSEN ROSENDAHL

FOLLOW ME OUTDOOR LIGHT DESIGNED BY INMA BERMÚDEZ MARSET

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Product Carrie LED Lamp by Norm Architects for MENU Photography Courtesy of MENU

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Project Soho Townhouse Design Studio Giancarlo Valle Photography Stephen Kent Johnson

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PAINT Exploring an evocative colour palette through designer paint collaborations.

NURTURE DESIGNED BY HOUSE OF GREY BAUWERK COLOUR

BALANCE DESIGNED BY HOUSE OF GREY BAUWERK COLOUR

FADED TERRACOTTA DESIGNED BY KELLY WEARSTLER FARROW & BALL

SALONE 1887 DESIGNED BY SIBELLA COURT MUROBOND

BOBBY’S BLOBBY DESIGNED BY BOBBY CLARKE TINT

32120 DESIGNED BY LE CORBUSIER LES COULEURS

QUARTER HEATHERED GREY DESIGNED BY KAREN WALKER RESENE

AMULET DESIGNED BY SIBELLA COURT MUROBOND

SHADOWY BLUE DESIGNED BY KAREN WALKER RESENE

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DESIGN OBJECTS Conceptual objects that meld art and design.

NALGONA CHAIR 01 DESIGNED BY CHRIS WOLSTON THE FUTURE PERFECT

RESIN ROCK TOWER TABLE DESIGNED BY DINOSAUR DESIGNS DINOSAUR DESIGNS

“ANOTHER WHITE” CACTUS DESIGNED BY GUIDO DROCCO & FRANCO MELLO GUFRAM

SWIRL TABLE DESIGNED BY TOM DIXON TOM DIXON

SUNSET PEOPLE DESIGNED BY ROTGANZEN KELLY WEARSTLER

EAMES ELEPHANT DESIGNED BY CHARLES & RAY EAMES VITRA

COLOUR FLOOR LIGHT DESIGNED BY DANIEL RYBAKKEN & ANDREAS ENGESVIK E15

BALANCE DESIGNED BY GAMFRATESI CAPPELLINI

BOUQUET DESIGNED BY TOKUJIN YOSHIOKA MOROSO

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Project Townhouse Design Tamsin Johnson Photography Sean Fennessy

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ISSUE #43 estliving.com