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670 Ninth Street North
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Half mile north of 5th Avenue South 239.220.3535
2 blocks south of Wiggins Pass Road 239.596.5959
2 7 3 1 0 T H AV E S | $1 2 , 9 0 0 , 0 0 0
O L DE NAP L ES V EN ET IAN B AY
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303 TU RTLE HA TCH RD | $6 ,95 0,0 00
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31 9 DE VI LS B IGHT | $ 9,9 50 ,00 0
3 4 5 3 CRAY T ON RD | $7 , 5 0 0 , 0 0 0 563 3RD ST N | $8 ,49 5,0 00
A S P E N • T H E H A M P T O N S • P A L M S P R I N G S • M A L I B U • M A N H AT TA N • B E V E R LY H I L L S • L A G U N A B E A C H • A N D M O R E
800 HARBOUR DRIVE, NAPLES, FLORIDA 34103 (239) 261-3939 © 2022 DOUGLAS ELLIMAN REAL ESTATE. ALL MATERIAL PRESENTED HEREIN IS INTENDED FOR INFORMATION PURPOSES ONLY. WHILE, THIS INFORMATION IS BELIEVED TO BE CORRECT, IT IS REPRESENTED SUBJECT TO ERRORS, OMISSIONS, CHANGES OR WITHDRAWAL WITHOUT NOTICE. ALL PROPERTY INFORMATION, INCLUDING, BUT NOT LIMITED TO SQUARE FOOTAGE, ROOM COUNT, NUMBER OF BEDROOMS AND THE SCHOOL DISTRICT IN PROPERTY LISTINGS SHOULD BE VERIFIED BY YOUR OWN ATTORNEY, ARCHITECT OR ZONING EXPERT. EQUAL HOUSING OPPORTUNITY.
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HARBOUR POINT BUSINESS CENTER 239.261.3939 | 800 HARBOUR DR | NAPLES, FL 34103
M OORI NGS $6 , 4 5 0 , 0 0 0
Your Extraordinary Awaits At The Ritz-Carlton Residences, Naples, the gulf is yours like never before with a prestigious marina-front location steps from one of the most beautiful beaches on Florida’s west coast. Stunning residences feature captivating seaside and sunset views, enriched by a one-of-a-kind lifestyle with an owners-only club, full-service marina, extraordinary dining experiences, and legendary service.
Occupancy 2026 Introducing The Park Residences Visit Our Sales Center to Learn More
THE RITZ-CARLTON RESIDENCES, NAPLES ARE NOT OWNED, SOLD OR DEVELOPED BY THE RITZ-CARLTON HOTEL COMPANY, L.L.C. OR ITS AFFILIATES (“THE RITZ-CARLTON”). STOCK RESIDENCES, USES THE RITZ-CARLTON MARKS UNDER A LICENSE FROM THE RITZ-CARLTON, WHICH HAS NOT CONFIRMED THE ACCURACY OF ANY OF THE STATEMENTS OR REPRESENTATIONS MADE HEREIN. ORAL REPRESENTATION CANNOT BE RELIED UPON AS CORRECTLY STATING THE REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS REFERENCE SHOULD BE MADE TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY THE DEVELOPER TO A BUYER OR LESSEE. ALL RENDERINGS AND PLANS ARE PROPOSED CONCEPTS SHOWN ONLY FOR MARKETING PURPOSES AND ARE
Limited residences remain available but are selling quickly—the time to secure your place in this unfolding masterpiece is now. Call or visit the Sales Gallery today. 2355 Vanderbilt Beach Road Suite 106, Naples, Florida 34109 Phone 239-249-6260 RCRNaples.com BASED ON THE DEVELOPER’S CURRENT PRELIMINARY DEVELOPMENT PLAN. DEVELOPER RESERVES THE RIGHT TO MODIFY, REVISE OR WITHDRAW THE PROPOSED DEVELOPMENT PLAN IN DEVELOPER’S SOLE DISCRETION WITHOUT NOTICE. NOTHING HEREIN OR ANY OTHER COMMUNICATION SHALL BE DEEMED TO OBLIGATE THE DEVELOPER, OR ANY AFFILIATE OF DEVELOPER, TO CONSTRUCT THE PROJECT OR OFFER ANY OF THE PROJECT FOR SALE, AND NOTHING HEREIN SHALL BE DEEMED A GUARANTY OF ANY KIND. THIS IS NOT AN OFFER TO SALE OR SOLICITATIONS OF OFFERS TO BUY.
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494 Gordonia Road, Naples, FL $8,100,000. Exclusively offered by Premier Sotheby’s International Realty. PremierSIR.com/id/225069946 Scan to view open houses, listings, offices, and advisor details.
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BROKER PARTICIPATION WELCOMED. ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING THE REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS REFERENCE SHOULD BE MADE TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. NOT AN OFFERING WHERE PROHIBITED BY STATE LAW. PRICES SUBJECT TO CHANGE WITHOUT NOTICE.
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Elevate your custom homebuilding journey with the award-winning expertise of Stock Custom Homes. Trust in our renowned craftsmanship to curate a residence that embodies your refined way of life. Build your dream home on your cherished homesite, or explore our select collection of exquisite custom homes currently being meticulously crafted throughout Florida.
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MIAMI DESIGN DISTRICT | 4100 N Miami Ave WEST PALM BEACH | 3638 S Dixie Hwy NAPLES | 457 Bayfront PL storiaflooring.com
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A DAY IN THE LIFE The Ritz-Carlton Residences, Estero Bay are not owned, sold or developed by The Ritz-Carlton Hotel Company, L.L.C. or its affiliates (“The Ritz-Carlton”). LB Estero Bay Investments, LLC uses The Ritz-Carlton marks under a license from The Ritz-Carlton, which has not confirmed the accuracy of any of the statements or representations made herein.
Second tower now selling First tower move-in early 2026
No two days are alike when you live just steps from a marina. You could walk over to your private fishing charter. Go paddleboarding. Watch the boats glide by as you relax beside a private lagoon. Or really mix things up with a spa day or 18 holes at Saltleaf Golf Preserve — also in the neighborhood. This is the life at The Ritz-Carlton Residences, Estero Bay, now rising in the new coastal village of Saltleaf on Estero Bay. Cheers. Priced from the $3 millions. TheResidencesEsteroBay.com | 239.788.0155 O P E N D A I LY
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5000 COCONUT ROAD
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B O N I TA S P R I N G S , F LO R I D A 3 4 1 3 4
UNLOCK EXTRAORDINARY POTENTIAL WITH US – THAT’S THE WINDWARD WAY!
DESIGN WITHOUT BOUNDARIES. BUILD WITHOUT COMPROMISE. Let’s craft something extraordinary together… a design that is thoughtfully tailored to your lifestyle and uniquely yours. Our team of seasoned professionals bring a rare blend of expertise, creativity, and meticulous old-world craftsmanship to every custom home we build. Exceeding your expectations is our commitment to you. With decades of experience building in SW Florida, we are dedicated to bringing your dream home to life. From our first conversation, you’ll find our team passionate about the details of creating a luxury residence tailored to meet your exacting standards. Blending our signature indoor/outdoor living concepts with an understanding of our tropical environment, you’ll find an uncommon fusion of artistry, innovation, and attention to your vision. At
Windward
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excellence
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born from genuine connection and boundless creativity. We understand that selecting a home builder to create your masterpiece comes with an inherent trust. You will find it reflected in every step along the way. That’s the Windward Way! SCHEDULE YOUR PRIVATE DISCOVERY MEETING AND JOIN US AT THE INTERSECTION OF BUILDING AND IMAGINATION. 1201 CAPE CORAL PKWY E., CAPE CORAL, FL 33904 239.985.5554 | IMAGINEWINDWARD.COM
NOW UNDER CONSTRUCTION
Bayfront and Gulf-View Residences
Situated along Naples’ most coveted boulevard, 3300 Gulf Shore redefines waterfront luxury with its blend of timeless architecture, thoughtfully curated interiors, and world-class amenities. Residences feature open floor plans, expansive terraces, and ceilings soaring up to 11 feet. The property features a private marina with 16 boat slips, a water sports slip, and sweeping water views. 2–4 Bedroom + Den Residences from $3.7 Million & Penthouse Collection
Presentation Gallery Now Open | 1400 Gulf Shore Blvd N, Suite 166, Naples, FL 34102
3300GulfShore.com | 239-688-4251
Broker Participation Welcomed and Encouraged. ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATIONS OF THE SELLER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THIS BROCHURE AND TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A SELLER TO A BUYER OR LESSEE. Prices, services, terms, and availability are subject to change at any time without notice. Images are artist’s renderings and may not represent the final building. Furnishings and fixtures are for display purposes and are not included with the residence. Actual improvements, including, recreational facilities and amenities, may vary from those shown. These materials are not intended to be an offer to sell, or solicitation to buy, a unit in the condominium. Such an offering shall only be made pursuant to the prospectus (offering circular) for the condominium and no statements should be relied upon unless made in the prospectus or in the applicable purchase agreement. In no event shall any solicitation, offer or sale of a unit in the condominium be made in, or to residents of, any state or country in which such activity would be unlawful. This Condominium is being developed solely by KT Naples Owner LLC, which was formed solely for such purpose. Neither The Kolter Group LLC (“Kolter”) nor Kolter Urban LLC (“KU”) nor their respective affiliates are a developer of this project. This Condominium is being developed solely by KT Naples Owner LLC (“Developer”), which has a limited right to use the trademarked names and logos of Kolter, KU and their respective affiliates, and associated marks, variations, logos, and stylized forms, pursuant to a license and marketing agreement. Any and all statements, disclosures and/or representations arising out of or relating to the marketing and/or development of the Condominium and/or with respect to the sales of units in the Condominium shall be deemed made solely by Developer (and not by Kolter, KU, or their respective affiliates). You agree to look solely to Developer (and not to Kolter, KU, or any of their respective affiliates) with respect to any and all matters arising out of or relating to the marketing and/or development of the Condominium and/or with respect to the sales of units in the Condominium. ARTIST‘S RENDERING
NOW UNDER CONSTRUCTION Waterfront Residences in a Private Golf Club Community Starting at $2.7 Million A rare opportunity is rising in Estero. Welcome to The Island at West Bay Club. A limited collection of luxurious waterfront residences now under construction in one of Southwest Florida’s most exclusive communities.
ARTIST’S RENDERING
ARTIST’S RENDERING
22 0 5 0 SOUTH TAMIAMI TR AIL | ES TERO, FL | 239. 365 . 5 026 | ISL ANDWES TBAY.COM Nestled between Estero Bay and the Gulf, these elegantly modern residences offer sweeping water views, refined coastal design, and an amenity-rich lifestyle within the private gates of West Bay Club. Golf and beach club memberships available for future Island residents and can be enjoyed during vertical construction.
ARTIST’S RENDERING
ARTIST’S RENDERING
Broker Participation Welcomed and Encouraged. ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATIONS OF THE SELLER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THIS BROCHURE AND TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A SELLER TO A BUYER OR LESSEE. Prices, services, terms, and availability are subject to change at any time without notice. Images are artist’s renderings and may not represent the final building. Furnishings and fixtures are for display purposes and are not included with the residence. Actual improvements, including, recreational facilities and amenities, may vary from those shown. The project has been filed in the state of Florida and no other state. This is not an offer to sell or solicitation of offers to buy the condominium units in states where such offer or solicitation requires prior qualification. Sotheby’s International Realty® and the Sotheby’s International Realty logo are registered service marks used with permission. Each office is independently owned and operated. This Condominium is being developed solely by KT West Bay LLC, which was formed solely for such purpose. Neither The Kolter Group LLC (“Kolter”) nor Kolter Urban LLC (“KU”) nor their respective affiliates are a developer of this project. This Condominium is being developed solely by KT West Bay LLC (“Developer”), which has a limited right to use the trademarked names and logos of Kolter, KU and their respective affiliates, and associated marks, variations, logos, and stylized forms, pursuant to a license and marketing agreement. Any and all statements, disclosures and/or representations arising out of or relating to the marketing and/or development of the Condominium and/or with respect to the sales of units in the Condominium shall be deemed made solely by Developer (and not by Kolter, KU, or their respective affiliates). You agree to look solely to Developer (and not to Kolter, KU, or any of their respective affiliates) with respect to any and all matters arising out of or relating to the marketing and/or development of the Condominium and/or with respect to the sales of units in the Condominium.
Bright Days. Easy Living. Endless Possibilities. At
Summerlit.
Welcome to Summerlit, Naples’ newest neighborhood where thoughtful design meets laid-back Florida living. Perfectly located near Rookery Bay, just minutes from Marco Island’s beaches and downtown Naples, this vibrant community blends resort-style fun with everyday comfort. Whether you’re relaxing by the pool, taking your pup to the paw park, or gathering around the firepit with friends, Summerlit is designed to make every day feel like vacation
Future Fun-Filled Clubhouse & Amenities A modern amenity center is planned to enrich residents’ lifestyles with: • A resort-style pool with lounging areas and cabanas • Pickleball courts for friendly competition • A cozy firepit for evening gatherings • A paw park for your four-legged family members
Thoughtfully Designed Homes for Every Lifestyle Discover your perfect fit in a collection of single-family and coach homes featuring open-concept layouts, bright interiors, and modern finishes that balance beauty and functionality. Each home is crafted with Mattamy’s signature attention to detail— bringing together elegant architecture, light-filled spaces, and smart design for the way you live today. Choose from a variety of home designs, including quick move-in opportunities or the option to personalize your dream home.
Homes starting from the High $400s
Summerlit in Naples 1873 Merigold Sun Place, Naples, FL 34114 (239) 307-0747 | Summerlit.SWF@mattamycorp.com
www.mattamyhomes.com/summerlit
Decorated model homes are open daily Experience self-guided tours anytime with UTour. Visit MattamyHomes.com or see a Mattamy New Home Counselor for further details and important legal disclaimers. Existing and proposed amenities for the community are subject to changes, substitutions and /or deletions without notice. Pictures, photographs, colors, features, and sizes are for illustration purposes only and will vary from the homes as built. Home and community information including pricing, included features, terms, availability and amenities are subject to change and prior sale at any time without notice or obligation. Square footages are approximate. Copyright © 2025 Mattamy Homes. Mattamy Homes, the Mattamy logo are U.S. registered service marks or service marks of Mattamy Homes and/or its subsidiaries. MATSWFL046
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Reg ency Red ux
Ca ll to the Coa st
The Sha pe of Wa te r
A n Ol d F l o ri da retreat i n
Ke ntuc ky c ha rm
A wa te r- c e ntric oa sis
P o rt Ro yal
on Use p p a I sla nd
from Lond on B a y
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16 0
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GULFSHORE LIFE H O M E
Björn Wallander
Features
Building dreams, Crafting lifestyles D WAY N E B E R G M A N N . C O M 12195 Metro Pkwy Ste 1 Fort Myers, FL 33966 | 1391 3rd Street South Naples, FL 34102 | 239.344.7455 | @dwaynebergmanninteriors
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In Good Company
Bre a k ing the Mold
P re tty in P ink
Bri dg i n g pas t an d
M e d ite rra ne a n line s
A Na p le s R e a ltor's
pres en t o n
re b uilt with mod e r n
fore ve r home
Capti va Is l an d
cla rity
18 6
200
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GULFSHORE LIFE H O M E
Dan Cutrona
Features
CURATE YOUR EXPERIENCE TRUSTED GUIDANCE. EXCEPTIONAL RESULTS.
12100 VIA DEL FONTANA WAY | TREVI | FORT MYERS | $5.25M
Every move is a step toward the life you’re imagining. With trusted guidance and deep local insight, we’re here to help navigate your experiences with clarity, confidence and purpose. To ensure your investment is positioned to retain value over time. And when you invest in real estate, you’re investing wisely — with guidance built to protect your future.
THE UNRIVALED LEADER IN REAL ESTATE JohnRWood.com | (239) 262-1900 John R. Wood Properties leads all Southwest Florida real estate brokerages in residential sales volume in the combined Lee and Collier County market, based on information from the Southwest Florida Multiple Listing Service (SWFL MLS) for 1/1/2024 through 12/31/2024.
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Lif e in the Fas t Lane
Suite Le ve l
Living Wa lls
A car-l o ver's o pu l en t
Hote l living with a
A sc ulp te d la nd sc a p e
pl ayg ro u n d
p e rsona l p ulse
on the Gulf Coa st
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GULFSHORE LIFE H O M E
Seamus Payne
Features
Full-Service Interior Design Fine Furnishings Custom Remodeling Interior Architectural Detail New Construction Project Management
www.reneegaddis.com 239.431.8352 15940 Old 41 N., Suite 530 • Naples, FL 34110 FL LICENSE IB26001518
See more work #reneegaddisinteriors
A
Atmosphere
In Every Issue
Objects
Figures
Frameworks
Vignettes
Single Selects
F r a n k P o n t e r i o's
Acoustic
A Crimson Cocoon
World V iew
Intelligence
in Naples
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72
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FROM THE EDITOR 38 FROM THE PUBLISHER 40 OVERTURE 42 LAST LOOK 319
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GULFSHORE LIFE H O M E
Dan Cutrona; Courtesy Louis Vuitton, Naomi Paul Lighting/Nick Rochowski
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Create Where You Belong
CALL , V IS IT A S H OWRO OM, OR FIND US ONLINE TO SCH E DULE YO UR COMPLIMENTARY D ES IGN CONS ULTATION 239.694.8100
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Pantry.
S
Structure Objects
Figures
Frameworks
Vignettes
Local Craf t, Elevated
M a x G o o d i n g 's
R e s i l i e n c y,
A Kinetic Cellar
Green Blueprint
Reimagined
in For t Myers
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12 4
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102
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Expression Objects
Figures
Frameworks
Modern Americana
C h r i s B r a n d e l l 's
G e o m e t r y 's A r t i s t i c
Born in For t Myers
Poetic Abstractions
Order
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GULFSHORE LIFE H O M E
Anna Nguyen, Dan Cutrona, Ryan Gamma
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128 1ST AVE S | $15.48M 702 BOBWHITE LN | $7.99M
4601 GULF SHORE BLVD N • #17 | $11.9M
2426 INDIAN PIPE WAY | $16.5M
Consistently one of Naples’ top producing Realtors®
Contact me for your real estate needs cell 239.537.5351 Dante.DiSabato@raveis.com DanteDiSabato.com
720 5th Ave | Naples, FL 34102
On the Cover V it toria lounge by Luca Scacchetti for Oak, styled in front of a leather wall covering by Studioar t and G rove Studio. Courtesy Studioart
Publisher Carin Keane Editor in Chief Stephanie Granada Creative Director Jerry Pomales Assistant Managing Editor Addison Pezoldt Senior Editor Emma Witmer Assistant Editors Alyssa Riley Annamarie Simoldoni Emma Lawrence Editorial Fellows Layne Knox
ART
MARKETING
Gulfshore Life Creative Director
Director of Marketing and Events
Scott Glick
Samantha Tobias
Photo Editor Elizabeth Bankmann ADVERTISING Associate Publisher
Digital Marketing Manager Meagan Bonesteel Sales & Marketing Coordinator Kamryn Dalton
Tess Woods
CIRCULATION
National Account Director
Kerri Nolan
Wendy Tooley Marketing Consultants Holly Baldwin Natasha Gonzalez Meredith Parsons
Director of Audience Development
PRODUCTION Production Manager Martha Leavitt Graphic Designer Fabry Torrado ADMINISTRATION Advertising Services Manager/
Lexie Moore
Reprint Sales & Distribution
Contributing Editors
Gulfshore Life President
Bronwen Dickey Michelle Lee Ribeiro
34
Kathleen Hill Jim Schwartzel
GULFSHORE LIFE H O M E
Luxury
Hidden in Plain Sight
Free design consult. Napl e s | Boni ta S p rin g s | F o rt M y e rs | S a ra s o t a | T am pa 239 948 0 0 2 2 | In s p ire d C lo s e t s S W F L.c o m
R E A DE R SE RV IC E S
OFFICE ADDRESS 26101 S. Tamiami Trail Bonita Springs, FL 34134 Call or text us at (239) 498-8500 Website: gulfshorelife.com Email: info@gulfshorelife.com
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BACK ISSUES: Order online at gulfshorelife.com/backissues, purchase by mail for $9.95 postage paid or at our office for $5.95 each, plus tax. Call or text us at (239) 498-8500.
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Gulfshore Life adheres to American Society of Magazine Editors guidelines, which require a clear distinction between editorial content and paid advertising or marketing messages. ©Gulfshore Life Media, LLC. All rights reserved. 26101 S. Tamiami Trail, Bonita Springs, FL 34134 Gulfshore Life and Gulfshore Life Media, LLC retain exclusive rights to all editorial and photographic materials used. Materials cannot be reproduced in any manner without written consent.
© Copyright Gulfshore Life is published by Gulfshore Life Media, LLC. The entire document of Gulfshore Life is © 2026 by Gulfshore Life Media, LLC. No portion may be reproduced in whole or in part by any means, including electronic retrieval systems without the express written permission of the publisher. Gulfshore Life, Gulfshore Business, The Naples Press, HOME, Gordon Drive, MINI, Healthy Life, Southwest Florida Guide to the Arts, Visitors’ Guide, Men and Women of the Year, Best of the Gulfshore, Taste of the Gulf, Weekend Insider and The Shore List are copyrighted service marks and are the property of Gulfshore Life Media, LLC., all rights reserved. Editorial content does not necessarily reflect the opinions of the publisher of this magazine. Editorial or advertising does not constitute advice, but it is considered informative. Gulfshore Life is locally operated. Occasionally we make our subscriber list available to carefully screened companies that offer products and services that we believe would interest our readers. If you do not want to receive these offers, please advise us at Gulfshore Life, 26101 S. Tamiami Trail, Bonita Springs, FL 34134. Please include your name and address as it appears on the mailing label of your most recent issue.
GULFSHORE LIFE H OM E
Stephanie Granada Editor in Chief
D E S I G N T H A T H O L D S From the Editor
This year’s HOME issue captures a
yields homes with memory and continu-
breathe and endure—while reducing
market in transition. Many people have
ity, not just polish.
their environmental footprint.
only recently settled into homes rebuilt
That same sensibility runs through
Few projects embody that balance
after Hurricane Ian. And in that wave
our stories of makers. At a moment
more clearly than the Captiva Island
of new construction, a revised archi-
when AI promises speed and frictionless
guest house by architect Joyce Owens,
tectural language has taken root along
production, the pieces that command
who was charged with building a larger,
the coast—one defined as much by per-
attention are the ones shaped by hand,
elevated structure beside a 1912 cottage
formance as by style. At the same time,
instinct, and people who have spent
she had restored years earlier. The two
a deliberate shift toward renovation
decades refining their craft. You’ll see it
buildings share materials and rhythm
over replacement has emerged. When
in Dwayne Bergmann’s new furniture
without competing, showing how prog-
the building’s bones hold firm, there’s a
line with the Ohio-based Abner Henry
ress and preservation can move in step
willingness to work with what’s already
workshop; in the Gulf-made objects
when guided by a deliberate hand.
here rather than start over entirely.
crafted by designers like Chad Jensen
Homes, like the people who live in
Some of our most compelling features
and Christine Cutting; and in local
them, evolve. Consider this edition a
prove how much possibility lies within
designers’ choices for our “Natural
survey of where local design is headed
architecture once considered dated.
Selections” story, where time, touch,
and the intent shaping the way we live
The Annie Brahler and Herscoe Hajjar
and intention are the real luxuries.
along the coast.
renovations of Tuscan estates, along
Craft and provenance also inform
with the Aqualane Shores residence
Southwest Florida’s new builds. In the
that transforms a ‘90s floor plan into a
years since Ian, elevated living levels,
layered family retreat, show that work-
concrete structural cores, passive venti-
ing from an existing frame isn’t always
lation, native landscaping and interiors
easier. If anything, it demands more
chosen for recoverability have moved
creativity and tighter precision. But it
from ‘innovative’ to baseline expectations. Now, our homes are created to be fellow stewards of our coast: structures designed to hold steady, shed water,
Anna Gunselman
38
The Lifestyle. The Luxury. The Lakefront.
Spectacular Clubhouse Under Construction, Sports Park Now Open. Caymas, Naples’ premier luxury lakefront community, is redefining resort-style living with exceptional amenities and beautifully crafted residences by Stock Luxury Homes and Pulte Homes. The spectacular 30,000-square-foot clubhouse, featuring resort pools, indoor/outdoor dining, a state-of-the-art fitness center, private movie theater, immersive golf simulator, and elegant social spaces, will be the centerpiece of this extraordinary community. Residents are already enjoying the Sports Park, now open with 6 tennis courts, 8 pickleball courts, sports gathering space, dog parks, and a dedicated lifestyle director. Nowhere else in Naples will you find such grand designer homes paired with this exceptional level of lifestyle and lakefront luxury.
Residences by Stock Luxury Homes and Pulte Homes.
Located 2 miles south of I-75 on the east side of Collier Boulevard.
9385 Caymas Terrace, Naples, FL 34114 | 239.249.6265
caymasnaples.com Residences from $1 million ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING THE REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS REFERENCE SHOULD BE MADE TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. ALL RENDERINGS AND PLANS ARE PROPOSED CONCEPTS SHOWN ONLY FOR MARKETING PURPOSES AND ARE BASED ON THE DEVELOPER’S CURRENT PRELIMINARY DEVELOPMENT PLAN. DEVELOPER RESERVES THE RIGHT TO MODIFY, REVISE OR WITHDRAW THE PROPOSED DEVELOPMENT PLAN IN DEVELOPER’S SOLE DISCRETION WITHOUT NOTICE. NOTHING HEREIN OR IN ANY OTHER COMMUNICATION SHALL BE DEEMED TO OBLIGATE THE DEVELOPER, OR ANY AFFILIATE OF DEVELOPER, TO CONSTRUCT THE PROJECT OR OFFER ANY OF THE PROJECT FOR SALE, AND NOTHING HEREIN SHALL BE DEEMED A GUARANTY OF ANY KIND. THIS IS NOT AN OFFER TO SALE OR SOLICITATION OF OFFERS TO BUY.
GULFSHORE LIFE H OM E
S E T T L I N G
I N
From the Publisher
Every year, our HOME cover features a
Naples. We moved here two years ago,
chair, and over time, it’s become one of
and like so many people who fall in love
our favorite traditions. A chair says a lot
with this region, we took our time search-
about a space. It’s often the first thing
ing for the right lot. Along the way, I’ve
you notice when you walk into a room
met architects, designers and builders
and one of the last pieces chosen when
who have helped shape my understand-
a project comes together. It’s a simple
ing of what a home can be here.
object that tells you a great deal about
I’ve learned that a Southwest Florida
comfort, personality and point of view.
home is less about square footage and
This year, that tradition takes on new
more about flow—the way that light and
life. In January, we’ll introduce our first
air move through a space, the conversa-
Chairs for Charity event, hosted by MHK
tion between indoors and outdoors. The
Architecture, where eight designers from
local design community has reminded
across Southwest Florida have created
me of the power of good craftsman-
original chairs to be auctioned in support
ship, and how a thoughtful approach
of Youth Haven. The enthusiasm from
can make a home resilient, rooted and
the design community has been heart-
emotionally resonant.
ening, and seeing how each designer
As we enter a new year, I hope this
approached the idea—playful, refined,
edition inspires you to view your own
structural, unexpected—has reminded
spaces with fresh eyes. Stay inspired with
me just how much creativity lives here.
us throughout the year by signing up for
As it happens, my husband and I are
our monthly HOME Journal newsletter
currently building our first home in
Carin Keane Publisher
at gulfshorelife.com/newsletters. Cheryl Richards
40
mhkarchitecture.com
LIC. AA26001988, REG. FLORIDA AR16971
GULFSHORE LIFE H OM E
OV E RT U R E
This year’s HOME issue gravitates toward work shaped with care, from thoughtfully rebuilt homes to landscapes designed for resilience and objects crafted by hand. Fort Myers–based designer Dwayne Bergmann partnered with Amish woodworking studio Abner Henry for his first furniture collection, drawing on their generational craft and his own eye for modern form. The result is a line that feels contemporary and built to last—an approach echoed throughout the features that follow. See the full collaboration on p. 274.
Courtesy Ab ner Henry
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VISIT OUR WEBSITE
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OBJECTS
SINGULAR SELECTS / FRANK PONTERIO’S WORLD VIEW / ACOUSTIC INTELLIGENCE / A CRIMSON COCOON IN NAPLES 60
FIGURES
60
72
Dan Cutrona
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FR A MEWOR K S
VIGNETTES
Atmosphere
L i s a K a h n - A l l e n ___
GL Staff
By
___ M a r i a h L a n d r y
___ F a d i a B e c h a r a
Objects
ATMOSPHERE
NATURAL SELECTIONS
J e n n Z e l l a ___
Anna Nguyen (3), Omar Cruz
Four Southwest Florida designers share the objects they can’t get out of their minds—pieces that harness natural materials and biophilic ideas for grounded spaces with verve. For these pros, the best furnishings reveal the character of creation: oxidized iron set into a poised tilt, privet branches shaped into a spare backrest, bronze transformed into blooming vines over 530 hours. Each piece shows how one deliberate choice can transform a space, balancing hard lines, adding interest and bringing in the organic forms that ease the mind.
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GULFSHORE LIFE H OM E
Objects
CO L L A P S E BY G I A N L U C A PACC H I O N I , S E L E C T E D BY FA D I A B E C H A R A
Fadia Bechara—the founder of Galleria Shoppes at Vanderbilt’s biophilic decor boutique, At Faro—looks for pieces with emotional gravity. Gianluca Pacchioni’s Collapse shelves fit that instinct: oxidized-iron plates are welded into a tilted, near-toppling stack that she says feels Milanese artisan’s hand, giving the work a grounded warmth unusual for metal. “The oxidation softens the piece,” Bechara says. gianluca-pacchioni.com
Credit
suspended between strength and surrender. Every turned edge and oxidation mark reflects the
Courtesy Gianluca Pacchioni; Anna Nguyen
Anna Nguyen; Courtesy Artemest
Atmosphere
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Objects
F I O R I TA C H A I R BY G I U S E P P E R I VA D O S S I , S E L E C T E D BY M A R I A H L A N D R Y
For Fort Myers’ Viva Landscapes founder Mariah Landry, the best design carries the imprint of the natural world. The Fiorita chair does so literally and poetically, with a solid block of maple carved into a seat and a backrest shaped from two bare privet branches. Northern Italian sculptor Giuseppe Rivadossi works alongside his sons, passing down his reverence for raw wood. “You can tell right away that someone put a lot of time and effort into it—and stretched their creativity to its fullest potential,” Landry says. habito-gr.com
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M AGNOLIA CABINET BY ANK A , SELECTED BY LISA K AHN-ALLEN
Naples designer Lisa Kahn-Allen spends her days creating sanctuary spaces, where nature and interior life blur. It tracks that the piece she can’t stop thinking about looks like it’s covered in flowers frozen mid-bloom. Starting with a wood carcass, the Magnolia Cabinet gains its bronze presence through a liquid-metal coating that’s carved, distressed and buffed into vines and blossoms, taking more than 530 hours of work for a commission. “It is the antithesis of masscreated,” she says. ankabespoke.co.uk
Courtesy Anka; Omar Cruz
Objects
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Anna Nguyen; Courtesy Naomi Paul/Nick Rochowski
Atmosphere
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Objects
P E N DA N T S BY N AO M I PAU L , S E L EC T E D BY J E N N Z E L L A
Naomi Paul’s crocheted pendants bring the softness Jenn Zella of Naples’ CID Design Group seeks for her wellness-minded interiors. With its bulb concealed behind layers of Egyptian cotton, the fixture emits a gentle, even light. “Chandeliers can be glary,” Zella says. “I love that hers creates a diffused glow.” Paul learned the fiber craft from her mother and studied weaving at Chelsea College of Arts before opening her East London studio in 2012. Each made-to-order pendant requires up to 60 hours of crocheting, shaping and steaming. “A lot of people have imitated her now, but she is the original,” Zella adds. naomipaul.co.uk
Naples | Palm Beach | Greenwich | Cocoon G a l l e ry.com
EARTH-SOURCED, HANDCRAFTED FURNITURE + DECOR
ATMOSPHERE
Dan Cutrona (2)
He conquered Chicago, but these days, interior designer Frank Ponterio is embracing a life of coastal splendor in Naples, eager to bring a deeper level of craft and material sophistication to the Gulf Coast.
Laurie Brookins
By
P E R F EC T LY FRANK Figures
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Figures
Frank Ponterio is at his best when he’s in pursuit of the one object that will settle a room and give it its center of gravity. And if the search also satisfies his wanderlust and affinity for handicraft, all the better. The Chicago designer, who recently made Southwest Florida his full-time home, treats sourcing like seasoned collectors treat auctions: You show up early, you stay alert and you don’t let the rare pieces slip away. When he heard a High Point vendor had antique harvest tables arriving before market, he reconfigured his week to be there first. “I flew in Tuesday afternoon, we FaceTimed with the client and I flew back out on Wednesday afternoon,” he says. “Very quick, but I found the right 150-year-old table for that project.” The week before, he was in St. John for 22 hours, primarily to attend a site meeting, but he also found the time to check in with a local ceramicist—the perfect choice, he knew, to craft the sconces for the island home. “Most people would have spent that time walking down to the beach, because they’re normal,” he laughs. As an interior designer, Ponterio approaches spaces as compositions of scale and proportion, architecture,
millwork and a blackened staircase create architectural continuity.
integrated compositions. In this penthouse, a grand piano takes center stage while dark
Based in Naples Design District’s The Collective, the designer approaches interiors as
Courtesy Michael Robinson; Dan Cutrona
Atmosphere 63
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Recently relocated full-time to Naples, Ponterio brings his taste for graphic restraint to the coast. He conceives spaces as cohesive compositions, planning millwork, fixtures, lighting and proportion in sync from the outset.
systems engineering, and interiors integrated from the start. Guided by the simple belief that rooms are only as strong as the hands that make them, the 55-year-old has spent three artisans who work at a level of rigor that he considers foundational to
Figures
decades building relationships with
good design. Collaboration is at the heart of his practice, where he works with makers to design pieces that feel native to the home and are crafted to last. The approach lends his rooms a sense of permanence. Ponterio is eager to deepen access to high-caliber craft in Southwest Florida, where he sees a strong appetite for individuality. “I’ve never been a trend kind of person, but the trend I’m excited by is more clients who just want more,” he says. More artisanship, more artistry, more soul—especially on the Gulf Coast, where homeowners have traveled the world and seen the best of design. “They’re asking for different materials, different products, perhaps a different approach,” Ponterio adds. “But more than anything, what I hear what everybody else has.” Ponterio is built for that kind of brief, and he’ll chase the spark of an idea as far as it leads him. A recent home bar involved traveling to a fair
Courtesy Michael Robinson (2)
from clients is that they don’t want
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66
in Parma, Italy, to study a century-old ceiling fan, a quick stop in Bermuda to analyze the bar a client wanted Chicago to work with the millworkers before trucking the piece down
Figures
reinterpreted, then a flight over to
to Florida for the installation. “It’s probably the coolest bar we’ve ever done,” he says. Ponterio founded his eponymous firm in Chicago in 1994 before opening a studio in the city’s posh River North neighborhood in 2005. In addition to his thoughtful designs for residences, businesses and private jets, he quickly started designing product lines for brands, like textile and wallpaper powerhouses Clarence House and Lee Jofa, and Dallas-based furnishings company Arteriors. Courtesy Dustin Halleck (2)
As more Florida commissions came in—and with another Midwestern winter looming—he started to consider a Naples studio. Ponterio opened on Third Street South in 2021, then relocated to The Collective in the Naples Design District after flooding from Hurricane Ian. “[We’re] on the second floor, because I’m getting smarter as I get older,” says the awardwinning designer, who also has a smaller office in Palm Beach. The move turned out to be ideal. The steel-and-glass design hub mirrors the resource-rich environment he relied on in Chicago. “I can
Serene blue cabinetry meets brass hardware in a luxe closet, where materiality does the talking. At a moment’s notice, Ponterio will fly to Parma, Italy, to study a century-old ceiling fan, detour to meet a ceramicist or travel to Bermuda to research the inspiration for a client’s bar. The chase for the right piece and artisan collaborator is core to his practice.
F FICARRA DESIGN A S S O C I AT E S
FICARRADESIGNASSOCIATES.COM 239 643 3450
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GULFSHORE LIFE H OM E
He channels the character of a home’s setting, with a deft ability to work within traditional vocabularies while keeping spaces crisp. Ponterio’s standing in the industry earned him a seat on the Design Leadership Network’s board, along
walk down the hall to speak with the guy
artisans. Ponterio likes to collaborate
scale-like partition that stands between
at [Unique Wood Floor Co.], or I can walk
with upholsterer Michael Schmidt (“A
the foyer and dining room and subtly
upstairs to speak with an architect or a
true craftsman,” he says) and artist Ed
evokes the pattern of alligator skin. “I
builder,” he adds.
Koehler, whose sculptural pieces merge
love that its inspiration isn’t immediately
Beyond the adjacent opportunities
natural forms with modern structure. For
obvious, but once you understand the
within The Collective, Naples has also
a recent Ponterio project, Koehler welded
influence, the piece only becomes more
revealed a deep bench of like-minded
flattened iron tubing into a rippling,
interesting,” Ponterio says.
Courtesy Eric Piasecki/Otto (2)
Figures
with partnerships with Clarence House, Lee Jofa and Arteriors.
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Across his current designs, spanning Florida, St. John, Colorado, California, Australia and beyond, the throughline remains: a willingness to engage with the details. He’s a lifelong student, always eager to learn—whether it’s delier from Seguso, the glassmaking family dating to 1397, or how a material
Figures
about the lineage of a Murano chan-
will behave over time. In his effort to expand the field of craft, he takes the time to educate clients about the processes and materials behind any detail in their home. He wants to help homeowners understand why quality takes time and costs more—and why it lasts. “My biggest piece of advice—especially if this is going to be your forever home—is take the time needed to design the project,” he says. Often, he sees new transplants rushing to not miss season. “They get a base drawing done, they get a price from a contractor, and then it’s go, go, go.” Naturally, he’s taking the slow road as he builds his Naples home with Becky, his wife of 30 years. The couple recently sold their Chicago house and bought a double waterfront lot where looking forward to watching it come to life: “There’s nothing better than seeing something that you dreamed up coming into the world and knowing it’s going to stand the test of time.”
Ponterio’s rustic-meets-refined approach centers on material honesty and precision. Here, wire-brushed wood and honed stone shape a powder room, echoed by the warm, finely detailed bar in a Sun Valley, Idaho retreat.
Courtesy Gabe Border (2)
they’ll begin building this spring. He’s
Design
INSPIRED BY YOU
DISCOVER HOW YOUR STORY can inspire your space. Visit our showroom on 5th Avenue in Naples. Schedule your Complimentary Design Profile at dwest.com or call 239.514.1234.
ATMOSPHERE
Top: The sound-responsive surfaces in a Winch Design music room. Bottom:
As engineering and aesthetics rise in tandem, a new generation of luxury home audio demands to be heard—and seen.
Sonus Faber’s Il Cremonese Ex3me—Automobili Lamborghini Edition.
Courtesy Winch Design Studio, Sonus Faber
Laurie Brookins
By
HIGH FIDELITY Framework s
GULFSHORE LIFE H OM E
Florian Wiegand appreciates working
and spend this money,’” Wiegand says.
in 2022. Each Clarisys speaker is built as a
with high-end homeowners across
For him, that meant a pair of $160,000
bespoke commission, engineered specif-
Florida’s coasts. As founder and head of
speakers—an order he notes is far more
ically for the room it inhabits.
global distribution for Clarisys Audio, he
straightforward here than in European
Crafted between Switzerland and
sees clients who value a personal listen-
markets, where customers often spend
Vietnam, Clarisys ribbon loudspeakers
ing experience and invest in pieces that
years making the decision.
use a thin, conductive ribbon of silver
stand out both visually and sonically.
Founded in 2015, Clarisys Audio Global
foil suspended within a magnetic field
“Recently I spoke with a homeowner who
counts Sarasota’s Suncoast Audio among
to produce sound. The effect is intended
said, ‘I’ve worked my entire life, now I’m
its distributors; Suncoast owner Michael
to approximate a live performance—and
retired, so I’m going to get what I want
Bovaird also joined Wiegand as a partner
the design recalls musical instruments as
Clarisys ribbon loudspeakers are engineered to mimic a live performance. The Aria system uses a four-tower design to create a dimensional sound stage with striking visual presence.
Courtesy Clarisys Audio Global
Framework s
74
Let Us Help You Create a Coastal Oasis
Ave Maria | Bonita Springs | Downtown Naples | East Naples | Founders Square Golden Gate | Marco Island | Pelican Bay| San Carlos | Winchester | Babcock Ranch Kingsway | Largo | Port Charlotte | Visit us at SunshineAce.com
Since 1958
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The century-old Danish brand Bang & Olufsen remains a leader in sculptural audio. Below: The slender Beolab 28 speakers, shown in brushed gold, can widen or narrow their sound to suit the room. Inset: Beosound 2 delivers
much as electronics. The Piccolo stands
tier, while the largest Atrium version can
rather than disappear into the room.
3.5 feet tall, while the flagship Atrium
reach around $1 million.
From statement speakers to amplifiers
can reach up to nearly 9 feet and weigh
Clarisys is part of a larger movement
and turntables, the highest-end pieces
reshaping home audio. For years, the
are conceived as design objects in their
“The panel and the drivers of sev-
prevailing goal was to hide equipment
own right.
eral models are designed like harps,”
behind walls or cabinetry. That still
The Danish brand Bang & Olufsen—
Wiegand explains. “The silver foils are
holds true for many homeowners. But
which celebrated 100 years in 2025—
tensioned from left to right, exactly like
a new generation of makers is creating
has long treated audio equipment as
a piano string. And a different tension
pieces so sculptural and technically
functional sculpture. The Beolab 28, a
creates a different pitch.” Most Clarisys
sophisticated that people want them on
slender, architectural pair finished in
models fall within the high-end luxury
display—objects that invite attention
a brushed gold tone, exemplifies the
as much as 1,650 pounds.
Courtesy Bang & Olufsen (2)
Framework s
360-degree sound in a compact form.
NAPLES’ LUXURY CUSTOM HOMEBUILDER
“Where Vision Meets Exceptional Craftsmanship” Foxpremierbuilders.com | 239.248.2632 | Info@foxpremierbuilders.com | CGC1524591
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TuneTot, the latest from Wilson Audio’s Special Applications Engineering team, delivers surprising power in a compact form. Its retro look belies engineering that keeps the sound clean and clear, even in rooms with tricky acoustics or
Courtesy Wilson Audio
Framework s
background noise.
Bonavie Cove Where Good Days Come Naturally. Welcome to Bonavie Cove—a neighborhood that perfectly balances style, comfort, and connection, this community offers homes designed for modern living and meaningful moments. Each residence features bright, open floorplans filled with natural light, private lanais that blend indoor and outdoor living, and thoughtful storage for everyday convenience. Contemporary finishes and flexible spaces create a home that adapts to your lifestyle—inviting you to stop in, slow down, and stay awhile.
Community Highlights • Resort-style pool with lounge seating • Clubhouse + social spaces • Outdoor firepit + gathering courtyards
• • • •
Gated entry for peace of mind Modern fitness center Walking paths + green space Pet-friendly environment
Contact us at 239-217-9032 or bonaviecove.swf@mattamycorp.com New Home Gallery: 6574 Good Life St., Fort Myers, FL 33966 mattamyhomes.com/bonaviecove
Visit MattamyHomes.com or see a Mattamy New Home Counselor for further details and important legal disclaimers. Existing and proposed amenities for the community are subject to changes, substitutions and /or deletions without notice. Pictures, photographs, colors, features, and sizes are for illustration purposes only and will vary from the homes as built. Home and community information including pricing, included features, terms, availability and amenities are subject to change and prior sale at any time without notice or obligation. Square footages are approximate. Copyright © 2025 Mattamy Homes. Mattamy Homes, the Mattamy logo are U.S. registered service marks or service marks of Mattamy Homes and/or its subsidiaries. MATSWFL049
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brand’s approach. The conical Beosound
in 1949—became iconic for its blue-lit
amplifier that blends a classic 100-watt
2 acts as a movable wireless speaker that
meters and black-glass front panels,
stereo amp with support for today’s
can shift throughout the home.
originally created in the late 1960s for
most popular streaming platforms.
readability in low light. “People who love
Estelon takes the sculptural approach
category with the 2025 Totem Vinyle
audio really love that look,” says Mike
even further. Its speakers, distributed
and integrated sound system. Produced
Novak, president and CEO of Naples-
locally through Premiere Systems in
by Studio LV, the limited-edition piece
based Epic Audio Video. “Homeowners
Naples and Ferrari Consulting in Key
features petal-like leather panels and 11
often have wanted their components
Biscayne, resemble contemporary art-
speakers arranged to create a 360-degree
tucked away and unseen, but not with
works. “The chief appeal of Estelon is
sound field.
McIntosh. They want it front and
the aesthetics; it looks like art,” says Aldo
Of course, design-forward audio
center.” Among the latest releases is
Filippelli, president and CEO of Luxury
isn’t new. McIntosh Audio—founded
the MSA5500, a streaming integrated
Audio Group. The cabinets are formed
McIntosh Audio reaffirms its icon status with the MSA5500. The blue-lit meters and black-glass front panels echo the brand’s 1960s lineage, while built-in streaming carries that signature look and sonic power into the modern home.
Courtesy McIntosh Audio (2)
Framework s
Even Louis Vuitton has entered the
DESIGN. TRUST. BUILD.
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500 FIFTH AVE S., SUITE 509, NAPLES | 239.238.4343 | MDK-CONSTRUCTION.COM
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Louis Vuitton enters the audiophile world, with a turntable and integrated
Courtesy Louis Vuitton
Framework s
sound system, wrapped in petal-like leather panels and 11 speakers.
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from a marble composite and proprietary
commission bespoke colors, including
advice: Hear the equipment set up
epoxy to create a dense, seamless uni-
a coastal-inspired teal known as Ocean
exactly as intended. “If you’re consider-
body. The shape—sleek curves without
Mystery. One Florida homeowner
ing this investment, go to a dealer that
edges—eliminates resonant vibrations
requested his Extreme Mk II speakers
has them properly set up to enjoy the
and standing waves, producing an envel-
match the Azure Blue of his McLaren,
true experience,” he says. Many retail-
oping, lifelike sound. The finish receives
complete with custom accents in a pro-
ers also demonstrate the systems in a
as many as 15 coats of automotive lacquer.
prietary Mercedes black—a request the
client’s home.
Estelon models begin in the luxury
brand fulfilled by coordinating directly
tier and climb into the ultra-high-end,
with the automaker. For clients navigating this tier of
can choose from standard finishes or
high-end audio, Filippelli has simple
rience,” he adds. “After all, you’d never buy a Ferrari or a Porsche without driving it.”
Distributed locally through Premiere Systems in Naples, Estelon’s YB Mk II uses a marble-based composite cabinet and an angled-woofer layout that helps the slender towers deliver full-range precision. Inset: The more compact XC Mk II.
Courtesy Estelon (2)
Framework s
with the Extreme LE at the top. Clients
“That makes it a very personal expe-
Exterior Doors • Iron Doors • Interior Doors • Designer Windows
HURRICANE STRONG. Beautifully Designed. GLASSDESIGNS.COM 239.437.4100 NAPLES | FT MYERS
Photography By Dan Cutrona
By
By Heather Bien
Vignettes
ATMOSPHERE
PLUSH REFUGE
Forget spa tones. Julia Liegeois envelops a Naples bedroom in oxblood and sheen, crafting a retreat that’s equal parts serene and sensual.
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GULFSHORE LIFE H OM E
Oxblood on a dining room wall or in
Though not a typical bedroom choice,
the Naples Design District, the choice
a powder room is bold. But in a bed-
a cabernet hue infuses life and intimacy
reflects a shift she’s seeing among
room? It’s wholly unexpected, even
into the space, creating an atmosphere
clients who’ve grown tired of the safe,
provocative. In this Naples home, the
where materials with texture, sheen and
predictable palettes that dominate
tone creates a cocooning retreat. The
softness command attention against a
local interiors. With this project, she
deep saturation invites you to step
moody backdrop.
found a client willing to push bound-
away from neutrality and into color’s
aries and share her audacious vision.
who recently opened a showroom in
“This was born out of a playful ‘what
Vignettes
warm embrace.
For interior designer Julia Liegeois,
The designer wrapped this Naples bedroom in Sherwin-Williams’ Marooned, taking the hue across walls, trim and ceiling. The tone anchors the palette, echoed in silk bedding, red-veined marble lamps and dark spindle posts. Drexel mirrors above the nightstands bounce light, preventing the room from feeling heavy.
A rchitectura l interiors @carriebrighamdesign
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if’ conversation,” Liegeois says. “I put together a presentation, and the room took on a life of its own.” The designer selected SherwinWilliams Marooned (SW 6020), draping hue. The purple shade with brownish-red undertones became the anchor that drove every other design decision, from the painted nightstands to the layered
Vignettes
the walls, trim and ceiling in the rich, dark
bedding to the dark-wood spindle bed and red-veined marble lamps. Dark paint can kill a room if handled poorly. Liegeois learned this in college when she painted a bathroom black. “I didn’t realize how much light it would absorb,” she says. “It was a cave.” The lesson stuck. Now she knows the trick isn’t to avoid darkness—it’s building around it and keeping the palette tight. Variations within one color family create harmony, not heaviness. “Monochromatic doesn’t mean monotone,” she says. Layering in materials like silk adds dimension through texture and sheen. Here, glossy Venetian plaster walls catch and hold natural light, making the oxblood appear luminous instead of oppressive. Drexel mirrors above the nightstands amplify this effect, doubling the daylight that pours through windows overlooking Florida greenery. The contrast sharpens everything—the view looks more vivid, the room more grounded. At night, recessed lights and contemporary
Pulling in varied textures and hues within the color family keeps dark tones from reading cavernous. Here, Venetian plaster plays against the warmth of
bedside lamps cast overlapping glows
carved wood and the Grand Canyon painting’s earthy hues. “Monochromatic
that turn the walls almost bronze.
doesn’t mean monotone,” Liegeois says.
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Vignettes
94
While the burgundy stays in the bedroom, Liegeois carries its energy into adjacent spaces. In the foyer, mauve carpeting and rust-inflected accents echo the deeper tones without repeating them. The space is anchored by a large rooster painting in earthy blacks and ochres.
1.
*Inman Golden I Club 2025. 2. William Raveis was #1 in total transactions and total volume sold (Market Share), combination of list side and buy side volume, in 2024 for Port Royal, Olde Naples, and Aqualane Shores, according to the SWFLAMLS for the time period 1/1/2024-1/1/2025. 3. William Raveis was #1 in total transactions and selling volume sold in 2024 for Coquina Sands according to the SWFLAMLS for the time period 1/1/2024-1/1/2025. Non-MLS transactions, including non-MLS transactions of William Raveis, are not included in these tabulations.
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Vignettes
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Deep cabernet tones make the window seat feel cocooned, while the lush greenery outside sharpens the color and pulls the eye into the landscape.
YOUR BEACH HOME B E A U T I F U L L Y
R E I M A G I N E D
O U R N E W D E S I G N C E N T E R O P E N S I N F E B R U A RY Welcoming homeowners, contractors, architects, and designers. Experience a more personalized way to design your beach home: • Book a design session with our expert team • Hand-select materials tailored to your project • Shop our curated décor and accessories • Stop by for inspiration and fresh ideas 6 8 7 5 E s t e r o B l v d . For t My e r s B e a ch, F L 3 3 9 3 1 www.i n te r i or s f m b.com | r ub y @i nt e r i or s f m b.com | ( 2 3 9 ) 4 6 3 -5 3 2 0
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The furnishings reinforce the sensory experience. A vintage rug and sheepskin offer softness underfoot. Silk sheets drape across the bed. Pillows stack along the window seat, creating a perch for the hard surfaces give the room its shape. Dark spindle bedposts rise with turned wood that adds vertical rhythm.
Vignettes
watching the world outside. Meanwhile,
Marble lamps and sleek nightstands frame the layers of velvet and silk. The effect is enveloping without feeling closed in. “It’s the mix of curves and edges, sheen and softness, that gives the room life,” Liegeois says. “The bold color grounds the space, but it doesn’t overwhelm it.” As you move through the home, the palette evolves, creating cohesion between private and public spaces. In the foyer, dove gray walls replace the oxblood, giving the eye somewhere to rest. Mauve carpeting and rust-toned accents nod to the bedroom without repeating the intensity. An oversized painting of a rooster, rendered in earthy golds and blacks, dominates one wall, carrying the richness forward. To successfully create a moody retreat, it takes more than design skill—it requires a client willing to lean into the unknown. “That’s the magic, when a client trusts the process and wants to try something bold,” Liegeois says. “My job is to listen,
Light skims the Venetian plaster, amplifying its mottled movement. The
to find the essence of what they’re after
unfussy wood grain below grounds the vignette, adding an organic
and say, ‘Let’s do it.’”
counterbalance to the room’s sultrier finishes.
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OBJECTS
LOCAL CRAFT, ELEVATED / MAX GOODING’S GREEN BLUEPRINT / RESILIENCY, REIMAGINED / A KINETIC CELLAR IN FORT MYERS
10 2
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FIGURES
12 4
Anna Nguyen
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FR A MEWOR K S
VIGNETTES
Structure
STRUCTURE
Photography By
Anna Nguyen
By
GL Staff
Objects
S H A P E D
From walnut benches to biomorphic mirrors, these objects crafted by Southwest Florida artisans reveal the enduring power of work shaped by human hands and instinct.
B Y
T H E
N A N G CO N S O L E TA B L E BY CO CO O N
In Cocoon’s nature-driven furnishings, Southeast Asian hardwoods undergo a months-long cycle of bleaching, heating and drying to achieve the studio’s luminous, unpainted white. This console takes its cue from the river-smoothed pebbles that founder Mitchell Siegel studied in Japanese gardens. Carved from a single acacia trunk and refined through hours of sanding, the table’s low, sculptural profile projects strength and serenity in equal measure. cocoongallery.com
G U L F
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Objects
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Objects
MUSEUM BENCH BY CHAD JENSEN, METHOD & CONCEPT
Chad Jensen has long been a shaping force in Southwest Florida’s contemporary art and design scene. He recently relocated Method & Concept gallery to the Thomas Riley Artisans’ Guild campus in North Naples, giving him the space to return to his roots as a maker. For the Museum Bench, Jensen set himself a 24-hour design challenge and let the materials dictate the form. Working with American black walnut, he began with the seat, designing around 12-inch boards—the widest stock he can reliably source for reproductions. A ceruse finish accentuates the grain, while a ceramic wax gives the surface warmth. The hand-stitched English bridle-leather sling provides functional space for catalogs and sketchbooks. Only 100 benches will be made, each one hand-numbered and marked with an insignia. “The beauty of wood [is] no two pieces are ever going to be identical,” Jensen says. “That’s the part of working with nature that I love.” methodandconcept.com
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Objects
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HAND-SCULPTED LUMINAIRES BY C3 STUDIOS, CHRISTINE CUT TING
After years in social work and raising four children, Fort Myers–raised ceramicist Christine Cutting returned to art through pottery. From her garage-turned-home studio, she crafts functional pieces, including bespoke dinnerware for local chefs, and more recently, sconces. The Hand-Sculpted Luminaires series traces back to a set of nautical plates she created for Harold’s Restaurant. Unlike her wheel-thrown vessels, each sconce is hand-built, allowing her to mold the clay’s soft, tide-like ruffles. To keep the focus on form rather than the clay’s texture, she chose a smooth white stoneware and paired it with unfinished brass and black hardware. A puzzle of shrinkage calculations, wiring logistics and trial-and-error fittings, her first foray into lighting pushed her to swap instinct for precision, measuring every curve to ensure clay and hardware met cleanly after firing. “Every time I look at something, whether it’s a bowl or a vase or whatever, I turn it around in my head,” she says. “[I ask myself] ‘What else could this be?’” c3studioart.com
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THE ESSENCE MIR ROR BY ZOA CONCEPT
After moving from Poland to Naples in 2023, Joanna Janusz began experimenting with hempcrete, a sustainable, fast-growing material she prefers for its sculptural potential and low environmental impact. She and her daughter, Aleksandra, founded Zoa Concept, evolving from concrete candles into biomorphic furnishings and hand-formed home decor. Working from her home studio, Joanna shapes The Essence mirror by mixing the hempcrete directly on the table and molding the base in one intuitive session. She refines the surface with a thin, hand-troweled layer of lime plaster. The circular glass inset came later; once she carved the wall decor’s void, she realized the form needed a reflective surface to complete its composition. Joanna sees the
Objects
mirror as a reflection of human fragility—solid in structure, yet gentle in contour: “We can be fragile like glass.” zoaconcept.com
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S TA I N L E S S - S T E E L R E C TA N G U L A R CO F F E E TA B L E BY CO R I C R AC I U N , S T I C K S & S TO N E S
When designing her first table in 2017, Cori Craciun of Naples’ Sticks & Stones furniture, searched for a fabricator to help her with the metal legs. Working with Abdul Imdaq Edhin, she thought: ‘What if we built an entire table from metal but gave it the character of wood?’ “He looked at me like, ‘You[‘re] crazy!’” she says. Giving a flat, rigid surface the warmth and movement of lumber meant building the ‘grain’ into the metal, spending a week wet-sanding, working through successive grits from 320 to 3,000, followed by wool pads and fine polishing compounds. They started with a monolithic coffee table, where sunburst-like channels catch light, giving the blocky form a sense of organic fluidity. “[The lines] soften it,” she says. “It’s still natural, even though it’s metal.” Although Craciun centered her brand on wood furnishings, she still makes metal coffee and end tables,
Objects
featuring live-edge curves and hammered dimples, recalling burl nodules and chisel marks. sticksandstonescollection.com
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Objects
F O R E I G N M AT T E R C O L L E C T I O N // W H I T E S E R I E S — F O R M AT I O N N O . 1 BY PJ WHITE
PJ White was renovating homes in Naples when he created his first art piece during a lull in the permitting cycle. The piece sold for nearly $30,000 at Judith Liegeois’s gallery, propelling his studio practice. “I like to use my hands,” he says. “When something pops into my head, I just create it.” His work carries the imprint of construction materials and hands-on problem-solving, from resin-coated canvases to sculptural forms like this stool from his Foreign Matter series. White started with reclaimed wood, layering foam and epoxy clay to achieve the organic, cratered surface, then hardening the piece through about 10 coats of epoxy—each brushed and rubbed in by hand. He estimates it took roughly 100 hours to complete, including applying thousands of dots individually with an acrylic dropper. The result mirrors the glossy, hypermodern sensibility of Miami’s pop art scene, a style White hopes to expand in Naples. He imagines the piece as an end table or perch—a textural accent that reads equal parts playful and architectural.
NEW HOME CONSTRUCTION | RENOVATIONS ESTATE MANAGEMENT 111 10th St. S., Suite 304, Naples, FL 34102
239.594.1501
Dan Cutrona (2)
Bronwen Dickey and Skye Sherman
By
Figures
STRUCTURE
D R A W N
O U T D O O R S
Naples-raised painter and landscape architect Max Gooding approaches his outdoor designs like a canvas—using plants, water and stone to create transportive compositions.
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Before launching his landscape design firm, the 37-year-old worked as a painter. His artistic instincts still drive his process. He designs from the inside out, mapping sightlines so each room frames an
Dan Cutrona (3)
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intentional vignette outdoors.
Structure
Not long ago, the owners of a large property in Pelican Bay presented landscape architect Max Gooding with a challenge: They had transformed their Mediterranean-style home into a modern sanctuary, and they needed the house to have an equally show-stopping exterior. They wanted clean lines and a monochromatic palette of green tinged with white, but they also sought more traditional materials to avoid a sterile feel. After several rounds of interviews and site visits, they were convinced the Naplesraised plantsman could deliver. The couple had come to Gooding, as so many clients do, because of his background as a fine artist, his fresh take on the craft and his reputation as one of Southwest Florida’s brightest up-and-comers. Before he founded his landscape design firm in his twenties, Gooding, now 37, made a living as a painter. For him, moving to gardens wasn’t much of a leap. “Instead of marble or wood or some sort of carving, I use the plants, the garden walls, the water to bring those all together—to make a painting that you’re living in,” he says. It’s a different approach from the rigid and unnatural landscapes Gooding saw growing up in Naples during the 1990s. “Everybody followed that Tuscan style,” he remembers. “It was just thoughtless color. It was man over nature.” But when Gooding’s plant-obsessed father and stepmother bought a new house in 1991, they took a different tack, seeking out rare orchids, bromeliads and fruit trees. With their son’s help (and, he muses, a lot of his physical labor), the Goodings turned their suburban lawn into a subtropical oasis over the next 30 years. Gooding developed an appreciation for the personal relationship with each species that attentive gardening requires. The 3-foot tall lychee sapling his father purchased when he was
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Gooding’s landscapes rely on tonal greens—subtle shifts in leaf shape, density and silhouette—to create depth without visual clutter. “There are a million different shades of green,” he says. “You can play a symphony if
5 years old, for example, grew to over 45
informing his artwork—line, shape, form,
software. He also photographs the existing
feet by the time he graduated from college.
color, texture, value and space—could be
property as it is and digitally paints over
When it had to be removed, Gooding felt a
equally applied to outdoor spaces. Soon,
the images to test ideas: Which areas need
pang of sadness.
he began pursuing a degree in landscape
a focal point? Which should be left alone?
architecture at the University of Florida.
“I’m able to trim trees with my paintbrush
By then, he was immersed in the world of drawing and painting, having studied art
Gooding’s fine arts training shows in his
and show them what they could have,”
through high school and community col-
process, which begins with him studying
lege, and he had gained enough recognition
sight lines and views, and mapping micro-
To the uninitiated, his answers can be
to regularly sell his work. His fascination
climates and light patterns to ensure the
counterintuitive. Clients who live on the
with the colors and textures of plants never
plants thrive where he places them. Then,
water sometimes recoil at the thought of
left him, though. He felt that the principles
he sketches his vision by hand using digital
placing palms between them and the Gulf.
Gooding adds.
Courtesy Max Gooding; Dan Cutrona
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you use them right.”
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His approach is as shaped by his artistry as by his father, who rejected the saturated Tuscan palettes of ’90s Naples in favor of Florida-friendly plantings. For this Pelican Bay project, Gooding paired crisp hardscape
Gooding has to assure them he’s framing
require permitting. Bespoke fountains,
a million different shades of green,” he says.
their view, not blocking it. “I hold up a pen
water features, lighting and fire pits are
“You can play a symphony if you use them
in front of my face and say, ‘Can you still see
next. “Nothing is boilerplate,” Gooding
right.” He also considers texture, shape and
me?’” he explains. He welcomes feedback at
says. “Nothing is reused from other jobs.”
contrast. Fine grasses, for example, pair
every phase, building in 30 to 50 hours for
(If there is one trend he cannot abide, it’s a
well with philodendrons, which have large,
ongoing discussions. “My clients are never
pre-fab fire bowl.)
wide leaves. Lilies and low palms temper
a bother to me,” he says. He tries to answer on the first ring.
Though he’s always thinking about plant
coarser plant materials.
selection, he fine-tunes the plantings in the
With every project, he aims to create
Then come the hardscaping elements—
last stage. For color, he likes working with
a sense of containment, a landscape that
namely, pools and driveways—since they
tonal, high-contrast vegetation. “There are
immediately feels like its own world once
Courtesy Max Gooding; Dan Cutrona
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with layered foliage to create a calm but dimensional poolscape.
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Clad in a cowboy hat, Gooding stays hands-on during installations, shaping each space into its own contained world. “Instead of marble or wood or some sort of carving, I use the plants, the garden walls, the water,” he says.
you step onto the property. To accomplish that, he designs from the inside out to shape what the homeowners will ing cohesion. “I can invent every aspect of the property to talk to each other,” he explains. “[For example,] every time I
Figures
see from every room, focusing on creat-
design a pool, I’m already thinking of the type of palms.” When the time comes to do the digging and hauling for a project installation, Gooding takes pride in his hands-on philosophy. “I’m out there with a cowboy hat,” he says. “I’m not gonna sit there and let other people work; I’ll swing containers. I’m not afraid to get dirty.” Throughout, he lets the site’s ecology lead the design, working with, not against, the environment to create immersive gardens that, yes, grow and change, but ultimately stand the test of time. The care he puts into his designs won’t be fully realized for three, four or five years—maybe more. Likewise, the landscapes that are fully mature today reflect the designer he was five years ago, and he’s never afraid to edit what no longer holds. He refers to landscape have to trust the process,” he says.
Dan Cutrona (2)
architecture as a long art form. “You just
Design
Build
Renovate
24951 Old 41. Rd. Suite 2 Bonita Springs, FL 34135 | www.NicolettaCompany.com | 239.776.5858 CBC1265790
Framework s
STRUCTURE
Annamarie Simoldoni
By
S T A Y I N G
In the midst of worsening storms, Southwest Florida’s top architects lean into nature’s patterns to forge a more resilient path forward.
Joe Fletcher, Kris Tamburello
P O W E R
Studio Rick Joy’s Le Cabanon property and Strang Design’s Van der Vlugt Residence have both been recognized for their climate-resilient design.
GULFSHORE LIFE H OM E
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Across the Gulf Coast, resilient design has become less about creating a fortress and more about working with the forces that shape its environment. When Hurricane Ian struck in 2022, followed by Helene and Milton two years later, Southwest Florida started building from a new baseline. Our homes needed to withstand a Category 5 hurricane—and recover as quickly as possible afterward. “Resilience has to do with how [a building] performs after the storm
in a home by HLevel Architecture and in the inset image of Naples’ Time
passes,” says Naples sustainable architecture
4 U rental property home—represent the standard for coastal resilience.
champion David Corban.
Below: Landscape architect David Young protects his Florida sites through
The shift expresses itself in a new design language for the coast. Now, homes are more porous and adaptable at ground level and heavier at the core—they hold where they must and yield where they should. Interior finishes are kept to a minimum, reducing the number of fail points. In practice, designing for resiliency begins at the ground level, where landscape architects map wind, sun and water, and shape the land accordingly to minimize impact. Leigh Gevelinger, of Sanibel-based Coastal Vista Design, says a site’s native grade, soil composition and drainage patterns determine what happens during a surge or a week of heavy rain. Rather than imposing a landscape onto a property, Gevelinger organizes plantings to stabilize the ground and manage the movement of water. “Resiliency takes a layered approach,” she says. “Each technique compounds on the other.” In one of her recent Sanibel Island projects, native Dan Cutrona, Halkin Mason, Ryan Gamma
Left: Steel-and-concrete construction and clean, sturdy lines—seen here
spartina, muhly and lovegrass create a dense, fibrous root system. Meanwhile, clusters of gumbo-limbo and seagrape trees provide shade year-round and help diffuse wind pressure before it reaches the home. Many landscape architects also install narrow chambers buried beneath driveways, so water can settle and seep without
native plantings and nuanced grade shifts.
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altering the visual landscape. Through-
has installed Smart Pond systems from
capacity to prevent discharge into
out, low areas are raised just enough to
National Stormwater Trust, which use
nearby neighborhoods.
block neighboring runoff, and subtle
live weather data and automated valves
As the landscape absorbs and
contours are added to hold and absorb
to assess available storage and lower
deflects, the structure above must
stormwater onsite rather than pushing
water levels ahead of a storm. Before
anchor. Forward-thinking architects
it toward downstream homes.
Hurricane Ian’s first bands reached the
have long traded wood for concrete,
Some master planned communities
coast, one Tampa Smart Pond drew
but Ian accelerated the shift from rec-
take things further. Babcock Ranch
down its lake by 4 feet, creating enough
ommendation to expectation. Naples-
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based Michaela Reiterer Henning of Naples’ HLevel Architecture opts for Omni Block—a cementitious masonry unit similar to insulated concrete forms (ICFs) but better suited to hot, humid climates. The block delivers structural strength, energy performance and sound control in one. On top, fiber cement siding can preserve the look of classic cladding without bending to the elements. Architect Joyce Owens, Sanibel and Captiva Islands’ resiliency evangelist, uses concrete all the way down to the home’s deepest layer, even when it’s not required by code. She drives the concrete pilings deep below grade and ties them together with over-reinforced grade beams. Above it, steel-hardened concrete shear walls rise perpendicular to the water, lifting her homes’ primary living level well above flood thresholds. She places rebar at 2-foot intervals, rather than the code minimum of 4. “These houses that we are building now are going to last hundreds [of years],” she says. Following each of the recent years’ storms, Owens surveyed her sites. While neighboring homes were tattered or even leveled, hers stood with only the landscape impacted. “We design to allow Mother Nature to do what she’s going to do,” she adds. In a humid, coastal climate, long-term resilience isn’t just about impact ratings, but keeping moisture out of the structure year-round. For an additional layer of protection, Schenkel Shultz’s principal architect, Nathalie White, may utilize
flat-roof assembly and marine-grade sealants to meet coastal demands
a rainscreen—a thin, ventilated layer of clad-
without sacrificing architectural clarity. Above: David Young’s Gasparilla
ding that allows exterior walls to breathe and
Island project elevates the living spaces on concrete pilings, creating an open ground level built to manage storm surge.
Robin Hill, Greg Wilson
Left: Architect David Poorman’s Royal Harbor residence uses a fortified
shed moisture. “Imagine building another wall in front of your wall,” she says. To keep roofing in place, architects have myriad solutions—from utilizing aerodynamic designs that reduce uplift
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to employing premium synthetic underlayments. Framework s
However, materiality rules. Short of building a full concrete roof, standing seam aluminum remains the gold standard for creating a tight envelope that resists corrosive, salty air. As the main structure strengthens, the ground level stays intentionally minimal. Breakaway walls remain a smart way to enclose flood-risk rooms, but Owens prefers to keep most of the undercroft open, capturing it as sheltered outdoor living. “We don’t like the sun as much as we used to,” she says. “Now we want plenty of protected space outside.” Post-storms, the areas can be rinsed clean with nothing critical at risk— plus, they’re resistant to the daily tread of sandy feet, she says. Any necessary ground-level rooms receive composite trim that mimics wood or fully tiled walls in lieu of wooden baseboards. Inside, materials are chosen for recoverability as much as aesthetics. Porcelain flooring, waterproof plaster walls and native cypress for millwork can withstand repeated wetting without swelling or warping. Concrete appears in more places, too—sometimes incognito, treated with stains, microtoppings or thin plasters that take on the warmth of wood or stone. Elsewhere throughout the home, outlets rise higher on the wall; marine-grade sealants protect window migrate to upper levels, where they stay dry and serviceable. In the most progressive projects, the team ensures the home can operate even when the grid is down, a move that also lowers the home’s environmental footprint. Solar paired with reinforced battery storage is moving from novelty to expectation, with low-profile Tesla
Moris Moreno; Courtesy RoseBudz Productions
and door openings; and mechanical systems
Above: In Traction Architecture’s Seagrape House, native cypress holds up to salt air and humidity. Right: At their Oakes Estate home, the founders of HLevel Architecture added a breezeway to promote passive cooling.
Destination M a k e H o m e Yo u r
www.sccpools.com
GULFSHORE LIFE H OM E
panels increasingly covering Southwest
shell, reducing heat gain and improv-
hydrology. But the past few years of
Florida’s roofs. Rainwater-capture sys-
ing long-term stability. “You’re creating
storms advanced the conversation.
tems provide an additional layer of
a skin that keeps heat out and AC in,”
Clients stopped questioning the need
independence, utilizing cisterns and
White says.
for resilient design and began asking
on-site filtration to supply irrigation
Most of what has become best prac-
how far it could go. “It’s only gonna get
and some potable water when utilities
tice today isn’t new. Architects have long
better,” Owens says. “Even if climate
fail. Meanwhile, advances in laminated,
advocated for elevated living, tighter
change gets worse, we’re going to try to
impact-rated glass further tighten the
structural cores and landscape-driven
adapt and evolve.”
Above: The 2025 AIA Florida Firm of the Year, Strang Design, lifts the living spaces of its Florida Keys project 10 feet above the sand, leaving the ground level as sheltered, all-weather living that rinses clean after storms. Left: Architect David Poorman maximizes natural light with strategically placed hurricane-grade windows.
Brian Tietz, Kris Tamburello
Framework s
1 32
Fall in Love with Blue
326 13 th Avenue South — Downtown Naples Store | 5510 Shirley Street — North Naples Store and Warehouse | 239.649.0906
All showroom furniture is available for immediate delivery.
STRUCTURE
VINTAGE
What began as a collectors’ problem for the Youngquists became a feat of design, with exposed steel, sliding racks and mechanical ingenuity showcased as art.
Photography By Dan Cutrona
By
Heather Bien
PRECISION Vignettes
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136
Sandy Stilwell Youngquist and Tim Youngquist transformed their guest room into a 6,000-bottle cellar. Five floor-to-ceiling carriages slide on a chain-
Vignettes
drive track, locking together to eliminate the need for aisle space.
When Sandy Stilwell Youngquist and Tim
Something had to give—that something
the final design: a high-density system of
Youngquist first met, he mentioned his wine
was a guest bedroom. Tim, who owns
five floor-to-ceiling carriages that lock into
cellar. A casual collector, he had no idea
Youngquist Brothers Inc., a major deep-well
each other and slide sideways on command
his future wife would more than match his
drilling company, is used to thinking in
to allow access to a row of wines. The design
enthusiasm—or that his pastime would cat-
torque, weight and load. Collaborating with
maximizes space by eliminating the 30-inch
alyze an engineering marvel.
his engineering team, led by Ravi Ramcharan,
aisles found in traditional cellars.
After years together and frequent trips to
he began sketching a system of sliding steel
But Tim’s vision posed a challenge: Once
Napa and Sonoma, they had outgrown their
racks to hold thousands of bottles and move
loaded, each carriage would weigh 2,446
Fort Myers home’s 400-bottle cellar. “The
on command.
pounds, far more than the floor could bear. To
wine was stacked up so much you could barely walk,” Sandy recalls.
He worked through about 15 paper ske-
distribute the weight, they added steel beams
tches and 3D renderings before arriving at
and lifts beneath the flooring. Above, racks
Design without limits
LIVE WITHOUT COMPROMISE
Award Winning Showroom located at 1719 J and C Blvd | Naples, FL 34109 To schedule a consultation, call 239.593.4848 or visit our website napleskb.com
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glide on a system of polished stainless-steel chains and sprockets. Rather than concealing the mechanics, Tim let function inform the aesthetic. White walls match the frame’s powder-coated steel, and modern lighting highlights the interplay of metal and motion. itoring how the load is distributed to ensure the units glide smoothly along the track. To access a bottle, they insert a battery-powered
Vignettes
A small pressure dial crowns each carriage, mon-
screwdriver into a gear socket at the rack’s base, activating a chain drive that slides the structure along its track to open an aisle. Bottles are cataloged by computer and organized by coded location—A-12 means ‘row one, column 12.’ Turning a guest room into a cellar required significant prep. “It needed a lot of insulation,” Sandy says. The team lined and sealed the entire room, added vapor barriers and drainage for condensation, installed a cooling system calibrated for year-round temperature and humidity control, and linked everything to a phone-monitored smart system. Kept between 52 and 54 degrees, the cellar isn’t a space for lounging. Still, the couple wanted a space to uncork and sample bottles. A high-top table echoes the machinery’s movement, with a crank that lifts a small leaf to expand the surface when friends stop in. Just outside, a small lounge area with light leather seating and a contemporary fixture from Clive Daniel Home continues the tone of refined utility and creates a purposeful contrast with the home’s Mediterranean-style architecture. When full, the system holds 6,000 bottles, organized by winery, within its instrumental frame. For a couple who often host up to 150 guests for
Tim designed the system himself, allowing function to dictate the form.
fundraisers and events, the cellar has become a
The powder-coated steel frame, exposed gearing and clean white palette
conversation piece and a love letter to their shared passion. “It’s a precision operation,” Sandy says. “You can see all the mechanics working together—it’s really fun to watch.”
give the cellar its disciplined, industrial character.
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NAPLES ZOO
REGENCY REDUX COAST / THE SHA IN GOOD COMPA THE MOLD / PRET LIFE IN THE FAST LEVEL / LIVING W 14 2
An Old Florida Retreat in Por t Royal
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Bridging Past and Present on Captiva Island
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A Car-Lover’s Opulent Playground
A Water-Centric Oasis from London Bay
X / CALL TO THE APE OF WATER / ANY / BREAKING TTY IN PINK / T LANE / SUITE WALLS 16 0
Kentucky Charm on Useppa Island
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Mediterranean Lines Rebuilt with Modern Clarit y
A Naples Realtor’s Forever Home
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Hotel Living with a Personal Pulse
A Sculpted Landscape on the Gulf Coast
Features
Photography by Björn Wallander
By
Jesse Bratter
REGENCY
REDUX
DESIGNER ANNIE BRAHLER STRIPPED A PORT ROYAL HOUSE DOWN TO ITS BONES, THEN REBUILT IT AS A LOVE LETTER TO OLD FLORIDA GLAMOUR, WHERE ANTIQUE PALM TREES MEET PINK LACQUER AND VACATION NEVER HAS TO END.
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Designer Annie Brahler replaced the Mediterranean-style estate’s Tuscan earth tones with pastel hues. Inspired by Monet’s Water Lilies, the dining room mural by Texas-based artist Olga Saldivar served as the palette anchor for the rest of the design. Translucent washes of aquamarine and sage ripple across the walls and a high-gloss ceiling, complementing shell-shaped grotto chairs, Murano glass sconces, and a brass palm tree floor lamp.
Sometimes a project announces itself as destiny. Designer Annie Brahler was already deep into planning the full-scale renovation of her clients’ Port Royal Mediterranean estate when the wife revealed a recent shopping trip. She had bought a set of Versace plates—serendipitously, in the exact colors Annie envisioned for the dining room. “It looks like the china was made for the room and the room was made for the china,” Brahler says. “The universe was nodding and saying, ‘Yup, you guys belong together.’” That moment crystallized the project’s direction: a transformation from Tuscan formality to something more exuberant, more personal, more Florida. “It’s a place where they spend vacations, gather with family and have parties,” Brahler says. “I wanted it to be reflective of that; I wanted to have fun with it.” She knew the home’s earth tones had to give way to pastel pinks, watery blues and leafy greens that carried the brightness and ease of a seaside vacation. But the colors had to feel distinctly Gulf Coast, specific to the saturations found under Southwest Florida’s lush, sun-bathed light. She turned to Naples Botanical Garden for reference. There, standing in front of the glassy Water Garden, with water lilies floating in deep blues and greens, she found her palette reflected—and the perfect opportunity to realize a longtime ambition. The designer had long admired a photograph found in an archival book about Yves Saint Laurent, showing the Monet-inspired mural in the home he shared with Pierre Bergé in France. The image found its reincarnation here, when Brahler commissioned Texas-based artist Olga Saldivar to reinterpret Monet’s Water Lilies as an enveloping, site-specific mural for the dining room. Translucent washes of aquamarine and sage ripple across the walls and high-gloss ceiling of this intimate room, which stands as a
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microcosm of Brahler’s design sensibility. The space brings together two of her great loves: the thrill of ‘extreme juxtaposition’ and the wit of Old Florida glamour. The shell-shaped grotto chairs from antiques dealer Don Fields: playful, coastal. The Murano glass sconces: crisp, refined. The brass palm tree floor lamp and gilded mirror: pure Old World opulence. A 1960s lacquered grasscloth dining table in sky blue anchors it all, joined by a sideboard Brahler had painted in a vintagey pale pink. Brahler—who grew up between Fort Myers and San Diego and began her Euro Trash company by importing salvage and antiques 30 years ago— channels a distinctly Floridian sensibility. Her style is sunny, celebratory, a little irreverent and admires the architect Addison Mizner’s grand, revivalist architecture, but favors a looser, happier version of historic Sunshine State design. “The Old Florida style I have a fondness for has a childlike happiness to it,” she says. “There are a lot of tongue-in-cheek anecdotes in that style that are there just to make people happy. And there’s also a very simple elegance to it.” Here, she dresses the nostalgic style in Regency detail. Throughout the home, 18th-century French antiques are paired with midcentury pieces, and traditional furniture styles and millwork are reinterpreted in vibrant colors and glossy finishes. “I tried to make everything that was serious not serious,” she says. “There’s a fine line between celebrating and disrespecting the original, though, and I never want to cross that line.” brightening the space.
upper cabinets, and a full wall of mirrors behind the shelves reflects the terrace view, further
The Waterstone Gantry faucet references harbor cranes. Open brass-and-glass shelving replaces
A brass range hood rises to the ceiling, while swivel stools nearby evoke Old Hollywood glamour.
balanced by the polish of European design. She
In the kitchen, a brass range hood rises to the ceiling above swivel stools, evoking Old Hollywood glamour; a Waterstone Gantry faucet nods to harbor freight cranes; and open brass-and-glass shelving replaces upper cabinets. “There was a low, heavy, beamed ceiling
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and we lightened it up,” she says. The full wall mirror behind the shelves brings in the view from the terrace, further brightening the room. The island’s green lacquer continues into the family room, where an entire wall radiates in emerald and conceals a sound system. A pair of tiger print chairs delivers the wink Brahler favors. “I see any animal prints as neutrals,” she says, speaking to the prints’ organic patterns and earth-based tones that help them blend easily with most palettes. Used in small doses, like for an accent chair or rug, safari motifs temper color rather than compete with it. The pattern changes its stripes near the primary bedroom, where the designer upholstered the double doors’ panels in a Ralph Lauren blackand-white zebra print. The doors open to reveal a symmetrical composition: an antique chandelier hanging over a precise arrangement of seven gilded sconces holding opaline glass vessels, each filled with faux coral. “I collect them for these projects,” Brahler says of the sconces. Inside the bedroom, the mood turns theatrical. Once again, Brahler leans into her gift for contrast, juxtaposing modernity with classicism, antique with new, clean lines with a nod to historic curves. A crystal palm tree the designer had made in France glints beside a gilt triple mirror, while a 1960s chandelier spills light over the sitting area. The room glows in a symphony of pinks: mauve Murano bedside tables, rosy draperies, a blush canopy. Overhead, Brahler replaced a cacophony of ceiling lights with a cleaner, high-gloss surface. During the renovation process, Brahler came across a Milo Baughman sofa that the homeowners had stored for 30 years. She loved it instantly and asked to have it reupholstered in ballet pink. The piece now anchors the suite’s sitting room. The husband hesitated at first, unsure about committing to a full pastel palette. “He kept
Left: Brahler stripped away decades of additions to reveal the original floating staircase and jackhammered out the old stone, replacing it with black-and-white checkerboard tile. Center: Zebra-print paneled doors open to the primary suite, where an antique chandelier hangs above gilded sconces holding opaline glass vessels filled with faux coral. Right: In the entryway, a mirror is flanked by sconces accented with vintage bird figurines.
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Vintage racing illustrations reference the husband’s automotive interest without announcing it, while a palm tree sculpture from France and an olive wood desk—fortuitously found at a Florida auction by Ronnie Vinton of Cool Stuff Period in St. Louis—filter Old World elegance through a Floridian lens.
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During the renovation, Brahler discovered a Milo Baughman sofa the homeowners had stored for 30 years and had it reupholstered in ballet pink. The piece now sits in the primary bedroom, surrounded by Murano bedside tables, rosy draperies, a blush canopy and a crystal palm tree made in France.
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saying, ‘I trust you, Annie, but I’m just not sure about this whole pink thing,’” she recalls. She assured him they could simply change if it didn’t feel right in the end. “He loves it so much,” she says. “That was one of the biggest wins.” The en suite centers on a hammered-gold soaking tub made in England, a gleaming sculpture positioned beneath a crystal chandelier and framed by arched, stone walls and more pale pink draperies. As with all her Florida projects, Brahler ensured that the home’s hues matched those found along the coast: the pinks inside seashells, the blues of the ocean and sky. The main-floor study draws its rich tones from Florida’s cypress bark, palm trunks and tannin-dark wetlands. Here, they are translated into glossy leather, gleaming brass and aged wood. Racing artworks hang salon-style on the dark walls. The vintage illustrations and paintings nod to the husband’s Porsche collection and racing enthusiasm without announcing it. The rest of the room filters Old World elegance through a Floridian lens, with a palm tree sculpture from France and an olive wood desk that Brahler’s friend, Ronnie Vinton from Cool Stuff Period in St. Louis, fortuitously found at a Florida auction just as Brahler was describing what she needed. On the second floor, the billiards table and adjacent bar were designed for late nights and long conversations. Antiqued mirrored walls multiply bottles and glassware into infinity while a brass palm chandelier, with fronds stretching toward the ceiling, casts warm light across black lacquered cabinetry. Guest bedrooms commit to the pink color story. One takes a softer register, with blush walls surrounding a boldly patterned headboard. Another bedroom dials up the intensity: a deep coral paint coats the walls and ceiling, transforming the space into a subtropical cocoon, rich with Regency accents—from the gilded lamps to
flanking an antique mirror. White cabinetry grounds the theatrical palette in clean, classical form.
by arched stone walls and pale pink draperies. The vanity continues the gilded theme with sconces
A hammered gold soaking tub custom-made in England sits beneath a crystal chandelier, framed
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Left: Deep coral paint coats the walls and ceiling, transforming the guest room into a subtropical cocoon rich with Regency accents— from gilded lamps to a Murano glass bubble chandelier. A chinoiserie cabinet curated as a time capsule holds Staffordshire dogs and cinnabar vases. Right: Custom pink toile wallpaper by Sasha Bikoff casts the owners’ daughter as its muse, depicting her
Gutter Credit
favorite pursuits across the walls.
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the Murano glass bubble chandelier. Black lacquered trim and draperies frame the intensity, while a chinoiserie cabinet holds court. Brahler styled it as a time capsule, filling the shelves with Staffordshire dogs, cinnabar vases and a vintage tiger painting as they would have appeared in a 1945 South Florida home. “I look at it more like an art installation than a functioning piece of furniture,” she says. A life-size ceramic cheetah guards the room from its perch beside the bed. The coral fantasy continues in the adjacent bathroom, with a funky pink toile wallpaper by Sasha Bikoff. The pattern casts the owners’ daughter as its muse, depicting her favorite pursuits, including painting and water sports, across the walls. A pink, shell-shaped sink and Venetian mirror complete the confection. Another bold wallpaper appears in the downstairs powder room. This one calls back to the emerald features in the kitchen and living room, plunging into tropical Versace wallpaper where palms explode across the walls, surrounding a marble pedestal sink and gilded sconces. Not to be outdone, the bunk room announces itself with aquatic whimsy. The space came together late one night when Brahler called one of her go-to dealers, Brittany Greenwood of Brittany’s Bamboo Barn in Fort Myers, desperate for something unexpected. Greenwood sent photos of vintage metal palm trees for another space. “I said, ‘OMG, I should put these on the bunk beds!’” Brahler recalls. “Brittany always says, ‘Girl, you can do anything you want.’” The sculptures now stand as bedposts while taxidermy sea turtles swim up aqua walls, and a clustered orb chandelier reads as underwater bubbles. The theme builds all the way to the crown molding, which is carved into rolling waves above the balcony door. A couple of features vie for distinction as the pièce de résistance. But the entry arrives first and makes the boldest statement. The home’s
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staircase had been buried under decades of additions. “You could see what the original architect was doing, and I could see where the owners had added over the years,” Brahler says. She stripped it all back to reveal the original floating staircase, then plastered and embellished it, adding brass pieces and iron flourishes to create a traditional French railing. She had the old stone flooring jackhammered out and replaced it with black and white checkerboard tile. Gone was the Tuscan weight of burgundy and mocha; in its place, crisp white that let light bounce freely through the space, making even the columns seem newly carved from light. Oversized mirrors reflect the trees and ocean. “We wanted to pull in views as much as possible and have mirrors double as art.” The lofty living room offers breathing room amid the house’s exuberance, with pale stone floors, curved cream banquettes and towering windows. Narrow gilt mirrors flank the space, and a starburst chandelier catches light without competing for attention. In the end, the Mediterranean bones remained, but Brahler built something entirely new around them. Outside, the stone was cleaned up, landscaping was simplified and the two-tone facade was unified in monochromatic cream. The pool’s travertine decking wraps the space in the same warm neutral that grounds the front entry, while the dark surface and organic curves echo the indulgent leisure the interiors promise. What emerged is a home that feels both exuberant and disciplined, designed for perpetual vacation. The vision hinges on Brahler’s mastery of color—saturated hues held together by a shared luminosity. Nothing feels jarring amid the bravado. “People say, ‘Don’t be afraid of color,’ but it is scary and it is difficult to pull off in a way that doesn’t overwhelm the senses,” Brahler admits. “When the math equation is off, you can feel it. But when you get it right, it feels so good.”
Center: Travertine decking wraps the pool in the same warm neutral that grounds the front entry, while ruffled seat shades and a swan planter used as a side table deliver tongue-in-cheek nods to Old Florida excess. Left and right: In the loggia, a curved rattan banquette and bamboo dining chairs create outdoor rooms for morning coffee and evening entertaining—every space calibrated for the indulgent leisure the interiors promise.
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E V E R Y E V E N I N G AT 5 P. M . ,
THE TWIN TOWERS ON
THIS USEPPA ISL AND HOME
SOUND THE KENTUCKY
DERBY’S ICONIC BUGLE—A
C
A
L
L
T
O
FITTING TRIBUTE TO
A HOME THAT BLENDS
BOU R BO N CU LTU R E W ITH
ISLAND LIVING.
E C O A S
Photography by Tristan Heeb
H
By Ayn-Monique Klahre
T T
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Perched on a narrow spit of land, Nathan and Mary Lee Smith’s home brings boisterous Kentucky charm to Useppa Island. Outside, twin spires rise like a nod to Churchill Downs, and gas lanterns cast a soft glow across the facade. Inside, hardwood floors and vintage furnishings lend the intimacy of an inherited home. The architecture and decor blend Old World and island influences with just the right amount of quirk. A Kentucky native, Nathan infused the retreat with his love of Derby tradition and bourbon culture. The lot—an airplane runway during the Bay of Pigs invasion—drove much of the design. Perfectly oriented for sunrise and sunset, it offered views in every direction. The Smiths enlisted architect Jonathan Wagner, local builder Derrick Stearns and Cincinnati interior designer Michelle Pinales. “We told them, ‘We’ll give you a list of 70, maybe 74 things we have to have, and for everything else, if you three agree, you don’t need to call me,’” Nathan says. They only called a couple times. The Smiths’ list covered essentials, from bedroom orientation to hardwood floors, all in service of a specific vision: to create a vacation home where St. Barts meets Fiji with a Miami art gallery edge and Old Florida soul. Building on Useppa poses unusual challenges. Everything has to be transported by barge and travel through winding roads, limiting the materials that can be used. Concrete, for one, is prohibitive. The team had to work almost entirely in wood. “We’re islanders, born and raised on Pine Island, so we know how to build a stick frame,” Stearns says. The ingenuity carried through to the architecture and home layout. The Smiths
Architect Jonathan Wagner worked with builder Derrick Stearns to design the home around twin spire-topped towers linked by an open-air Sky Lounge, where a modular Royal Botania Mozaix teak sectional sits beneath a pecky cypress ceiling. Below: White Carrara marble lines the kitchen counters and backsplash, while hand-forged, solid bronze hardware from Rocky Mountain Hardware resists Useppa’s salt air.
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The Bourbon Bar celebrates homeowner Nathan Smith’s Kentucky heritage. The bar, swathed in emerald, is outfitted with a sparkling water tap, ice maker and built-in smoker for infusing cocktails. The bar’s sitting area houses vintage Milo Baughman swivel chairs reupholstered in Pollack fabric, a custom Lapama rug and a record player connected to the whole-home Sonos system.
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envisioned a home that felt both connected and private, with clear separation between the sleeping quarters and public living spaces. “We didn’t want children or guests to feel like they’re in our space,” Nathan says. They also wanted elevated outdoor areas for sunrise and sunset viewing. Those two charges led to the home’s most distinctive features: a pair of spire-topped towers linked by a bridge, along with bungalows connected by a catwalk. The top of one tower holds the primary suite; the other houses the Bourbon Bar. Between them sits the open-air Sky Lounge—an elevated porch that catches the cross-breeze and offers nearly 360-degree views. Below, the dock acts as an architectural and visual axis for the main structure. “[It] creates symmetry,” Pinales says. At night, subtle under-lighting transforms it into a glowing feature. Inside, this central area includes the kitchen, living room and two primary bedrooms—one upstairs, one below. “We figured, later in life, we’d want to be on one floor, but not yet,” Nathan says. On one end, a covered patio holds an outdoor living room, dining area and kitchen. “That’s where everyone ends up having coffee in the morning,” he adds. A sunken hot tub on a lower deck nestles into the landscape, preserving the water view. On the other side, a catwalk connects two guest bungalows. As the Smiths requested, each bedroom faces the sunrise—and in turn, every room captures a view of the water. White board-and-batten siding unifies the structure. “White is basically a requirement of the island; it speaks to Old Florida,” Wagner says. He wanted the landscape to feel natural to its setting: “Like they cut it
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out of the island, like it’s been there forever.” That meant using tropical vegetation, like date palms and coconuts, over manicured symmetry. “I said, ‘I don’t want perfect palm trees—give me something that’s bent!’” Nathan says with a grin. To give the house its character, the Smiths insisted on gas lanterns around the exterior. “We love how they give it that South Pacific-meets-St. Barts feel,” Nathan says. Stearns had never done them in the area before. “It’s so unusual to see natural gas in Florida, but the flames are so special,” he says. Inside, the couple’s ‘Kentucky-meets-
Nathan says. To make it work, Stearns found a hardwood company to bring in the wood, let it acclimate to the island’s humidity and sand it on site for a perfect fit. Counters and backsplashes in white Carrara marble elevate the woody palette, while handforged, solid bronze hardware from Rocky Mountain Hardware resists salt spray. Mary Lee requested another unapologetically un-Florida element for the living room: a fireplace. “It adds so much warmth and interest at night in the winter,” Nathan says of the linear gas feature. Bedrooms have no closets or chests of drawers; instead, Pinales worked with an Ohio manufacturer to design walnut beds with built-in storage. “We didn’t want big bedrooms,” Nathan says. “Plus, this is a great, fun island—you’re not wearing a jacket to dinner. You don’t need much.”
appears like art when not in use.
kept reminding us they’re very not Florida,”
team executed in a minimalist, linear form. Above it the Samsung T V is framed in white so it
“They’re timeless, even though everyone
bolt coffee table. Mary Lee Smith’s primary request for this space was the fireplace, which the
wanted hardwood floors throughout.
furnishings at auction. In the living room, vintage Milo Baughman chairs pair with a red lightning-
materials and handcrafted details. They
Cincinnati designer Michelle Pinales worked with the homeowners to source much of the
island’ brief took shape through classic
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Throughout, the furnishings mix Kentucky tradition with tropical verve. Pinales and Nathan took their time, visiting auction houses to find objects with personality. Many of the statement pieces came through Jonas Karp at Main Auction Galleries in Cincinnati. “He has a great eye for midcentury,” says Nathan, who loves the thrill of the hunt. One favorite piece—a red lightning-bolt coffee table, scored at auction—greets visitors in the living room. “Nathan was like, ‘This is totally rock star—where can we put it?’” Pinales recalls. She paired it with an Angelo Lelii floor lamp and Milo Baughman chairs. In the Sky Lounge, a teak sectional from Royal Botania’s Mozaix collection holds pride of place. The seating’s modular tile frame integrates tables, planters and lighting to suit varying entertaining and lazing needs. “We wanted it to live in the center of the room and work in all directions,” Pinales says. She coordinated it with hanging pendants made from vintage speakers outfitted with LED lights. “They change colors along with the twin spires. Between those and the gas lantern, the whole room glows,” she adds. Each bedroom features a special vintage piece or two. In one guest room, it’s Moroccan chairs and Danish side tables. “The detailing gives that little bit of the Fiji look they wanted,” Pinales says. In another, it’s a pendant light with an incorporated table that hangs from a green lucite chain. “It’s nice to keep the floor clear, since you’re constantly sweeping out sand, but we loved how it’s multi-functional,” she says. Outdoor furnishings are by Knoll, all reupholstered in water-resistant Sunbrella. “The art is the showpiece of each space,” Pinales says, speaking to how the Smiths
Each bedroom faces sunrise and captures a view of the water, with minimal furnishings, like vintage chairs and side tables, allowing the colorful artworks to take center stage. One bedroom features Andy Warhol’s 1966 screenprint Cow (FS II.11) and a framed panel of his grasshopperprint wrapping paper.
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conceived each room around a distinct artist. One bedroom features an Andy Warhol painting and a framed panel of his grasshopper-print wrapping paper. Works by Kentucky artists Paul Sawyier and Harlan Hubbard take center stage in other spaces. In the living room, a white frame surrounds a Samsung TV. They keep it set to Keith Haring art when not in use, so the display blends seamlessly into the room’s aesthetic. Nathan’s love for the Bluegrass State is never far, seen most exuberantly in the Bourbon Bar. “I grew up in Kentucky and went to college in Kentucky, so I love bourit more than I like to drink it.” The bar’s window casts light through the bottles, while a sparkling-water tap, ice maker and built-in smoker to infuse cocktails cater to connoisseurs. “The color of the bar is a nod to both the greens in Kentucky and the Florida water,” Pinales says. She matched it with De La Espada barstools and a seating area with Kentucky Derby bugle call that’s become a neighborhood ritual.
where days begin with coffee and end with the 5 p.m. broadcast of the “Call to the Post”—the
Knoll outdoor furniture reupholstered in water-resistant Sunbrella fabric fills the covered patio,
bon,” Nathan says. “That said, I like to collect
vintage Milo Baughman swivel chairs on a Lapama rug. Nearby is a vintage-looking record player that connects to the wholehouse Sonos system. “We love to listen to albums at night, there’s something special about hearing a whole Prince album or Rumours,” Nathan says. When the Smiths are at their getaway, every day ends with happy hour at 5 p.m. The towers play “Call to the Post,” the bugle fanfare that opens the Kentucky Derby. What began as a joke became a neighborhood ritual. “Our neighbors pull up in their golf carts to hear it, even when we’re not here,” Nathan says. The sound drifts across the island—a cheerful cue to raise a glass to the magic of Useppa.
T H E
S H A P E
T H I S P O R T R OYA L R E S I D E N C E U S E S PA R A L L E L P O O L S , R E P E AT E D M AT E R I A L S
Photography by
Lori Hamilton
By
Ay n - Mo n i q u e K h l a re
A N D I N V I S I B L E T ECH N O LO G Y TO CR E AT E CO N T I N U O U S C A L M .
O F
W A T E R
wall framing the parallel pools and the bay beyond.
the homeowner says. A deliberate lack of furniture or architectural flourishes allows the eye to go straight to the glass
In this Port Royal abode, the intent is clear from the entryway: “We wanted the water to come right up to the windows,”
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Many homes along the Gulf are designed to capture a water view. This Port Royal abode, by London Bay’s Private Label Living division, revolves around it. The design treats water as architecture, using pools, terraces and the bay to establish a sense of calm. “We wanted the water to come right up to the windows,” the husband says. Past the double-height entry, the lofty foyer has no distracting furniture or architectural flourishes. Even the front door—made by Italian company Oikos in steel and charcoal porcelain and mounted on a pivot—avoids hardware, so your eye is drawn to the walls of windows overlooking a set of parallel reflection and swimming pools. Each surface—from the foyer rug, with its watery hues, to the pools to the bay view—is aligned on a single axis, so one reflects the next, collapsing the distance between interior and horizon. “It’s meant to make you feel relaxed and comfortable,” he adds. A tight material palette reinforces the visual ease throughout. Rift-sawn white oak travels from floors to ceilings, wrapping various surfaces to erase thresholds; the wood pulls you from one room to the next. Leather and Venetian plaster show up strategically, introducing texture without disrupting the flow. It’s all clean lines, with no door trims or moldings in sight. “That’s a signature for our homes, but it means it’s got to be perfect all the way down—you can hide a lot with a baseboard,” the project’s lead, Steve Miller, says. The focus on precision began long before construction. The couple spent nearly a decade searching for the right piece of land. “We wanted a larger-than-average lot, on the water, facing east toward the sunrise,” the homeowner says. Once the site was secured, they worked with London Bay’s in-house architects and interior designers
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to create a space where the structure, furnishings and plantings reinforce each other at every turn. Built in a U-shape, the home wraps around a courtyard, where the reflection pool flanks a sunken fire pit area—a design born from FEMA standards that changed midway through planning. “We had to lift the house and raise the pools with the elevation change,” the husband says. By pulling the home around the courtyard pool, the team was able to visually ground the elevated footprint. What could have been a setback became the organizing principle that multiplied the water views from most rooms. At night, lighting transforms the pools into glowing channels that enhance the bay’s presence. Inside, contemporary artworks serve as waypoints through the open-plan space. Two paintings by Italian artist Marco Grassi hang above each other in the foyer (one at ground level, one on the mezzanine), creating rhythm in the double-height space. After spotting the artist’s work in a ski resort, the homeowners saw it again in a London gallery. “We ended up buying two pieces because we couldn’t decide between the silver or the gold, but they work really nicely together,” the wife says. The paintings stand opposite mono-stringer stairs, crafted in black-painted steel and oak with integrated lighting strips and glass panel handrails. Next to the foyer, white oak wraps the walls of the dining room, which is illuminated by a chandelier composed of nearly 200 individually blown glass pendants. Inspired by a lighting installation they saw in a hotel in Switzerland, the homeowners commissioned the piece, with four shades of blue that echo the colors in the dining chair pillows. “It creates a mood no matter where you come from,” the husband says of the chandelier’s central location in the dining room, between the foyer and open living room and kitchen. Behind the fixture, a 12-foot, dimensional painting from Chinese artist Zhuang Hong-Yi’s
Rift-sawn white oak wrapping the walls and ceilings creates continuity in the open floor plan. Contemporary artworks serve as visual waypoints through the clean-lined rooms. In the foyer, two paintings by Italian artist Marco Grassi—set opposite a mono-stringer oak-and-steel staircase with integrated lighting and glass handrails—visually link the ground floor to the mezzanine, introducing rhythm to the double-height space.
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HOME
Next to the kitchen, an oversize tufted sectional sits atop a rug that Michael Scott, senior design director at London Bay’s Romanza Interior Design, designed to reflect the blue accents running through the home.
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Flowerbed Series seems to shift color in the light. The artist folds hundreds of individual pieces of rice paper into tiny flowers, painted with acrylic, so they shimmer and shift from different angles. A companion piece hangs on the parallel wall in the kitchen—the two artworks bracketing the bar that divides the dining and cooking areas. The home’s more public wing encompasses the kitchen, living room and an outdoor entertaining area for the couple to host their extensive clan. “We have quite a lot of family here in town, but we also have family that visits. So it was a must to have a nice, big kitchen where we could entertain everybody,” the wife says. Two islands in quartzite (“I want to take a pan out of the oven and just plunk it straight on the counter,” the wife says) create different work triangles: one for baking with a single oven and sink, the other for cooking with two ovens, a steam oven, gas and induction burners, and an oversized sink with a built-in colander and drying rack. A third dishwasher hides in the pantry alongside an ice maker, warming drawer and wine coolers. Despite the scale—enough equipment to run a small restaurant—the space avoids feeling cluttered. Above the work surfaces, white Venetian plaster appears to float below the rift-sawn white oak paneling, backlit by concealed cove lighting. “We call it a cloud ceiling,” says Michael Scott, senior design director at London Bay’s Romanza Interior Design. Adjacent to the kitchen, an oversized, tufted white sectional, dark accent chairs and a low coffee table sit atop a rug that Scott designed to echo the blue accents seen throughout the home. “We want it to feel serene, but not sterile,” the wife says. The white upholstery matches the outdoor furniture visible beyond the glass. The spaces feel cohesive when the sliders are retracted, creating a single, expansive entertaining area complete with a full
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outdoor kitchen, as well as hibachi and
extends from the fireplace up the wall
they’re fed up with talking to the grownups,
regular grills. “It’s seamless when they’re
behind an inset television, until it reaches
they can come in here and binge on popcorn
entertaining,” Scott says.
the ceiling, where the surface transitions
and TV. We wanted it to be as friendly and
Back inside, on the other side of the foyer,
to black leather. “It’s a big visual departure
warm as possible,” the wife says of the space
the intention shifts from entertaining to
from the rest of the home, but it makes the
that doubles as the husband’s office.
intimate living. Darker materials depart
space feel comfortable and intimate,” Miller
A Minotti Carson Writing Desk faces
from the rest of the home’s openness and
says. Integrated window treatments and
the water, backed by a recessed niche
create a cocooning environment in the
drop-down shades cut glare for television
wrapped in nutmeg Ultrasuede with
club room. Here, Nero Marquina marble
watching. “When our nieces are here and
illuminated glass shelving. White oak
Left: Two quartzite islands define separate work zones in a kitchen built for family gatherings. Above, white Venetian plaster appears to float beneath the backlit rift-sawn oak paneling, creating a ‘cloud ceiling.’ Right: Nearly 200 hand-blown glass pendants illuminate a 12-foot canvas from artist Zhuang Hong-Yi’s Flowerbed series—one of two companion works installed on opposite sides of the dividing wall between the dining area and kitchen.
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frames the entire composition, keeping the room grounded in the home’s aesthetic. The powder room echoes the club room’s edgier tone, with a smoked-glass mirror lending the compact space a more expansive feel and shadowed elegance. The wing’s ground floor also holds a laundry area and a guest suite. “I always feel it’s good to have a guest suite on the ground floor for folks who don’t want to navigate the stairs or an elevator,” Miller says. Upholstered paneling, running wall to wall in teal and orange, softens the guest bedroom. Thoughtful zoning shapes the entire home. Upstairs, a landing with seating overlooks the pools, marking the final layer: the VIP guest room and an office with a Murphy bed to one side, and the primary suite protected behind a doored hallway on the other. Venetian plaster coats the walls leading to the couple’s bedroom, softening the architecture and denoting the shift toward the home’s inner sanctum with luminosity. The custom Paul Smith runner underfoot subtly ties back to the coastal hues outside. In the bedroom, Scott added mirrored panels to a wall to extend the view. “You can see all the way down the river to the preserves on the other side,” the husband says. Champagne-hued, silk bedding and a channel-tufted leather headboard play against pale wood ceilings and soft light filtering through layered drapery. Overhead, a circular chandelier of faceted glass rods adds a touch of glamour. “It’s supposed to look like a diamond, to give the room some bling,” Scott says. The primary bath continues the balance between openness and privacy. Long and narrow, the space has walnut cabinetry and a backlit mirror surrounded by copper glass tiles. A Thassos Marble tub sinks into the floor below a big window. “It was an engineering/construction challenge, but
The primary shower is outfitted with multiple Fantini shower heads and opens to a covered terrace for an indoor-outdoor bathing experience. In the couple’s bedroom, Champagne-hued silk bedding, a channel-tufted leather headboard and a faceted-glass chandelier, designed to resemble a diamond, add a touch of glam. Mirrored panels flank the bed, extending the water views.
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it was worth it to have an uninterrupted
Down the hall, a gym functions as
inherited from the husband’s parents, a
view of the pool and water,” Miller says.
a self-contained wellness suite, with
marker of continuity within a home defined
The tub is connected to the shower, which
Technogym equipment and a steam shower
by forward-looking design.
is outfitted with multiple Fantini shower
wrapped in blue-flecked granite. “It’s got
Outside, spaces unfold as a series of
heads in the wall and ceiling and extends
all the noise control so one of them can
framed experiences. “There are really
toward a private terrace. “It feels like an
get up to exercise or make a coffee without
two fronts—what you see from the road,
indoor-outdoor shower, but it’s under a
waking the other,” Miller says. Stepping
and what you see from the water,” Miller
complete covering, so you’re not showing
back out into the hallway, the view extends
says. The landscape ties everything together
yourself off to the world,” the husband says.
across the landing to a grandfather clock
through color, scent and texture. The team
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worked through the gardens in phases, first planting to establish structure, then letting the plants mature before refining details. Tall palms went in before construction began so they’d be settled by move-in. Bamboo edges the property for privacy and sound absorption, while layered groundcover, vines and wildflowers create a lush, natural rhythm. “I wanted as much flowering as possible—a riot of color—and pots at every gate to draw people beyond,” the wife says. Small statues and tuckedaway corners lend discovery along the way, including down the side walkway. “Most people just meandering area,” she says. Now, the array of tropical plantings forms its own microclimate with plenty of shade. The integrative approach runs through the unseen layers that make the home hum. “It culminates with furnishings and fixtures, but we’re integrating all the different disciplines in a sequenprivacy and a lush, natural rhythm between the street and water frontages.
pools into glowing channels that enhance the bay’s presence, while layered tropical landscaping creates
principle—multiplies water views from most rooms. At night, integrated lighting transforms the parallel
The U-shaped configuration—born from FEMA elevation requirements that became an organizing
Lori Hamilton, Brie Eikeseth
use this as a pathway, but we wanted a natural,
tial manner,” Miller says, referring to the team of 10 or so consultants who collaborated on everything from layouts to paint colors to systems engineering. Lighting, security, cameras, garage doors, shutters and screens are all controllable through a Control4 hub. Sound system speakers hide throughout, even in the shower, while decorative and cove lighting appears in stair treads, under the fire pit and inside cabinets, with minimal buttons or control panels. “We really didn’t want any wall clutter,” Miller says. Topping it all off, Tesla solar roof tiles aim for energy self-sufficiency while looking like standard roofing. “It looks pretty, but it’s also doing the work,” the wife says. That dual identity—beautiful and functional— could describe the entire design. “My first wish for this home was that your shoulders drop and you feel calm as soon as you walk through the door,” the wife says. “This team made it happen.”
IN
GOOD
Photography by
Dan Cutrona
By
By Ayn-Monique Klahre
O N C A P TI VA ISL A N D, A RCH ITEC T J OYCE OW EN S A D DS A CO N TE M P O R A RY G U E S T H O USE B E SID E
C O M PA N Y A C E N T U RY- O L D COT TAG E , U N I T I N G PA S T A N D P R E S E N T T H R O U G H S H A R E D M AT E R I A L S A N D M U T U A L R EG A R D.
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From a distance, the two homes on this Captiva property read as family: same standing seam roofs, same type of siding. But step closer and you see one is a rare 1912 cottage, low-slung and traditional. The other is a soaring contemporary guest house with 22-foot ceilings and stark white interiors. Architect Joyce Owens designed them to coexist with visual continuity, but without imitation. The cottage came first. Owens, principal of Fort Myers-based firm Architecture Joyce Owens and recipient of the AIA Florida Gold for the owners a few years earlier. Built in 1912 on Useppa Island and moved to Captiva in 1948, it’s one of the island’s oldest homes. in 1912 and relocated to Captiva in 1948, the cottage is one of the island’s oldest structures.
standing seam metal roofs and wood-look siding deployed at different scales. Inset: Built on Useppa Island
The modern guest house complements its rare, century-old main residence through shared materials, like
Joshua Colt Fisher, Dan Cutrona
Medal, had renovated the historic structure
When the clients wanted more space, the challenge was one of architectural diplomacy: how to add a significantly larger, elevated structure without overwhelming the modest original, which sat low in the natural landscape. “With all the newer regulations, like being above the flood zone, we wanted to make sure that we didn’t dwarf the cottage,” Owens says. While the new structure is about twice the size of the original, 2,000-square-foot cottage, Owens split the massing to soften its presence. “It’s more like two guest houses, connected by a hallway and open courtyard,” she says. “Had we filled in that entire space, it would have felt enormous.” She also left the beach-facing part open underneath, using it as a lounge area to keep the space feeling airy. To maintain cohesion, the team relied on shared materials deployed at different scales. “It’s a sort of Captiva-meets-Cape-Cod thing—but very contemporary, with a nod to traditional,” Owens says. If that description sounds a little hedgy, it’s because the style of
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GULFSHORE LIFE H OM E
this guest house is hard to define. Yes, there’s a classic standing-seam roof and wood siding, but the unadorned windows, exposed steel trusses and stark white interiors push the design modern. Mixed in are marble floral tile accents for a hint of glamour and linen sofas that suggest coastal ease. The roofs use the same charcoal SNAPMAX metal, but the guest house sharpens the angles to accommodate its loftier ceilings. Owens kept the massing restrained, relying on peaked gables to echo the cottage without replicating it.
cladding (James Hardie’s Aspyre Collection outside and Primelinx nickel gap inside). The proportions shift, but the idea remains: Both rely on vertical rhythm to draw the eye upward and emphasize height. Matching paint colors and Hubbardton Forge sconces recur across the façades, bridging the century between them so the cottage feels intentionally paired, not preserved. Inside, the design is deliberately restrained. Everything is white, with Sherwin-Williams’ Snowbound covering walls and ceilings, and engineered wood floors from DuChateau’s Atelier Series done in Driftwood White. Wood-tone furnishings and bronze window frames provide the only contrast, multiplying light throughout the day, so the space feels larger and more connected to its beach setting. Furnishings favor comfort and the same muted palette. Here and there, a hint of black or bronze nods to the window trim, lending depth to the space. The landscape and changing daylight become the stars of the
Sherwin-Williams’ Snowbound on walls and ceilings—multiplying natural light throughout the day.
structure has broad tongue-and-groove
an open-air walkway. The front structure houses the living, kitchen and dining areas. Everything is white—
wears narrow beadboard paneling, the new
it. To achieve this, Owens split the 4,200-square-foot guest house into two smaller volumes, connected by
continues at eye level. Where the cottage
The challenge was adding an elevated structure nearly twice the size of the original without overwhelming
The conversation between old and new
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Left: An oculus window above the dining table reveals exterior trusses left in natural wood tone. Inside, Owens painted the structural trusses in the 22-foot-high space white to achieve vaulted lift without visual weight. Right: Ironbark cabinets recreated the historic cottage’s clean-lined storage, while ceramic Sartoria TSquare backsplash tiles in First Snow add subtle texture.
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decor. “It speaks to the white sandy beaches of Captiva,” Owens says. Working with Benchmark General Contractors, the architect composed the plan to make the best use of the slender site. “We had to manipulate the shape to keep the structures narrow, preserve views through the property and make good use of the site,” Owens says. She designed the new structure as a linear, courtyard home with two pavilions organized around a pool and an open-air walkway connecting the two. Neither volume overwhelms the cottage, and the layout allows every interior space to have ample cross-ventilation and views in several directions. The pool becomes the heart of the composition rather than an amenity tacked onto the side. Pulling up the concrete driveway flecked with shells, visitors first see the back of the house, where mechanical systems hide on the second floor behind a faux balcony. “I didn’t want it to look like the back of the house,” Owens says. The pool courtyard, paved in shellstone, follows—then a covered loggia that perfectly frames the view of the historic cottage and features a cast-in-place concrete, wood-burning fireplace by Arcadia, Florida-based Robert Gonzalez Concrete Design. The fireplace surround and flanking bench seating are formed as one seamless piece. “Robert is so talented,” she says. “He allows us to design things you couldn’t normally do.” The front portion of the home holds public spaces: the living, kitchen and dining areas. The back building holds private bedrooms and a media room that’s styled similarly to the front living room, but cozier and with a kitchenette. A wraparound porch in
The back pavilion houses the bedrooms and a media room with an attached kitchenette. Left: The guest bedrooms keep the palette soft and airy with Driftwood White engineered floors from DuChateau’s Atelier Series and warm wood accents. Below: Distinct floral tiles appear in each bathroom, including this waterjet marble chrysanthemum band that adds interest without breaking the home’s neutral rhythm.
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GULFSHORE LIFE H OM E
A two-story stairwell in white oak, with powder-coated bronzed stainless steel cable railings, leads to the main living area, offering pool views as you ascend. The entryway’s Coral Multi-Light pendant, by Arturo Alvarez for A-Emotional Light, shimmers subtly in the sun. With only wood tones and bronze window frames for contrast, the palette lets Captiva’s beachscape become the art.
the back pavilion provides multiple access points to the outdoors. A two-story, entry stairwell in white oak with powder-coated, bronzed stainless steel cable railings leads to the main living area, offering pool views as you ascend. A shimmering multi-light pendant with pleated-mesh shades laced in metallic threads hangs above the entry. Upstairs, a central landing opens to the right into the kitchen, and to the left, into a sitting area and living room, where Owens left the Universal Timber Structures trusses that support the roof exposed. She painted the trusses the same white as the ceilings and walls to achieve the lift of a vaulted ceiling without the visual weight of exposed beams. “Leaving them open makes the space feel airy—it’s like we pulled in all the daylight,” she says. A cast-concrete fireplace with integrated benches echoes the loggia setup. With 22-foot ceilings and an all-white envelope, the room could have felt top-heavy and austere. Instead, the fireplace’s long, low form draws the eye down, grounding the volume and restoring balance. To keep the interiors in step with the site’s historic anchor, some of the detailing is repeated in the guest house. Ironbark cabinets recreated the cottage’s clean-lined kitchen storage, featuring a thin reveal outlining each door. Done in white oak and painted Sherwin-Williams’ High Reflective White, the cabinets incorporate stained accents for added dimension. On the work surfaces, ceramic Sartoria TSquare backsplash tiles in First Snow add subtle texture to an otherwise flat white palette; the pattern catches light differently than the matte cabinetry, creating visual interest without introducing color. Pompeii Quartz countertops in Misterio shine
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The guest house is organized around a pool with a raised spa. A covered loggia on the left frames the view back to the 1912 cottage and features a cast-in-place concrete fireplace by Arcadia, Florida-based Robert Gonzalez. The open-air walkway brings cross-ventilation and long views through the site. Throughout, R.S. Walsh Landscaping used Florida-friendly vegetation to root the elevated structure in its setting.
under the Graypants Ohio Scraplight chandelier hanging above the dining table. The dining area opens to a balcony with an outdoor kitchen. An oculus window above the table ushers in daylight and reveals the balcony’s structural framing. At the last minute, the clients decided to keep the exterior trusses in their natural wood tone. “Everything else was all white, but when we saw how beautiful they were, we decided to leave them as they were,” Owens adds. The warm wood emphasizes the geometry of the gabled roofline and connects the interior and exterior architecture. Pattern and texture show up strategically throughout to define individual spaces without disrupting the cohesive palette. Distinct floral details add charm to the bathrooms, including waterjet mosaic marble roses in the primary bath and chrysanthemums in the guest bath. The front powder room has a New Orleans-inspired patterned tile from MLW Surfaces Nola collection, which lends softness to the angled-concrete pedestal sink, also by Gonzalez. “Everything is done simply, but with the addition of one major texture,” she says. R.S. Walsh Landscaping helped integrate the home into its setting. Manicured plantings near the buildings create a seamless transition from architecture to nature, while wilder native vegetation at the property’s edges blurs the boundaries with the surrounding dunes, making the elevated structure feel rooted rather than imposed. The final effect, as with the most successful designs, feels inevitable. Two buildings, separated by a century, occupying the same beachfront in perfect balance. “It’s more like a shelter—you just want a roof over your head so the breeze can come through,” Owens says. “It’s really about living simply.”
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B R E A K I N G
From its spiraling staircase to its saturated colors, every detail
Photography by
Tristan Heeb
By
Michael Korb
in this reimagined Mediterranean home reflects the owners’ shift from Manhattan edge to Naples ease.
T H E
M O L D
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Naples architect Rob Herscoe transformed a 2004 Mediterranean into a clean-lined modernist enclave over two years, working with BCB Homes. The two-story fireplace remains as a centerpiece, but its Old World flourish gave way to a linear gas unit set within Arctic white marble and stacked stone. Large-format, 40-inch, square white glass tiles brighten spaces throughout, creating gallery-like conditions for the couple’s art collection.
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Naples builder BCB Homes to create a new home within the existing 12,300-square-foot shell. “We kept maybe 60% of the footprint,” Albert estimates. “But there wasn’t an outside
yet striking, characterized by sweeping
wall that wasn’t touched, broken down
curves with nothing extraneous.
Rather than erase the past, Albert and
or torn apart.” The Mediterranean
Color became another defining ges-
Elissa Benchimol decided to rewrite it.
detailing made the conversion com-
ture. Yves Klein blue appears not as an
Determined to preserve the framework
plex, but the site’s prime waterfront
accent but as an architectural element,
of their new Port Royal home, they
and solid structure justified the effort.
threading through the game room,
commissioned architect Rob Herscoe to
The payoff is evident upon entry. A
dining room, den and outdoor spaces.
transform a tired 2004 Mediterranean
spiraling staircase rises through the
The couple started with one surface—
into a work of clean-lined modernism.
two-story foyer like a bronze ribbon,
their usual approach, where they like
The couple, who were ready to settle
replacing a Victorian-style circular
to offset crisp white interiors with a
in Naples after years of splitting time
form, ringed with columns. The curved
single accent wall. They commissioned
between New York and Bermuda, had
stringer, finished in faux bronze plaster
German Ayestas, a Palm Beach faux
hoped for a straightforward renovation.
over wood framing, supports treads
finisher, for the curved, double-height
“We couldn’t have been more wrong
that appear to float upward, enclosed
stretch of pewter-gray Venetian plaster
about what we were getting into,”
by curved glass railings. Above, a
behind the stairwell. Then, they kept
Albert says, laughing.
round opening frames the view to the
going. “[We] so enjoyed working with
Over the course of two years, the
second floor, its gray Venetian plaster
[Ayestas] that we engaged him for other
couple worked with Herscoe, co-lead
backdrop adding textural depth to the
parts of the house,” Albert says. Ayestas
of Herscoe Hajjar Architects, and
soaring space. The effect is minimalist
gave each cobalt surface a distinct
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plaster by Palm Beach faux finisher German Ayestas adds textural depth to the soaring space.
over wood framing, supports treads that float upward, enclosed by curved glass railings. A concave wall in gray Venetian
The spiraling staircase replaced Victorian-style stairs ringed with columns. The curved stringer, finished in faux bronze
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206
treatment, from a cloud-like finish on
square white glass tiles form the lumi-
strong lines with soft textures. White
the gym’s sliding door to grooved pat-
nous floors that brighten spaces with
surfaces are layered with pale oak and
terns in the patio.
limited natural light, allowing the art-
gray stone, then animated with shocks
The color strategy plays off of the
work to take center stage. “[The floors
of color. The game room retains the
Benchimols’ art collection, which
are a] Hollywood dance floor type of
home’s polished feel by keeping with the
includes post-Cubist and contemporary
white,” Herscoe says.
palette (a bright blue ping pong table,
works that stand out against intention-
Manhattan interior designer Erica
lacquered surfaces). But form follows
ally neutral walls. Large-format, 40-inch
Millar tempered the architecture’s
mood here, with each space fine-tuned
Left: Soft-gray quartzite covers one island in a full waterfall treatment, while the work island wears it only on top. White glossy cabinetry wraps the room with no visible hardware, while bubble-glass pendants cascade overhead. Right: A sweeping pendant anchors the dining room, where the cellar is visible through glass. Textured chairs and art add depth to the minimalist space.
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Manhattan interior designer Erica Millar layered white surfaces with pale oak and gray stone, then animated them with shocks of color. Far right: The primary bedroom leads to two distinct alfresco areas through sliding glass doors. One of them is an enclosed garden, private from the pool area and designed around a Buddha statue.
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to its purpose. In the library, pale oak
Arctic white marble, rising 20 feet. With
Slabs of soft-gray quartzite ground the
and rose velvet introduce a gentler, more
the structure’s monolithic form nodding
kitchen where it needs weight. One island
contemplative energy.
to Brutalist design, the fireplace could
receives the veined treatment across its
The team continued the approach of
have read as austere and imposing in
entire waterfall surface, while the work
edited drama in the living room. The
other circumstances. Instead, the float-
island wears it only on top, its white base
two-story fireplace remains as a cen-
ing bronze hearth and mantel introduce
keeping the space light. The stone rises
terpiece, but its Old World flourish has
warmth while echoing the metallic
behind the range as a frame for the walls
given way to a linear gas unit set within
accents found throughout the home.
of green visible through the pair of broad
Yves Klein blue threads through indoor and outdoor spaces, including the lanai that links the primary bedroom and living room. Center: A hedged garden nook offers a serene escape. Right: Vein-cut marble wraps the outdoor living area’s linear fireplace, topped by a cypress ceiling. The space extends to an alfresco kitchen and dining area.
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lanai, where a blue accent wall creates continuity with the interiors. The lanai also connects to the living room. Indoor elements are repeated strate-
outdoor kitchen recall the rhythm of
picture windows. White glossy cabinetry
gically throughout the alfresco spaces,
the interior quartzite. Just beyond, a
wraps the room with no visible hardware,
where New York-based landscape
40-foot pool, deepened to 8.5 feet for
while bubble glass pendants cascade
architect Rivi Oren framed the archi-
diving, was designed with the couple’s
from the ceiling as a counterpoint to the
tecture with structured plantings and
kids and grandchildren in mind.
room’s strict geometry.
layered greenery. Manicured hedges
Taken together, the home captures
Nature also plays a starring role in the
and clipped spheres define the paths,
the couple’s evolution from Manhattan
primary suite, with its private, enclosed
while crepe myrtles and palms break
professionals to relaxed Naples res-
garden. Designed around a Buddha
the formality with movement and soft-
idents. Their New York apartment,
statue acquired during the couple’s
ness. The landscaping creates a sense
Albert says, was built like a Fabergé egg,
travels to India, the courtyard features
of progression from the interior to the
precise and jewel-like. Their new com-
Ipe wood decking that has weathered to
water’s edge.
pound achieves the same refinement on
a natural gray and a soothing fountain.
On the lanai, another blue Venetian
a lighter scale: similar materials, more
“It’s almost like a cocoon,” Albert says
plaster wall contrasts the stained
space; same impact, more ease. The
of the space, which is private from the
cypress ceiling, limestone flooring and
result is elegance with room to exhale—
pool and the rest of the home. Another
vein-cut marble fireplace surround.
proof that even the most traditional
glass door in the bedroom opens to a
The counters and backsplash in the
frameworks can hold new light.
The renovation kept roughly 60% of the footprint, but nearly every exterior wall was rebuilt. Manicured hedges and clipped spheres shape the walkways, while crepe myrtles and palms loosen the formality with their soft, swaying canopies. Out back, the 40-foot pool was deepened to 8.5 feet for diving, designed with the couple’s kids and grandchildren in mind.
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Dan Cutrona
Ayn-Monique Klahre
P R E T T Y
I N
P I N K
of place her four children and future grandchildren would never want to leave.
Inside this Aqualane Shores home, a real estate mogul finally sets roots, designing the kind
Photography by
By
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GULFSHORE LIFE H OM E
Realtor Dawn McKenna reworked a 1990s Mediterranean, collaborating with Chicago-based designer Kelly Hurliman. While everything was lightened, details like molding, paneling and Riva Crystal chevron oak floors preserve the home’s traditionalist character. In the front room, a seven-globe Cuff Studio chandelier wrapped in marine rope hangs above a 17-foot vintage sofa. Built-in banquettes and a Macchia Rose marble bar complete the home’s main gathering space.
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The goal was to create an inviting space for her growing family. She and her husband have four grown children and are expecting their first grandchild. “I wanted to create an
for each space. “It was not easy, but
experience where they couldn’t wait
she was great about making use of
to get here and didn’t want to leave,”
every inch of space,” Hurliman says.
When one of her agents sent a listing
McKenna says. At about 4,000 square
With a refined floor plan, the team
for a Mediterranean home in Aqualane
feet, the home is ample, but not huge
layered in architectural details to
Shores, Dawn McKenna bought it
by modern-day standards. “We’re all
achieve a fresh, European-influenced
sight unseen. As founder of the Dawn
together, but we’ve also got privacy.
aesthetic. Subtle molding, trimwork
McKenna Group—a luxury real estate
It’s just enough,” she says.
and wainscoting added dimen-
firm spanning Chicago, Naples and
Before work began, McKenna did
sion along walls and in entryways.
Park City, Utah—she knew and loved
a sun study to track how sunlight
Fifteen-foot doors were installed
the neighborhood. For many, the 1990s
moved across the property. When she
throughout, windows received tradi-
relic would have been a prime candi-
discovered that the back patio never
tional panes with black casings, and
date for teardown, but McKenna could
caught harsh light for more than 15
Riva Crystal chevron-patterned par-
see the bones were worth saving. “It’s
minutes a day, she replaced the exist-
quet oak floors were laid to provide
not an era known for its architectural
ing loggia and screened porch with
texture underfoot. Marble covers
significance, but they did get a few
about 875 square feet of new interior
most counters, adding permanence
things right,” she says.
space and covered patio. “We kept
and a dose of traditional luxury to the
Among them: a ‘bigger is better’
the roof and the front and side walls,
scheme. “I know it will weather and
mentality that offered plenty of square
but everything else got reimagined,”
get little stains, but that’s part of the
footage, high ceilings and a workable
McKenna says.
appeal,” McKenna says.
floor plan. She enlisted Chicago-based
Elsewhere inside, walls came
The design philosophy centered on
interior designer Kelly Hurliman to
down to create open living areas, and
warmth without the sterility of many
help reimagine the home. “Kelly and
ceilings dropped as much as 10 feet
early 2020s interiors. “We’re moving
I think similarly, we share this curios-
in the bar and kitchen. “The ceiling
out of the era where everything is
ity and sense of wonder and love for
had about 50 angles to it,” she says.
gray or white and minimal. Now we’re
beautiful things; we’re storytellers,”
Anna Fleming of Naples-based AV
more attached to our memories, we
McKenna says. “She’s very good at
Interiors reconfigured the floor plan,
want things to have some history,
refining that last layer that makes a
adding a bedroom and powder room
some patina,” McKenna says, point-
house a home.”
while creating en-suite bathrooms
ing to finishes like lacquered brass,
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“Pink and green go hand-in-hand, but I wanted them in a softer, more Parisian way,” she says.
seats up to 22. Right: At the bar, Macchia Rose marble and sage velvet stools echo McKenna’s rosy, layered palette.
as interior and patio space. Left: An intimate breakfast nook replaces the formal dining room, while an alfresco table
Walls came down, ceilings dropped up to 10 feet, and 875 square feet from the old loggia and porch were reclaimed
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Left: Glass-encased Phillip Jeffries grasscloth wraps the hood above the La Cornue range, paired with a Calacatta Turquoise backsplash and a ledge displaying McKenna’s collected dinnerware. Center: Banquettes with cafestyle tables flank the entryway for extra seating. A Clementine Maconachie wall piece presides over one of the arrangements. Right: The powder room showcases blush paneling behind a marble vanity.
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In the primary bedroom, McKenna pulled back to ivory linens, vintage swing-arm sconces and limewashed walls in Portola Paints’ bluish-pink Prayer, letting light and texture set a calm tone. A macramé chandelier adds a handcrafted note above the canopy bed.
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The primary bath pairs checkerboard marble floors with warm brass fixtures and custom millwork, echoing the home’s European references. A vintage-inspired stool and a framed photograph by her husband, Stephen, add personal notes, while the freestanding tub, beneath a rosy Roman shade, completes the composition.
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performance fabric, stretches 17 feet, preserving the view while making room for more than 20 people. Banquettes with cafe tables flank the blush-painted front door, creating semi-private zones within
approachable picks from West Elm
Roman clay and Venetian plaster. The
the open plan for morning coffee or
and Crate & Barrel and select local
family room fireplace exemplifies
laptop work. The room orbits a bar
sources, including Judith Liegeois
this approach: Paris Ceramics stone
by Chicago’s O’Brien Harris, with
in Naples and Holden Luntz Gallery
covers the mantel, and a fluted wood
Macchia Rose marble. The stone’s
in Palm Beach.
surround extends to the ceiling.
silvery veining plays off the sage
In the kitchen, a giant island in
While the family room is painted
velvet bar stools. “Pink and green go
Calacatta Turquoise marble features
a soft Cloud White by Benjamin
hand in hand, but I wanted them in
rounded corners and book-matched
Moore, the home’s true anchor color
a softer, more Parisian way than the
side panels that continue the stone’s
is pink. The color threads through
more typical Lilly Pulitzer combo you
sweeping veining from the counter-
upholstery, accent walls, a guest bath
see here,” McKenna says.
top to the floor. A ledge along the
with a blush-lacquered vanity and
Little details make the space feel
matching marble backsplash holds
marble checkerboard tiles, and the
collected and refined. The mantel
dinnerware McKenna has collected
home’s front door. “It’s the creami-
is flanked by five-arm sconces from
from all over. Above the La Cornue
est, dreamiest pink—the lightest of
Julia B. Casa, an Italian designer
range, Hurliman designed the hood
roses,” she says. “And there are also
McKenna encountered on a trip
with Phillip Jeffries grasscloth wall-
little threads of green throughout the
overseas. A record player, outfitted
paper protected behind glass. On the
house, because I love nature.” The
with vintage vinyl, invites guests to
opposite wall, a bank of green fluted
palette sets a consistent tone that’s
create the soundtrack for the room.
cabinets sits inside an alcove, below
light, layered and feminine without
“We’re really into music, so we keep
windows that open to the outdoor
feeling fussy.
it propped open so anyone can put an
bar. “I liked the idea of having a pass-
The front room balances two
album on,” she says. Photographs by
through, so we can hand out food like
competing needs: accommodating
her husband, Stephen, are showcased
short-order cooks,” McKenna says.
McKenna’s large family and creating
throughout the house; a wall sculp-
Every detail earns its place. Since
impact at first sight. A seven-globe
ture by Australian artist Clementine
there was no room for a full laundry,
Cuff Studio chandelier wrapped in
Maconachie adds interest above one
they tucked the washer and dryer
marine rope commands the space
of the banquettes.
behind grasscloth-wrapped doors
with a subtle nod to the waterfront
Furnishings mix custom pieces
in a petite utility alcove in the hall-
location. Below it, a low-slung, vin-
with vintage finds from Chairish
way leading to the bedrooms. “Kelly
tage sofa, covered in Holly Hunt
and 1stDibs, alongside some more
styled them so beautifully that we
McKenna focused on bringing distinct personality into the bedrooms, with each tailored to suit one of her four adult children. Left: Peter Dunham’s Fig Leaf fabric envelops one son’s bedroom, mirroring the greenery outside. Right: Another son’s bedroom nods to Southwest Florida’s coastal sunshine with Pierre Frey’s Treillage wallpaper.
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The redesign focused on recapturing underused space and infusing every inch with lived-in personality. A drive-by window on the deck creates seamless conversation within the indoor-outdoor area, and classic black-and-white, cabana-striped umbrellas create shaded lounge areas beside the tranquil pool.
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as a starting point for a feminine and vibrant space. “We needed the browns and mustards with the pinks so it wouldn’t feel like a little girl’s room,” Hurliman says. A daybed leave the doors open a lot of the
with a trundle built into the wall and
time,” McKenna adds.
custom wardrobes complement the
Inside, the formal dining table is
king-size bed, expanding capacity.
Nuvolette cloud-print wallpaper on
replaced by an intimate breakfast
“My daughter always comes with
the walls and ceiling. “The pattern is
nook. Outside, the mood shifts to
a pack, so it’s great for sleepovers,”
soft and serene, but more masculine,”
expansive ease, with an alfresco din-
McKenna says.
Hurliman says. A built-in desk with
ing table that seats up to 22. The yard
One son’s room commits to Peter
floating shelves made from leftover
extends toward a pool surrounded by
Dunham’s Fig Leaf, which envelops
parquet flooring turns an awkward
Turkuoise Trading pavers outlined
curtains, bed upholstery and stools
alcove into a workspace. The en suite
in turf. “I wanted to have layers
in what designers call pattern satura-
bathroom repurposes a vintage chest
leading up to the house,” she says.
tion. “We wanted it to feel more bridal
as a vanity.
“When you’re on the canal, the back
suite-y, with the repeating pattern,”
The primary bedroom pulls back to
is as important as the front.” The
McKenna says. Hurliman paneled the
near-monastic simplicity with ivory
sequence continues to an exercise
walls with grasscloth, trimmed with
bedding, Vaughn reading sconces and
deck and a cold plunge/sauna, ame-
Benjamin Moore Herb Garden green.
soft drapery set against limewash
nities that reflect shifting priorities
The en suite bathroom continues the
walls in Portola Paints’ bluish-pink
in luxury home design. Beside clas-
green theme through painted cabine-
shade, Prayer.
sic black-and-white furnishings and
try and cheeky Sasha Bikoff’s Uptown
Distilling everything McKenna
cabana-striped umbrellas, a pair of
Toile. Fabric-wrapped cornices above
has learned from a career spent
vintage stone swans hold court.
the original windows create the illu-
inside beautiful spaces, the home is
Back inside, the bedrooms aban-
sion of taller proportions. “It’s a little
timeless and tailored to how the real
don the main floor’s tonal restraint
trickery, a workaround to raise your
estate agent and her family want to
for an immersive palette of color and
eyelids,” Hurliman says.
live now and in the future. “I have
pattern. “I wanted each room to feel
Pierre Frey’s Treillage wallpaper
bought a lot of homes with an exit
curated, to add more layers so the
wraps a second son’s room in a yellow
strategy in mind, but this is the first
home really feels like it has a soul,”
trellis pattern—another subtle nod
time I ever really bought one just for
she says. One room, decorated with
to coastal Florida, this time chan-
us,” she says. “Your home is your ves-
her daughter in mind, used a Pierre
neling sunshine. For the final son’s
sel, it’s where you grow intellectually,
Frey floral wallpaper (Le Jardin De
space, the only upstairs bedroom,
emotionally, physically—and we have
Monsieur Malcles in Printemps)
they used a Cole & Son Fornasetti
so many things to look forward to.”
By
Ph oto graphy
M i c h ae l Ko rb
By Ro b in Hill
From its fin windows and sleek glass to its extensive gallery of exotic vehicles, everything in this Naples home extols the automotive.
L I F E I N T H E F A S T L A N E
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Finding a place to park is never a problem at the Livingston Woods home of Todd and Sara Rosenthal. Their 270-foot main driveway seems to stretch as long as the Champs-Élysées; they have plenty of garage space; and the couple routinely pulls a car or two, or eight, directly inside their dwelling. Working with Brandt Henning of HLevel Architecture, the Rosenthals— the nation’s most prominent exotic car dealerships—set out to rethink domestic space as an extension of their showroom with glass-fronted display bays and a looping go-kart track encircling the car barn.
automobiles. Set on 2.5 manicured acres, the property blurs the line between garage and gallery,
HLevel Architecture to design a Livingston Woods residence centered on their passion for exotic
Todd and Sara Rosenthal, owners of Naples Motorsports, commissioned Brandt Henning of
who own Naples Motorsports, one of
life. Together, they created a property that dissolves the line between garage and gallery. The 7,658-square-foot main residence pairs with a 4,392-square-foot car barn on a manicured 2.5-acre lot. From the onset, glass-fronted garages and a lofty entry telegraph the intent: architecture as a frame for automotive art. Step through the 10-foot glass front door and the theme continues. The 22-foot-tall foyer features a scaled-down Formula One single-seater mounted on the wall. Straight ahead and across the pool, more mechanical wonders are displayed in their appointed bays, curated to match the mood or season. “[It’s] like an ever-changing art installation,” Henning says. LED track lighting, recessed into sleek coves, frames each vehicle as an object of contemplation. When the
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Left: The minimalist kitchen includes a utilitarian granite work island and a sculptural quartz dining island, with distinct pendants defining each zone. Right: The 22-foot-tall foyer centers on a scaled-down Formula One single-seater mounted on the wall. Just past the entrance, a bar wrapped in waterfall-edge marble and lacquered cabinetry mirrors the precision detailing found in supercars.
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owners need room for gaming or events, the cars can be moved or swapped out. The home’s layout organizes five connected ‘pods’ that articulate different facets of the Rosenthals’ life. The main entertainment pod centers on the double-height foyer, featuring an island bar and framed staircase leading to the guest rooms and children’s quarters. A glass-and-aluminum ‘bridge’ connects to the owners’ wing, housing their private suite. Additional pods hold a theater and more car display space, each balancing utility with spectacle. The interplay between residential and mechanical space reaches its peak in the four-bay garage. Two traditional doors handle the functional side; the others are full-height glass doors framed in black aluminum, which showcase the collection, creating a cinematic arrival. Henning extended the gallery concept inside of the garage with marble-like porcelain tile instead of traditional concrete or epoxy and inset, linear LEDs that cast a soft, directional glow. Behind the main house, the freestanding car barn began as simple storage and evolved to include a lounge and bar with space for more than a dozen vehicles. A central turntable rotates one of the
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Rosenthals’ prized cars, and in the bathroom, 15 rearview mirrors constitute a theatrical vanity. Just outside lies the property’s most whimsical feature. “A friend of mine said, ‘Put in a go-kart track!’” Todd Rosenthal recalls. He did. The track loops around the building, its start-finish line aligned with the home’s
Henning’s larger challenge was to make the showroom concept livable; the space still needed to feel and function like an inviting family home. To balance the gleam of glass and metal, he introduced warmth through details: wide-plank hickory flooring, textured porcelain tiles in place of stone, wood cabinetry offsetting the precision of steel and glass. “We looked at a lot of things we like about car design,” he says. But instead of mimicking the elements directly, the architecture translates those ideas in an abstract way. The exterior layers white stucco with travertine-look porcelain tile and blackframed glass, giving the house its clean, linear rhythm. At the entry, narrow vertical fins evoke classic Range Rover vents. “Some people don’t care about cars,” Todd says. “Some people want to take them to the track, some just drive them daily. I could look at them all day.”
white stucco with travertine-look porcelain tile and black-framed glass for a clean, linear rhythm.
day,” Todd says.
room, a gorilla sculpture by Eddy Maniez adds unexpected wit to the collection. The exterior layers
points. “[Our son is] out there every
LED track lighting frames vehicles in glass-fronted bays as objects of contemplation—in the living
main axis, visible from multiple vantage
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LEDs that cast a soft, directional glow. A central turntable brings one of the Rosenthals’ prized cars into focus.
dozen vehicles. Henning extended the gallery concept with marble-like porcelain flooring and inset linear
The freestanding car barn evolved from simple storage into a lounge and bar with room for more than a 238 GULFSHORE LIFE H OM E
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The kitchen continues the home’s clean-lined restraint. Done in a minimalist palette, the space has two islands—a utilitarian one in granite and a sculptural one in quartz. Distinct pendants define each zone, and the cab-
and outdoor living areas. Todd and Sara’s private sanctuary unfolds beyond the glass ‘bridge’ on the other side of the entryway. The pod includes a study and an expansive en suite with his-and-hers vanities, a freestanding tub and an integrated sauna accessible from the shower. Vertical fin windows allow natural light to pour into the walk-in closets, maintaining the overall design vocabulary even in smaller spaces. Meanwhile, the children’s wing is on the second floor, above the main living areas, allowing everyone secluded corners. “I equate projects to puzzles,” Henning says. “The clients give you the pieces, and we put the puzzle together.” This one, with its turntables and track lighting, racecourse and display bays, has all the pieces clicking neatly into place: a home where garages aren’t hidden but celebrated, and where even the most mechanical elements serve a sense of place.
kitchen open to the pool, dissolving boundaries between indoor and outdoor living.
corner doors open the space to the pool
wing accessed by a glass-and-aluminum bridge, fitness, theater and car display. Retractable corner doors in the
the kitchen’s modern feel. Retractable
The home organizes five connected pods that articulate different facets of life: main entertainment, owners’
inetry’s textured finish adds contrast to
Even smaller spaces reinforce the automotive theme. Left: Fifteen rearview mirrors make up the powder room’s vanity mirror in the car barn. Right: The primary bathroom’s sleek lines and charcoal tiles nod to high-performance auto design.
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Photography by Max Burkhalter
By
Jesse Bratter
SUITE
In a Marriott International-branded residence, Eisen Design House layers midcentury design, precise millwork and personal history to strike a chord between hospitality and home.
LEVEL
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To look at it now, it all feels effortless. A pair of vintage Eames chairs converse in the living room, subtly setting the home’s tone. A collection of the husband’s string instruments forms a procession in the entry hallway. Light fixtures hover midair with sculptural intent. Every element sits in harmony, each choice amplifying the next. Yet when Eisen Design House first stepped into the project, there was no rhythm at all—just raw concrete and the promise of what could be. Back then, the building was still a hard-hat zone in the early planning phases. Designers Cheryl Eisen and Shannon Slattery saw the blank slate as an
team to help guide the condo’s infrastructure, ensuring it would support the homeowners’ daily lives. “[We were able to] advise on floor plans, millwork details and all the construction decisions that make a big impact later,” she adds. As construction advanced, their focus shifted to custom finishes, specialty wall treatments and the furnishings that complete the transformation from shell to personal sanctuary. Part of the Marriott International-branded The Residences at The Tampa EDITION, the condo represents the new frontier of real estate that’s soon to arrive in Southwest Florida, with The Ritz-Carlton Residences in Naples and Estero Bay, Rosewood Residences Naples and the Four Seasons’ Naples Beach Club Residences. Eisen, who now calls Naples home, sees this evolution as a sign of a shifting luxury landscape. “There’s no question that hotelbranded residential towers have become a hallmark,” she says. “But what interests me most is not repeating the brand’s aesthetic—it’s about creating individuality within that framework.”
and city views. Previous spread: The homeowners’ string instrument collection hangs in the entry hallway.
They collaborated with the developer and AV
lounge chairs anchor the living room, while a palette of pale woods and soft textures emphasizes expansive water
borhood transform around it,” Slattery says.
branded The Residences at The Tampa EDITION to balance hotel polish with personal warmth. Vintage Eames
the birth of a neighborhood, watching the neigh-
Naples-based Cheryl Eisen and fellow designer Shannon Slattery conceived this condo at Marriott International-
opportunity. “It’s rare to design a home alongside
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and movie nights. The tight palette—oak, light stone, brushed brass—creates unity without feeling matchy.
and hardware receding into wood. Layered seating arrangements throughout flex between cocktail parties
Custom dark wood built-ins appear to float without brackets, with cabinet doors sitting flush in their frames
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Her philosophy aligned perfectly with her clients’ next chapter. After two decades raising their family in a big suburban home, they were ready to downsize and were lured to hotel living by the prospect of five-star amenities, on-site cafes and a built-in community. But they didn’t want to lose the character or sense of comfort that makes a space feel like home. Arriving with a clear sensibility and a few cherished pieces, the couple trusted the designers to reinterpret their style for a new context. To ground the new design in authenticity, Slattery
the duo’s love of music and art while harmonizing with the ease of residential hotel living. Starting with a muted, tonal base of pale woods, warm stone and soft textures, the designers created a canvas for furnishings and fabrics that could emphasize the expansive water and city views. Layered seating arrangements in the living areas flex between cocktail parties and movie nights. “Even the practical details were designed with entertaining in mind,” Slattery says, referring to the surfaces for books and cocktails and integrated shelving that keeps collected treasures within reach. “The architecture provides openness, but the design provides warmth, flow and purpose.” As they furnished the home, the designers chose pieces that could stand up to the couple’s bold art while still inviting everyday use. The Eames lounge chairs, carried over from their previous home, became the natural starting point. Rounded silhouettes—seen in the Mario Bellini Cab dining chairs, various side tables and the bedrooms’ artful light fixtures—echo the Eames’ curves, while the black carries through
storage niches. The home favors midcentury forms, like the Mario Bellini Cab dining chairs.
designers wanted to create a retreat that reflected
of matte and polished finishes. A floating soapstone breakfast table extends behind the island for cohesive
tures and details that made it distinctly theirs. The
The kitchen pairs SieMatic cabinetry with open shelving in staggered heights, warm wood tones, and a mix
toured the couple’s former home, noting the ges-
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Left: Cerused white oak built-ins and antique brass rods add dimension in the snug room off the primary suite, creating a small retreat that doubles as workspace and media lounge. Right: Dark Venetian plaster in the entryway provides a unifying backdrop for the driftwood sculptures, a velvet bench and large circular mirror with brass frame.
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graphic elements, like the moody Venetian plaster wall at the entry. In the living room, a clear acrylic coffee table nods to midcentury design, while lightening the space and showing off the geometric rug beneath. A second table in ebonized oak provides a counterweight. The palette stays tight and warm—oak, pale stone, brushed brass—creating unity without feeling matchy. Only one room, the daughter’s bedroom, departs from the organic scheme, with soft pink walls that evoke a cocoon-like retreat for when she visits from college. Still, the design discipline holds: Just as throughout the rest of the condo, built-in cabinetry provides storage without visual weight and keeps sight lines open. More than an aesthetic cue, the Eames chairs set the benchmark for craftsmanship. All the millwork matches the iconic modernist designers’ devotion to invisible craft. The living room’s dark walnut built-ins appear to float without brackets, cabinet doors sit flush in their frames, hardware recedes into wood. Everything looks deceptively simple, but deeply considered. Personal history runs through the condo. The client, who received his first stand-up bass when he was 5 years old, studied with longtime Yo-Yo Ma collaborator Edgar Meyer, then went to college on a music scholarship. The instruments he collected over the years hang in the entry hallway that links the living spaces and bedrooms. “We chose to display his instruments essentially like sculptures,” Slattery says. Brass brackets, recalling metallic elements throughout the home, mount each instrument in ascending order; clean, even lighting shows off the woods’ lustrous grain while casting subtle shadows. The gallery-like hallway terminates in an Alex Katz portrait with electric blue brushwork that pulls your eye through the space.
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A floating Cristallo quartzite vanity glows from within like a sculpture when backlit.
walls. Still, built-in cabinetry maintains the design discipline, providing storage without visual weight. Center:
Left and right: Most bedrooms keep with the organic scheme, but one distinguishes itself through soft pink
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“Together, the art and instruments give the home its cultural heartbeat,” the designer says. For the art collection, the couple has to agree on every new acquisition, focusing on contemporary artists who are still shaping the cultural conversation. “They only acquire pieces by artists active during their lifetime, from 1970 forward,” Slattery says. With works by Lalla Essaydi, Patrick Naggar and the late Tampa artist Theo Wujcik, the collection is contemporary but not trendy, personal but not esoteric, bold but curated.
backlit feature while setting a striking scene. The designers chose the icy white surface for its ethereal translucence. “We set out to find the perfect slab that wasn’t too yellow or too busy but just the right amount of movement and warmth,” Slattery says. “Once backlit, it glows from within like a piece of sculpture.” Textural detail also enlivens the clean geometry in the kitchen, with open shelving in staggered heights, warm wood tones and a mix of matte and polished finishes. In the snug room off the primary suite, cerused white oak and antique brass rods add dimension and warmth, creating a small retreat that doubles as a workspace and media lounge. “Everything is meant to feel unexpected and intriguing rather than purely polished,” Slattery says. In this composition, matte surfaces play against gloss, metal warms to wood, and vintage tempers the new, lending personality and a sense of lived-in warmth to the sleek frame. By borrowing from both worlds—the ease of luxury hospitality, the intimacy of a collected life—the condo demonstrates what hotel-branded living can be at its best: effortless, refined and forever booked.
the polish of luxury hospitality, the intimacy of a collected life.
powder room fulfills the client’s request for a
trusted Eisen Design House to reinterpret their style for hotel living. The result borrows from both worlds:
art. A floating Cristallo quartzite vanity in the
The couple arrived with cherished pieces and a clear sensibility after two decades in a suburban home. They
In some places, architecture functions as
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By
Ph oto graphy By
Ay n - Mo n i que Klah re
Se am us Payne
L I V I N G
W A L L S
To create privacy on a lot where pool, driveway and entertaining areas all face the street, David Young designed vertical plant layers that function as living architecture while restoring ecological function.
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The transformation began with subtraction. David Young of DWY Landscape Architects stripped away the turf, the ornamental plantings, the driveway that encroached on a centuryold oak tree. What replaced them was denser, greener, more ecologically functional—a modern landscape that filters stormwater, supports biodiversity and feels like a private, botanical sanctuary despite sitting on an urban lot with no backyard. The site, which Young worked on alongside a home renovation by Hive Architects, sits at the southern property line of two combined lots running east to west. With no space for a traditional backyard, the driveway, pool and outdoor lounge areas all had to live out front. Meanwhile, the existing landscape leaned heavily on turf and ornamental plants, lacking the density the clients desired. “They wanted to arrive on their property and feel like they could walk around without anyone seeing them,” the landscape architect says. It was an apt challenge for the Fort Myers native, who established his practice in Sarasota after working with prestigious firms in Naples and describes his approach as clean and contemporary. “I like defined edges, good geometry, good forms—as humans, we appreciate structure,” he says. But structure alone is rigid. “I like to create some structure, then break it for visual interest—to introduce shadow play,” he adds. His first major move on this project was spatial. Young relocated a perimeter wall about 12 feet closer to the property line, creating more room around the
Landscape architect David Young pushed the perimeter wall about 12 feet closer to the road, creating a wider, wilder private realm. Perforated aluminum screens between the driveway and outdoor entertainment areas direct circulation and cast geometric shadows throughout the day, a strategy repeated on the home’s facade to shield second-floor bedrooms.
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pool, a better sense of arrival and a chance for the team to reposition the driveway 24 feet away from the oak. “The tree was looking stressed. We felt that, if we could give more area to the root zone, that would allow it to take up more nutrients and oxygen,” he says. The relocated wall enabled a new circulation strategy. Hive Architects moved the front door from the center of the outdoor terrace to a position closer to the garages, separating public access from private outdoor space. Between the driveway and entertainment areas, the team installed a tall, perforated
The revelation starts at the front gate, which mirrors the architecture with white walls flanked by ascending greenery and a perforated screen. Beyond it, the driveway features 6-inch grass joints between shell-top concrete tiles, allowing water to move from stone into soil while the property’s dense vegetation slows runoff, filtering it through root systems before it reaches municipal drains. As you approach the entry, the screen wall offers glimpses of the poolscape beyond. The same screen system continues upstairs to provide privacy for second-floor guest terraces overlooking the driveway. Step through the front door into the open living area, and the pool reveals itself through floor-to-ceiling glass—an elongated form that draws the eye from the house through the water plane toward the garden. “We wanted a sexy form that
dense perimeter plantings ensure complete seclusion.
away from the very beginning,” he says.
no traditional backyard, all outdoor living occurs in what would typically be the front yard—but
the day. “The whole thing isn’t given
replaced turf with Florida-friendly plantings that support biodiversity and stormwater filtration. With
while casting geometric shadows during
Floor-to-ceiling glass frames views from the primary bedroom to the pool and garden, where Young
aluminum screen that delineates spaces
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extended from the bedroom wall all the way out into the landscape,” he says. The length creates visual pull, making the site feel larger than its footprint. For the decking, Young used the same terrazzo tile that appears inside the home, scored at 4-foot intervals to form a subtle grid. “We carried that throughout the landscape,” he says. The material continuity erases the threshold between the interior and exterior, making the pool deck feel like an extension of the living room and adjacent primary suite, which is also wrapped in glass, allowing Perimeter plantings read as dense and wild, with tall bamboo groves and coconut palms creating vertical layers that block sightlines from neighboring second-story windows. Mid-zones remain structured but full, with understory palms and philodendrons filling middle heights. Areas near the Tall bamboo and coconut palms create a lush subtropical screen.
continues outside, scored at 4-foot intervals to form a subtle grid punctuated by verdant growth.
The pool decking extends the home’s material language: the same terrazzo tile found inside
the landscape to be in full view.
house and pool are open to soak up the sun and provide plenty of usable space. The effect softens the home’s white geometry while enclosing the property— from the outside, you see a modern volume with screening; from within, you’re surrounded by a botanical garden. The layering also creates distinct zones, which are only discovered as you move through the space. Near the property’s edge, tucked off the side of the pool, a fire pit with low seating offers an intimate, shaded retreat. Each zone carries its own microclimate and purpose, choreographed to balance activated areas with contemplative pockets.
the tree while opening circulation space within the garden.
encroaching driveway built too close to its root zone. Young relocated the drive 24 feet, preserving
toward the garden’s dense canopy. Beyond the pool, a century-old oak was threatened by an
A zero-edge pool extends the visual plane, drawing the eye from the house through the water
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Every plant was chosen to function as part of an ecological system. The clients already had bamboo on site and appreciated the privacy it provided, so Young expanded that strategy, installing five cultivars all the way around the perimeter. But bamboo creates heavy leaf litter, so he paired it with groundcovers that absorb the fallen leaves, allowing them to decompose and fertilize the soil. “It adds to the overall cycle—that’s pretty much our intent for all we do,” he says. The regenerative ethos also drives the canopy strategy. “We start with plants that are low in demand, and try to create a dense enough canopy so that plants, which means they’ll lose less water during the day,” Young says. “It’s a simple but meaningful approach.” Upper-story palms and bamboo shade lower plantings, reducing irrigation needs while creating habitat structure for birds and insects. Among the plantings, palms establish the unmistakable Florida character. “If you walk outside and don’t see a palm varieties establish vertical rhythm and textural diversity.
from nearly every vantage point. Silver, coconut, broadleaf lady, sable, buccaneer and Bismarckia
To anchor the property’s distinctly Floridian character, Young made palms omnipresent—visible
there’s shade on the majority of the
tree, you could be anywhere,” Young says. The design includes silver palms (“the slender, canted-out ones,” he says), coconut, broadleaf lady, sable and buccaneer palms, plus several existing Bismarckia palms. Visible from the primary bedroom, large-scale textured plants fill the view: philodendron giganteum, philodendron Burle Marx (“A ground cover that’s nicely scaled,” Young says), liriope and cycads. Half the plants are regional natives—less than typical for DWY—with the majority being Florida-friendly species.
property. Off the pool, a gas fire pit offers a shaded retreat for cooler evenings.
Native and Florida-friendly species are layered by height to create intimate zones throughout the
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Despite the plant diversity, the color palette is deliberately limited. “We don’t want a bursting array of flowers, but variations of green and textures layered together,” Young says. Some seasonal interest appears—irises and liriope bloom between late spring and early fall—but the emphasis stays on texture, with plants that relate to each other in hue or form. The dwarf sugar palm is planted near the iris and liriope, a pairing of long, thin leaves. “The leaf shapes are similar, but different in size and width, so it lends a feeling of harmony,” he says. Elsewhere, he mixed in monstera and philodendron giganteum to ground finer plantings with fuller, sculptural forms; by the coconut palms, philodendron wolf’s head creates density to hide the wall. The monochromatic approach creates calm. “When it’s more uniform, you can take it all in,” he says. “The more subtle the palette is, the more zen it becomes. We don’t want plants that scream at you.” Young sees the residence’s design as part of a broader shift. “If people weren’t into natives before the storms of 2024, then they certainly were afterward,” he says. “When you looked around, only the native plants made it through.” In addition to being resilient, the design creates a sense of place—unmistakably Florida and wholly private, despite occupying what is technically a front yard in a city neighborhood. “It’s about authenticity and sustainability, about creating a sense of place,” he says. “Here, you feel connected to both the site and the area around it.”
Despite the ecological diversity on display, Young kept his color palette limited, focusing on creating interest with varied textures and forms. “The more subtle the palette is, the more zen-like it becomes. We don’t want plants that are screaming at you,” the landscape architect says.
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274 O B J E C T S
MODERN AMERICANA BORN IN FORT MYERS / CHRIS BRANDELL’S POETIC ABSTRACTIONS / GEOMETRY’S ARTISTIC ORDER 288 FIGURES
Brian Tietz
30 4 FR A MEWOR K S
Expression
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EXPRESSION
MAKERS’
For his first furniture line, Fort Myers interior designer Dwayne Bergmann partners with Ohio-based Abner Henry to create pieces that celebrate intention, precision and the beauty of human touch.
GL Staff
By
Courtesy Abner Henry (2)
MARK Objects
GULFSHORE LIFE H OM E
While many chase speed and volume, Fort
In his inaugural furniture line, launched
furnishings, which can be tailored with
Myers designer Dwayne Bergmann knows
last spring, Bergmann employs the same
specific dimensions, distinct woods and
the most compelling work comes from slow-
rigor for exacting proportions, honest
hundreds of finishes and hardware options.
ing the pace and elevating the process. When
materials and a respect for craft. He found
Bergmann appreciated the workshop’s
the market can’t keep up with his vision,
his equal in Abner Henry, an Amish work-
ability to execute curved solid hardwood,
he expands the field rather than compro-
shop led by a multigenerational maker,
hand-applied finishes and joinery preci-
mise—an approach that has led to a couture
Ernest Hershberger.
sion at scale. Abner Henry, for their part,
cabinetry line, a series of marble pieces done
The Fort Myers designer had already
had collaborated with The Metropolitan
with Italian brand Kreoo and a home goods
partnered with the Ohio workshop for
Museum of Art and New York designer
collection over the past six years.
client projects, sourcing their custom
Sasha Bikoff. But their roster lacked a
Bergmann translated Art Deco and midcentury proportions for contemporary American homes, working with Ohio’s Abner Henry workshop to execute technically demanding curves and joinery. The Roma Collection defines itself with bowed cabinet fronts in solid wood that taper to a knife-edge (previous spread and bedside tables above).
Courtesy Abner Henry (2)
Objects
2 76
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GULFSHORE LIFE H OM E
designer focused on livable sophistication to create furnishings with enough architectural authority to register as serve varied aesthetics. Bergmann’s line—which spans nearly 100 pieces across 14 collections, with a
Objects
design objects but restrained enough to
new one debuting in April—channels his distinct sensibility: European tradition scaled to contemporary American proportions, Art Deco flair with functional clarity. He aims to bring the craft discipline and detailing of bygone eras into modern-day homes. “A lot of Art Deco and midcentury modern furnishings are what we would consider apartment style or apartment sizing,” he says. Coffee tables measured 13 or 14 inches tall; dining tables rarely exceeded 6 feet. He’s taken the classic design-forward forms and scaled them to contemporary standards. Everything is hand-finished and made from solid wood, drawing from 10 speCourtesy Abner Henry; Dan Cutrona
cies, most sourced from America. Many manufacturers would have declined when presented with Bergmann’s first sketch: the Glasgow nightstand, with its solid wood top curved into an arc and finished with a reverse bevel. But Abner Henry just got to work, recreating the arching detail in nine pieces, including a desk, ottoman and a cocktail table. For
Bergmann’s Hvar console pairs a cantilevered top with slender ribbed supports, evoking the Croatian island.
The Roma Collection, the designer envi-
Each piece begins as a freehand sketch, often sparked by
sioned a door with slightly bowing fronts
architectural details encountered in the designer’s travels.
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GULFSHORE LIFE H OM E
The Glasgow nightstand was Bergmann’s first sketch for Abner Henry. Its arched solid-wood top and reverse-beveled edge challenged the Amish workshop’s craftspeople, but the success led to an entire collection spanning
Courtesy Abner Henry (2)
Objects
beds, desks and consoles.
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that sharpen into a knife-edge—an unusually
Amish woodworking methods with digital
craftspeople take over for hand-sanding, edge
refined profile that demanded custom molds.
precision, Abner Henry delivers furniture
detailing and finishing processes that layer
Once the tooling existed, they extended the
built for generations, shipped straight from
color and protective topcoats through up
motif across beds, chests and consoles.
the Ohio workshop within weeks.
to a dozen applications. A regional network
Such detailing is unusual in today’s
The workshop operates in Holmes County,
of specialized glassblowers, metalworkers
furniture market, where consumers often
Ohio, where Hershberger, a furniture maker
and wood artisans lends their expertise for
choose between aesthetics and quality or
since the eighth grade, and four of his sons
details, like the Dublin dining table’s hand-
face prohibitive costs and months-long
oversee a hybrid process: CNC machines
cast bronze base, which appears molten with
production times. By merging traditional
handle initial cuts with digital accuracy, then
its sculpted relief.
Ernest Hershberger and his four sons run Abner Henry, where CNC machines handle initial cuts before craftspeople take over for sanding, edge work and finishing—a process that delivers heirloom quality within weeks instead of months.
Courtesy Abner Henry (2)
GULFSHORE LIFE H OM E
Objects
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GULFSHORE LIFE H OM E
On Bergmann’s side, everything begins with a freehand sketch. “I’ll be sifting
Finally, resolved concepts arrive in Ohio,
customizable through the workshop’s pro-
ready for engineering.
prietary VuePoint platform, where designers
through photos and reflecting on a trip
Drawing from his interior design experi-
and see something—a railing that I pho-
ence, he conceives pieces that have presence
Still, the furnishings command atten-
tographed while in a train station, a detail
but don’t overpower a room. “Most people
tion through their use of mixed materials,
in a ceiling—that triggers an idea,” he
don’t want a museum in their living room,”
geometric detailing and the intentionally
explains. Then, his in-house visualization
he says with a laugh. The palette remains
wielded dramatic gesture or two. Per-
team translates the drawings into 3D and
restrained—charcoal, navy, natural walnut,
sonal references surface throughout: The
AutoCAD files, working through scale and
occasional brass or blackened steel. As with
Cambridge and Oxford nesting coffee
joinery before anything leaves Fort Myers.
other Abner Henry creations, each design is
tables nod to Bergmann’s sons (“They are
Objects
can adjust and track projects in real time.
Bergmann’s 14 collections for Abner Henry pair mixed materials with geometric precision, as seen in the stretchers of the Crete dining table’s hand-cast bronze base. A new collection debuts this spring.
Courtesy Abner Henry (2)
284
THIS IS
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also twins and they go together,” he says).
furnishings,” the designer says. Elsewhere
In the primary suite, an extra-large Roma
But mostly, the designs nod to the places
in the line, furnishings carry cultural
bed (customized with an oval shape) sits
that feed his sketchbooks. The Glasgow’s
nods, filtered through Bergmann’s design
between a pair of Glasgow nightstands;
curved form, for instance, takes its shape
language: the Porto dresser’s scalloped
the Dublin dining table, Crete pieces
from a Roman tunnel, where half of the
facade, the Crete bench’s monolithic form,
and the Oxford and Cambridge tables
structure had been blown out for con-
the Bilbao’s sculptural fluidity.
anchor the main living. “I wanted every
struction. “It’s an abstract process of taking
While developing the line, Bergmann
that form and applying it to my world of
was also building his Fort Myers home.
A regional network of specialized glassblowers, metalworkers and wood artisans lends their expertise for details like the Crete coffee table’s hand-cast bronze legs.
case good in my home to be something I designed,” he says.
Courtesy Abner Henry (2)
GULFSHORE LIFE H OM E
Objects
286
Douglas Markowitz
By
Figures
EXPRESSION
OPEN FORM
Anastasia Walborn (2)
Guided by intuition, Marco Island artist Chris Brandell creates pared-back compositions, with measured marks and airy fields of color that bring a calm presence into modern homes.
GULFSHORE LIFE H OM E
Chris Brandell walks the beach by her Marco
red. Patches of bare canvas reflect the self-
we think we should do and what is going to
Island home almost every day, her poodle,
taught artist’s spontaneous approach—her
come out of us naturally,” Brandell says.
Sam, trotting alongside. She follows the
brush only touches the canvas when it has
As she drags gauzy layers of white paint
tide line, listening to the surf and letting her
something to say. “The intention is to keep it
over a cross-hatching of charcoal markings,
thoughts drift, a practice that sets the tone
raw-looking,” Brandell says.
a feeling surfaces—something that briefly
for her work before she steps into the studio.
Rooted in intuition, the 61-year-old
brushes against a Rumi line she’d read days
Her canvases are spare and intuitive, with
abstract painter approaches nature, litera-
or weeks earlier. She keeps working, letting
spacious fields of whites and beiges, inter-
ture and music as meditative practices that
the thought fall away. When the piece feels
rupted by quick charcoal marks, smudges,
quiet the noise and allow her subconscious to
finished, she flips through the journal, where
scrawled phrases and the occasional flare of
take the lead. “It’s this struggle between what
she keeps fragments that stick with her, until
Marco Island artist Chris Brandell walks the beach each morning, reads widely and immerses herself in music—rituals that quiet the noise and let her subconscious surface on the canvas.
Anastasia Walborn (2)
Figures
290
2 92
GULFSHORE LIFE H OM E
Brandell’s work is characterized by spacious fields of whites and beiges punctuated by rough-hewn charcoal markings, bits of text and splashes of
Anastasia Walborn; Chris Brandell’s while the soul afterall is only a window (2025)
Figures
red or blue. “The intention is to keep it raw-looking,” she says.
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GULFSHORE LIFE H OM E
Since moving to the island in 2019, her palette has shifted in harmony with the colors of the coast, without veering into caricature. Soft, earthen tones mirror
Chris Brandell’s plank and pilings study (2024)
Figures
sand and docks; pearlescent hues echo seashells and morning light.
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H O U Z Z A W A R D S 18
GULFSHORE LIFE H OM E
a title falls into place: i ask that lovers no
paint with instinct rather than ego. Before
the studio. She wrapped her eyes, picked up
longer be shy or concerned. The line echoes
moving to Southwest Florida in 2019, she
a hunk of charcoal, and dove in. When she
the Sufi writer’s The Book of Love. The inten-
worked out of a studio in Virginia, crafting
removed her blindfold, she was shocked and
tional omission of capitalization reinforces
saturated abstracts inspired by artists like
delighted. The work felt more honest than
Brandell’s overarching aesthetic: minimalist
Helen Frankenthaler. She’d agonize over each
anything she’d created in years. “I realized
and unimposing, but quietly captivating.
stroke of the brush, each hue. Her practice
that when you take your brain and your ego
The resulting works create an atmosphere
grew stagnant and restrictive. She felt stuck.
out of the picture, your intuition and who
that is simultaneously visceral and playful,
A friend suggested she try painting blind-
you are on the inside take over,” she says.
rudimentary forms rendered with an urgent
folded, an idea Brandell rebuffed as ridicu-
Soon after, she arrived in Collier County,
composure. But it took her years to learn to
lous until a particularly frustrating day in
casting her artistic rebirth in the soft light of
Brandell didn’t always work intuitively. After 30 years of producing richly hued abstracts reminiscent of Helen Frankenthaler, she felt like she was in a rut. Then, a friend suggested she try painting blindfolded. The experience was transformative.
Anastasia Walborn (2)
Figures
296
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GULFSHORE LIFE H OM E
When Brandell finds a line of poetry or lyric that strikes a chord, she jots it down. Often, these lines become the titles of works. Below: Her i ask that
Anastasia Walborn; Chris Brandell’s i ask that lovers no# longer be shy or concerned 2 (2025)
Figures
lovers no longer be shy or concerned 2 references Rumi’s Book of Love.
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GULFSHORE LIFE H OM E
the Gulf and the gentle hues of shifting sand. As she developed her new style, she lost the blindfold but took its lessons with her. Brandell’s emotionally charged isabella, inspired by the friendship formed when an elderly neighbor stopped by gestural markings echo the woman’s initial fear, while soft fields of white reflect the comfort of mutual kindness the pair discovered in their meeting. Music keeps her focused in the studio. Sometimes, zen tunes lull her anxious mind; other times, a rock ‘n’ roll beat is the only thing that keeps her from harping on the cares of the day. “I can’t go into the studio saying, ‘OK, today I’m going to
For Brandell, intuitive painting requires setting ego
be intuitive,’” she says with a chuckle. “But now, I have the tools to get me there.”
aside. She stays close to the canvas while working
When she participated in her first exhibition—a group show at Alexandria, Virginia’s Torpedo Factory, curated by the National Portrait Gallery’s assistant
and resists the urge to pull back and examine the composition until the piece feels settled.
director of exhibitions—Brandell was in a liminal phase. “I’d been painting for years, but I was so insecure,” she says. “I wasn’t sure I had what it took.” Out of
Chris Brandell’s our friendship is made of being awake 2 (2025)
for help in the midst of a power outage, exemplifies the shift in her style; frantic,
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Sotheby’s International Realty® and the Sotheby’s International Realty logo are registered service marks used with permission. Each office is independently owned and operated. Equal Housing Opportunity. Property information herein is derived from various sources including, but not limited to, county records and multiple listing services, and may include approximations. All information is deemed accurate. Source: Marco MLS.
GULFSHORE LIFE H OM E
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300 submissions, 65 works were selected, and only five broke from the portrait genre. One was Brandell’s. The recognition propelled her toward more ambitious opportunities, like solo shows at Agora Gallery in New York City (2014) and Alexandria’s Athenaeum Gallery (2020). Her work is represented at Naples’ Gardner Colby Gallery; Atlanta’s Huff Harrington Fine Art; and Vail, Colorado’s Artful Sol Gallery. Now, she’s gaining reach in Southwest Florida. Her work featured promand in November, she signed a lease on a 1,500-square-foot studio unit at the island’s central Rizzi building. There, she hopes to connect more personally with collectors; not to explain the work, but to watch them uncover its meaning for
In November, Brandell cemented her place among the Southwest Florida art scene by signing the lease on her first public studio, a 1,500-square-foot unit in the center of Marco Island. Anastasia Walborn
inently in the 2024 and 2025 season-opening exhibitions at Gardner Colby,
themselves. “They will often see something in my work, a shape or a form or a theme that is meaningful to them. It’s hard to unsee it,” she says. But, she does her best to shut the voices out, to work purely. That is the practice.
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Please contact me to schedule your complimentary consultation. Amy.Nease@PremierSIR.com | 239.910.7267 | AmyNease.com Sotheby’s International Realty® and the Sotheby’s International Realty logo are registered service marks used with permission. Each office is independently owned and operated. Equal Housing Opportunity. Source: RealTrends Verified 2025. *Peerage Group Sotheby’s International Realty.
Q
RI UA
NG T HE C
IR C
Courtesy Hugo Diaz; Anastasia Walborn
S
Emma Witmer
By
Framework s
EXPRESSION
LE
Across mediums, artists treat geometry as a universal language, bridging art, architecture and design with a balanced, spatial sense of order.
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GULFSHORE LIFE H OM E
Glass artist Wesley Rasko approaches his
From towering helixes to orbs that appear suspended,
medium with an architect’s discipline. He
geometric shapes form the base of glass sculptor
keeps a ruler and rafter angle square within
Wesley Rasko’s practice. Left: Eternal Flame illustrates how mathematical principles, when harnessed, bend
reach, tools essential to his precise coldwork-
light and elicit a sense of movement.
ing practice. In his studio, geometry leads the way: Circular outcroppings merge to reveal angles tilt and accumulate, planes shift until forms seem to move. “Those are the basics that everything else can be built on,” he says.
Framework s
hollow orbs in blocks of layered glass, rect-
His work represents a form of Geometric Abstraction, a genre that explores simple shapes as the building blocks of all natural and built environments. The genre spans a century of movements—from Suprematism, De Stijl and Constructivism to Op Art and Minimalism—unified by one idea: By stripping away details and reducing things to their simplest mathematical shapes, artists can communicate on a more intrinsic level. Rather than offering answers, Geometric Abstraction uses familiar forms to explore balance, tension or discovery. When Rasko draws inspiration from the Brutalist architecture of Central Europe, he doesn’t try to recreate a building. He interprets what struck him in the first place—the angular impressions, the way windows catch light, the way it unflinchingly holds its space. teal glass triangles spiral upward, each plane angled slightly from the last to form a helix, where color shifts with light. The artist, who splits time between Naples and the Czech Republic, begins with drawings, mapping shapes and angles before cutting the first sheet of glass. He paints and bonds each layer, then grinds and polishes the stack until light refracts cleanly through the edges. “We only
Wesley Rasko’s Eternal Flame (2025) and About Us (2025)
In his 2023 piece Luminous, yellow and
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GULFSHORE LIFE H OM E
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Geometric Abstraction and architectural inspiration go hand-in-hand. Naples sculptor Michael Krakow relies on balanced angles to create his Towers series.
Christina Bankson; Michael Krakow’s Castle Tower (2024) and Steam Punk Tower (2025)
Framework s
He references Frank Lloyd Wright’s iconic maxim: “Form follows function.”
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GULFSHORE LIFE H OM E
have so many simple shapes—the square,
Naples Art District’s Tammra Sigler uses repeating grid motifs to
the circle, the triangle—but what can you do
lend order to playful abstract works. Her Blocks series uses stacked
with those? That’s where the magic comes
square shapes to explore the human impulse to build and destroy through the lens of a child’s block set.
into play,” he says. “You can mix them, twist them, lean them; and all of a sudden, it’s not The resurgence and continued evolution of Geometric Abstraction mirrors a broader desire for order in a noisy world. With its structured, balanced approach, the style fits
Framework s
just a simple triangle anymore.”
elegantly into Southwest Florida’s design landscape, where homeowners are gravitating toward calm, restrained interiors. Links to architecture are natural. Artists rely on the same clarity of line and disciplined structure that define strong design. Rasko likens Luminous to the Leaning Tower of Pisa. Both draw power from a subtle tilt, an imbalance that makes a familiar form feel unexpected. “When I see a gleaming skyscraper in Calgary or an Art Deco building in Miami, I think, ‘How can I incorporate the simplicity of those clean lines, or the geometry of those shapes into my work?’” he says. Naples sculptor Michael Krakow, too, but from a distinctly utilitarian viewpoint. “When I see buildings that I like, I want to go inside them, to see how they work, to understand them better,” the sculptor says, recalling Frank Lloyd Wright’s iconic maxim: “Form follows function.” The impulse rings out in his Towers, a series of structures composed from copper pipes welded together at sharp angles. The works reflect the sculptor’s desire to tear the facade away and analyze the inner workings. His Titan series—mapped out using 3D modeling technology—cast concrete into blocky shapes that can be seen
Anastasia Walborn; Tammra Sigler’s A Very Serious Garden – Invaded (2016/2017)
finds inspiration in the built environment,
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GULFSHORE LIFE H OM E
as humanoid or architectural due to their restrained, geometric form. He builds on the tenets of Constructivism, an architectural offshoot of Geometric Abstraction known for industrial materials and utilitarian ideas, Hugo Diaz, a Miami-based artist represented by Fifth Avenue South’s Aldo Castillo Gallery, aced the entry exam for the School of Architecture at Central University of
Framework s
that later influenced the Bauhaus School.
Venezuela before turning to computer science to harness technology’s mathematical precision in his work. After mapping out his kinetic designs in software, he laser-cuts colored plexiglass into precise shapes, then layers them against a transparent sheet— columns of stacked lines taper as they reach toward one another, creating a sense of curvature. These repeating slats make his dimensional wall pieces appear to vibrate, while circles and angled blocks seem to float off the surface or ebb beneath when taken from different angles. Color shifts deepen the illusion of depth and motion—until you step to the side and realize the panel is flat. Fellow Venezuelan Orlando Acosta narrows the aperture, focusing solely on the cube from his Naples home studio. The mixed-media artist likes giving himself visual puzzles to solve: “The more limits I place on the work, the more interest it sparks in me.” For more than a decade, he has been breaking the cube open, shifting its faces and structed or deconstructed and maintain its
Teryl Hubschman Brzeski offers an intuitive take on Geometric Abstraction. In her Art Lab studio gallery, the artist rotates a
presence,” he says. Whether he rebuilds the
canvas—90 degrees, then 180. The composition holds. “You should
angular form as layered planes or twists its
be able to hang them any way, and it still looks balanced,” she says.
faces into a rotated, jewel-like shape, the cube remains. It’s a reminder that boundaries are
Anastasia Walborn (2)
collapsing it into flat planes. “It can be con-
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GULFSHORE LIFE H OM E
Framework s
often self-imposed; there’s endless room for
Where the other artists begin with systems
stay tight and orderly, like abstracted floor
iteration and reinvention, even in confined
and structure, her compositions unfold intu-
plans; in others, the grid relaxes, and blocks
circumstances. His pieces—cut from acrylic
itively, their geometric leanings incidental in
of color overlap or shift in tone. The push and
or aluminum—explore how far a form can be
her mind. “I’m almost never trying to draw
pull between system and instinct animates
pushed before it stops being itself.
an object or say anything specific,” she says.
her work. Her daughter, artist Nora Beyrent,
In the Naples Art District (NAD), painter
Working in pastel, pencil and oil, she
suggests that the work may reflect a subcon-
and printmaker Teryl Hubschman Brzeski
builds dense grids out of repeating squares
scious link between her mother’s interest in
approaches geometry from a different angle.
and angled lines. In some pieces, the forms
design and desire to plot order in chaos.
Hugo Diaz’s Harmony (2022) and Violet Cubes Flying in the Universe, Kinetic VII (2025)
314
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GULFSHORE LIFE H OM E
Framework s
Intuitive takes on Geometric Abstraction
human impulse to create, destroy and rec-
Despite their differing approaches and
echo through the work of fellow NAD artist
reate through the lens of a child’s block set.
materials, each of these artists channels
Tammra Sigler, who is drawn time and again
Meanwhile, Fort Myers-native artist Anna
geometry as a universal language that
to grid-like motifs. Her canvases are colorful,
Forrest Fischler applies the dimensional
bridges art, architecture and design. Their
filled with smudged lines and scribbles, yet a
approach to landscape art. She slices her
works bring clarity to a world that often feels
sense of order exists beneath. The dynamic
plein-air paintings into geometric shapes,
anything but, with simple lines and forms
is most evident in her Blocks series, which
then reassembles them as a way to explore
conveying a sense of order that you can feel
uses repeating square shapes to signify the
concepts of destruction and ego in her work.
and quantify.
Christina Bankson; Anna Forrest Fischler’s Croton (2023)
316
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