Interior Design Fall Homes 2022

SEPT. 21, 2022

nurture & nature

STAY A LITTLE LONGER.

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CONTENTS FALL 2022

VOLUME 93 NUMBER 10

fall.22 ON THE COVER

See page 70 for more on Coudelaria Rocas do Vouga, a stud farm in Itu, Brazil, by Studio Arthur Casas. Photography: Fernando Guerra.

FEATURES 62 TROPICAL INTERNATIONAL

by Stephen Treffinger

Strang Design blends vernaculars to conjure a Miami home at one with its surroundings.

70 HORSE SENSE

by Marisa Bartolucci

At Coudelaria Rocas do Vouga, a stud farm in Itu, Brazil, Studio Arthur Casas designs an entertainment pavilion and guesthouse that set off the purebreds’ natural elegance.

78 BENVENUTI A NAPOLI

by Edie Cohen

RACHAEL SMITH/LIVING INSIDE

Giuliano Andrea dell’Uva Architetti introduces us to a hidden side of the Italian city.

86 HIT THE SLOPES!

by Rebecca Dalzell

A Park City, Utah, property

by CLB Architects and The Iluminus Group offers dropdead views and hotel-worthy amenities.

96 HUNKY DORY

by Jesse Dorris

David Bowie is the presiding spirit in a musician’s London apartment by Owl Design.

104 FINDING THEIR FORM

by Peter Webster

The strikingly diverse shapes of these five residences from around the globe are in direct response to their specific locales— physical and cultural.

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CONTENTS FALL 2022

VOLUME 93 NUMBER 10

open house 33 REIMAGINING THE PAST

by Athena Waligore

Studio Bright renovates a historic Melbourne property into a cozy family home.

at home 57 CALM AND COLLECTED

by Ian Phillips

The Paris flat of Galerie kreo founders Didier and Clémence Krzentowski is peacefully in flux.

departments 17 HEADLINERS 21 HAPPENINGS edited by Annie Block 26 TRENDING

by Rebecca Thienes Soft Draping

Simultaneously concealing and revealing, billowing textiles and fluid forms obscure (yet telegraph) the ambiguity of these complex times.

41 MARKETPLACE edited by Rebecca Thienes text by Georgina McWhirter and Rebecca Thienes 116 BOOKS edited by Stanley Abercrombie 117 CONTACTS 119 INTERVENTION

by Jen Renzi Round It Goes

fall.22 57

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MOON RAY STUDIO/LIVING INSIDE

Izquierdo Lehmann Architects designs a shapely guesthouse in La Región de Los Ríos, Chile.

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e d i t o r ’ s welcome

nurture & nature

Once again, we fiercely climb to the peak of residential design with our Fall edition of Interior Design Homes… which happens to be just as sizzlinghot as the weather is right now! Fret not on the latter, though: Our col­ lection of stories will provide the sweetest relief to your steaming senses. Most importantly, the articles will surely deliver all the “in-theknow” you can take and trigger inspi­ ration, which you should give back!

Informing you via relevant and cogent reporting is our greatest mission (I know, you’ve heard me say that a few times already :) ). What’s most essential, however, and closest to my heart is, humbly put, to serve as a flash point for your creativity. As far as I’m concerned, I acquit my duties only after I help build something new, progressive, innovative—one-of-a-kind, in other words—so I can proudly publish your stellar work, and then do it all over again! ;) ;) Kidding aside, dive right in and take note of how the masters we’ve as­ sembled in this issue always roll their own way! Witness how it’s done—be it indoor/outdoor problem-solving, grappling with the commanding presence of nature (a main theme), or creating urban landscape solutions.

Our coveted cover features Hall of Famer Arthur Casas seamlessly merging inside and out, putting Brazil’s leading Lusitano horse stud center stage among nature and low-slung modern buildings. We hit the slopes in Park City, Utah, where amenities like a bowling alley, spa, and climbing wall take a backseat to views of the Wasatch Mountains. And we showcase a global roundup of projects in which the landscape is the inspiration…check out the concrete house in Mexico that’s half buried under a grassy hillock!

Breathe deep, take in all of nature’s beauty, and get recharged—fall is just around the corner! xoxo,

Follow me @ thecindygram

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“Drawing on a love of nature and craftsmanship, we enjoy working with fresh color combinations, organic shapes, graphic patterns, and natural materials to create interiors that instinctively feel good”

Owl Design “Hunky Dory,” page 96

h e adl i n e rs

RED PETAL PHOTOGRAPHY

firm site: London. firm size: 3. co-director: Simone Gordon. co-director: Sophie van Winden. current projects: Private residences in London, Essex, and Hertfordshire, England. first encounter: Gordon and van Winden met while studying for their interior architecture degrees. other guises: Gordon recently traveled to Tulum, Mexico, where she found another wooden mask to add to her collection. coastal living: Van Winden spends half the week in Margate, where she likes a morning swim in the sea. owldesign.co.uk

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CLB Architects “Hit the Slopes!” page 86 firm sites: Jackson, Wyoming, and Bozeman, Montana. firm size: 50. partner: Eric Logan, AIA. principal, interior design director: Sarah Kennedy. current projects: Campion Farms wellness retreat and residences, Great Barrington, Massachusetts; Wasatch Peaks Ranch residence in Park City, Utah; Moonlight Basin clubhouse in Big Sky, Montana. honors: Wood Design & Building Awards; Americans for the Arts, Public Art Network Year in Review Outstanding Public Arts Project; American Architecture Award. slope-side: Logan loves hiking, biking, and skiing in the mountains nearby his home and in Grand Teton National Park. sea to sky: Kennedy grew up on the coast of Australia, near Sydney, and now lives in the mountains in Jackson, Wyoming. clbarchitects.com

h e a d l i n e rs

Studio Arthur Casas

Strang Design “Tropical International,” page 62 firm sites: Miami, Coconut Grove, and Sarasota, Florida. firm size: 50. founding principal and managing partner: Max Strang, FAIA. partner and managing director: Alexandra Mangimelli, AIA.

“Horse Sense,” page 70 design main director: Arthur Casas. firm site: São Paulo. firm size: 33 architects and designers. current projects: A hotel in Dubrovnik, Croatia; an H.Stern store in Tel Aviv, Israel; an apartment in London. honors: Prix Versailles; Interior Design Hall of Fame; Interior Design Best of Year Award; Rethinking the Future Award. nose: Casas is a thoroughly knowledgeable oenophile. ear: He is equally well-informed and discerning about Brazilian popular music. arthurcasas.com

Giuliano Andrea dell’Uva Architetti “Benvenuti a Napoli,” page 78 firm site: Naples, Italy. firm size: 14. studio principal and design director: Giuliano Andrea dell’Uva. current projects: A boutique hotel and restaurant in a historic palazzo

in Orvieto, a luxury hotel in Capri, a historic villa in Bellagio, all in Italy; a town house in London. partner and managing director: Elizabeth Starr, AIA. current projects: Panther National residences in

Palm Beach Garden, Florida; residence in Abaco Cay, Bahamas. honors: AIA Florida Honor Award for Historic Preservation and Restoration; AIA Florida Medal of Honor; AIA Florida Award of Excellence for Residential Architecture. underwater: Strang is an avid scuba diver. over land: Mangimelli is refurbishing her 1930s home in the heart of Coconut Grove, Florida. airtime: Starr is a big University of Miami Hurricanes football fan, her alma mater. strang.design

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vintage: Dell’Uva collects midcentury Italian design. vacay: He enjoys traveling with his wife to both unexpected new places and old favorites. giulianoandreadelluva.it

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MADE YO U LOO K

happen ings edited by Annie Block

Postcard From Morocco

FRANCISCO NOGUEIRA

Talk about staying power. Since early June, some 5,000 visitors have visited the Palace of the Dukes of Cadaval in Évora, Portugal.

But they’ve come to see an exhibition relating to Morocco. That’s because it also involves an influential creative force who died in 2008.

“Love–Marrakech Opened My Eyes to Colour: Yves Saint Laurent” offers three different perspectives on the French fashion designer’s passion for the region, in two locations on the palace grounds. One of the sites is the Church of São João Evangelista, a 15th-century edifice with a stunning vaulted ceiling and azulejo tile paneling. Running down what had been the nave is a long platform populated with mannequins donning vintage Saint Laurent Rive Gauche pieces that were inspired by the designer’s first visit to Marrakech in 1966.

In the palace proper are additional exhibits: one showcasing the work of 13 contemporary Moroccan artists and another, a collection of Saint Laurent’s annual handmade greeting cards, converted into poster form and featuring the word love.

“Love–Marrakech Opened My Eyes to Colour: Yves Saint Laurent” is on view at the Church of São João Evangelista on the grounds of the Palace of the Dukes of Cadaval in Évora, Portugal, through October 30, featuring clothing by the designer inspired by his visits to the city, including capes and skirts from Saint Laurent Rive Gauche collections from the 1970’s.

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French Open In the fashion world, Thom Browne is well-known for redefining tailored men’s and women’s wear. Less known, however, is that he was a competitive tennis player in high school. Both talents come together at the Thom Browne Saint-Tropez Tennis Pro Shop, his new stand-alone store at the French private members club Épi. The project is a collaboration with Flavio Albanese, founder of ASA Studio Albanese, which helped design Brown’s Miami 2018 flagship. Similar to that location, the boutique is outfitted nearly head to toe in gray subway tile—a nod to vintage locker rooms. But whereas Florida’s is dark gray, this location is lighter toned, complimenting the resort’s wellness focus, and approximately a quarter of the size. Browne and Albanese have tastefully accessorized the tidy space with mid-century furniture by such American and French designers as Paul McCobb and Pierre Jeanneret, along with custom pieces. And then aced it all with a door-to-door strip on the floor of red, white, and blue tile—the brand’s signature stripe found on the grosgrain-tab labels in Thom Clockwise from bottom: Ceramica Vogue’s System Triangoli Trasparenze series of 4-by-8-inch glossy ceramic tile Browne merchandise. surrounds the 500-square-foot Thom Browne Saint-Tropez Tennis Pro Shop in France by ASA Studio Albanese. The brand’s signature stripe before a custom display rack of women’s spring 2022 ready-to-wear. An alligator Mr. Thom handbag in the shop’s private seating area. The cashwrap’s T.H. Robsjohn-Gibbings desk flanked by Dunbar by Edward Wormley armchairs and Paul McCobb étagères.

COURTESY OF THOM BROWNE

h a ppe n ings

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ARRIS DESK SP IN BLEACHED ASH WITH DARK BRONZE HARDWARE A LT U R A F U R N I T U R E . C O M

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Clockwise from top left: Olimpia Zagnoli designed the promotional poster for “Ici nous ne brodons pas de cousins,” her solo exhibition at the Gallery Kolektiv Cité Radieuse on the third floor of Le Corbusier’s Unité d’Habitation de Marseille in France through October 1. Her Le Village Vertical, 2022.

Zagnoli in a Unité d’Habitation apartment sitting beside her 2022 Le Bain de Minuit (Midnight Swim) concrete sculpture. The 1952 building’s original loggia colors, their order said to be inspired by a musical composition by Corbu collaborator Iannis Xenakis.

designing women “We don’t embroider cushions here.” Those were the dismis­ sive words Le Corbusier uttered to a young Charlotte Perriand when she came to his Paris studio one October afternoon in 1927 looking to work with him. Fortunately, she was not deterred: She was ultimately hired and became a significant collaborator on many of his projects, one being the Unité d’Habitation de Marseille, for which Perriand did the interiors.

It’s that quote along with Perriand’s body of work that inspired Olimpia Zagnoli’s current exhibition—titled “Ici nous ne brodons pas de cousins,” Corbu’s above quote in French—at the iconic housing unit, which is celebrating its 70th anniversary this year. The Italian illustrator’s first exhibition in France features 37 pieces, from a 2019 cover for The New Yorker to ones created specifically for the show, including her debut sculpture, which is in concrete echoing the rough-cast concrete facade of Corbu’s building.

But Zagnoli’s lines and color combinations, along with the idea of making art a part of everyday life are winks to Perriand.

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CLOCKWISE FROM TOP LEFT: OLIMPIA ZAGNOLI FOR KOLEKTIV CITÉ RADIEUSE (2); KOLEKTIV CITÉ RADIEUSE; UNITÉ D’HABITATION DE MARSEILLE, LE CORBUSIER ©FLC I ADAGP PARIS 2022

h a ppe n ings

Artematica kitchen system The art of pure volumes Our intuition led us to using “pure” (not bonded) materials on the aluminium structure of the Artematica kitchen doors, a move which opened up endless ideas and combinations.

Due to the remarkable reduction of materials used, this kitchen is sustainable yet innovative, designed for those who pay a great deal of attention to their well-being and to living in harmony with nature.

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REQUIEM GLOBE

The prevalence of draped forms in product design and photography speaks to our cultural moment—a world under wraps, now ready to pull back the veil and start anew.

As the design community inches toward a post-pandemic future, draping can perhaps be viewed as a wistful throwback to the protective cocooning of isolation times. See Lee Broom, who celebrates his studio’s 15th anniversary with his first lighting collection in four years, inspired by Brutalist places of worship and the marble drapery on ancient sculpture. “I wanted to create a lighting collection that invoked that same sense of awe and mysticism,” the British designer explains. The four designs of Requiem will be produced in a limited edition of 15 each. Crafted of fabric dipped in white plaster, the soft billows are intricately hand-built in the designer’s London studio—and in a race against time before the material sets. The ethereal collection encompasses Globe, Ring, Tube, and Sphere, names referencing the shape of the opal-glass lightbulbs.

The fixtures evoke stillness but also reverence and contemplation— activities to make time for as life speeds back up. Turn the page for more artful forms. leebroom.com

soft draping tre nd ing

by Rebecca Thienes

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Simultaneously concealing and revealing, billowing textiles and fluid forms obscure (yet telegraph) the ambiguity of these complex times

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1. Serie ABC ceiling lamp in painted

metal and opal glass, Chrysler low table in bronze with mirrored top, and Monumento Nudo sofa with glosslacquered wood back and brass legs from the Oublié exhibition by Dimoremilano. dimoremilano.com 2. Limited-edition Requiem Ring pendant with opal-glass diffuser and hand-draped fabrics dipped in matte plaster by Lee Broom. leebroom.com 3. Giulia Ferraris’s Gentle woolmohair throw in brown by A. Vetra. ateliervetra.com 4. Veil LED-lit pendant and long pendant

with ash frames, copper cables, brass accents, and shades of acrylic, cotton, linen, and silk by Ladies & Gentlemen Studio. ladiesandgentlemenstudio.com 5. Sam Klemick’s Wavy bench in salvaged Douglas fir with resin-filled cracks and dead-stock cotton-twill upholstery by Otherside Objects. othersideobjects.com

“We were drawn to the way textiles respond so directly to the forces of nature—draping with gravity, wavering in the breeze—with a graceful ease”

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ope n house

Located in one of two wings newly added to a century-old Victorian terrace house, the lounge features velvet-upholstered custom swivel chairs and a custom leather banquette.

RORY GARDINER/LIVING INSIDE

reimagining the past firm: studio bright site: melbourne, australia

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The original Victorian building became a family zone—complete with bedrooms for the girls and their own hangout space—that can be closed off via large sliding doors. “The configuration makes for connected family living but supports separation,” Bright explains.

The architect made careful decisions in how she joined the Victorian, the previous addition, and the new spaces. This feat was done with a steady hand that made sweeping structural changes to the layout in the existing portion. For example, the circulation route in the original building was moved from the south side to the

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RORY GARDINER/LIVING INSIDE

It can be challenging to make a true family home in an urban environment. That was the brief for Studio Bright, which created a refuge for a couple with two young girls in a dense and gritty part of Melbourne. The clients had acquired a small Victorian terrace house that a previous resident, architect Mick Jörgensen, had modified in the 1980s by adding an extension; as a result, the interior detailing, from ornate cornices to modernist wood beams, spanned the centuries. Led by director Melissa Bright, the studio transformed the structure by adding two new wings— one with a roof deck—that better support the homeowners’ lifestyle.

Outdated service buildings on the site, including a shed and a garage, were removed to make way for the additions and an interstitial courtyard. The larger of the two extensions is a wedge-shape two-story volume of painted brickwork, its upper level wrapped in brown-painted metal mesh; accessible through a new entrance, the wing’s ground floor houses the kitchen and dining area and the primary living area/lounge. One flight up is the primary suite with a roof deck that boasts views of a tall elm. The second new volume, on the opposite side of the main courtyard, contains a home office and a bike room.

Clockwise from top left: The coloration of the new addition, its window screened in brown-painted metal mesh, was matched to that of the original Victorian terrace house on the left. The kids’ bathroom features glazed ceramic tiles, brass taps, and a concrete basin. In the kids’ living space, oiled-oak stools pick up the tones of the Oregon wood ceiling beams that date to the 1980s addition. A mature elm grows in the courtyard; doors and windows are framed in Victorian ash, a kind of eucalyptus.

In the kitchen, the custom-colored poured-concrete island is surrounded by Victorian ash cabinetry.

ope n house

RORY GARDINER/LIVING INSIDE

ope n house

north in order to give the girls’ bedrooms sunlight and views of the courtyard. The Jörgensen beams were removed but only partially, allowing for higher ceilings while also nodding to the home’s history. “We thought it was nicer to let all of these layers come through,” Bright explains. “Three eras sit together as a cohesive whole.” In this way, memory of the home’s past becomes a part of its present day.

—Athena Waligore FROM FRONT GRAZIA AND CO.: CUSTOM SWIVEL CHAIRS, CUSTOM DAYBED, CUSTOM COFFEE TABLE (LOUNGE).

INSTYLE: LEATHER UPHOLSTERY. WARWICK: DAYBED FABRIC. L A A L: WALL LIGHTS. TRUSS FORTE: STEEL MESH (EXTERIOR). DULUX: STEEL MESH PAINT. NOOD CO.: SINK (KIDS’ BATHROOM). CABINET SMITH: CUSTOM CABINETRY. ACADEMY TILES: TILES. ZUSTER FURNITURE: SIDEBOARD (KIDS’ LIVING SPACE). SNELLING STUDIO: TABLE, STOOLS. JARDAN: SOFA. MUUTO THROUGH LIVING EDGE: CHAIRS (KITCHEN). INAX THROUGH ARTEDOMUS: TILES (PRIMARY BATHROOM). LINDSEY WHERRETT CERAMICS: CUSTOM CERAMIC BASIN. DURALLOY: CUSTOM SHOWER SCREEN POWDER COATING. THROUGHOUT AUSTRALIAN SUSTAINABLE HARDWOODS: WALL PANELS, JOINERY. ARTEFACT INDUSTRIES: CEILING LIGHTS. BRODWARE THROUGH E&S: SINK FITTINGS. ARTEMIDE THROUGH STYLECRAFT: WALL LIGHTS (BATHROOMS). ECKERSLEY GARDEN ARCHITECTURE: LANDSCAPE ARCHITECT. MEYER CONSULTING: STRUCTURAL ENGINEER. PROVANBUILT: BUILDER.

RORY GARDINER/LIVING INSIDE

Clockwise from top left: Brown-painted metal mesh also wraps the upper level of the new wing housing the primary suite. The primary bathroom’s custom vanity is painted steel. Victorian ash paneling defines the curved stair leading from the lounge to the primary suite. A kid’s bedroom, one of two on the ground floor, incorporates a wood ceiling remnant from the 1980s addition.

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collection DÉCORS & PANORAMIQUES pattern MONT ROYAL

edited by Rebecca Thienes text by Georgina McWhirter and Rebecca Thienes

toile shook up Leave it to Haitian-American fashion designer Victor Glemaud (hailing from Queens, New York!) to birth a new take on traditional toile. The eponymous leisurewearline founder’s first home collection—for Schumacher—is an homage to his Caribbean heritage. Take Toussaint Toile, the name a nod to the Haitian general and revolutionary leader François-Dominique Toussaint Louverture. Historic scenes meld with renderings of the country’s flowers, foliage, and landscape in a scaled-up pattern available as fabric or wallcovering. The series also includes Fabienne, a pleasing mid-scale hibiscus motif, in multiple colorways, for fabric and walls. Julie evokes Japanese Shibori with its irregular grid. A herringbone-inspired cut-velvet fabric dubbed Jessie packs visual punch. Virginia, available as fabric and wallpaper, references curved ’70’s supergraphics. In all, 14 patterns totaling 33 SKUs will be produced by the family-run textile house. Complete the customization with Evelyne crochet and Keket striped trims. “I’ve always loved interior design and have found this to be another creative outlet to express myself,” Glemaud divulges. “Color and texture are pillars of my brand, and I hope to bring a sense of joyfulness to all those who experience the range.” Certainly did for us. fschumacher.com

TOUSSAINT TOILE; VICTOR GLEMAUD

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VINCENT VAN DUYSEN

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Shunning the one-timeuse culture oft attributed to fast-fashion brands, Zara Home teams with Belgian architect and designer Vincent Van Duysen on a series of spare but warm living room furnishings intended to endure across generations.

The inaugural collection draws from his renowned archives. “I translated my DNA into a program harking back to the last 30 years of work,” Van Duysen says. “I was inspired by the pieces inside my two homes, VVD II residence in Antwerp and Casa M in Portugal.” (Some of the new products were even photographed in the latter space.) Solid oak, ash wood, Campaspero limestone, cotton, linen, and leather comprise the main palette. “I always choose organic and natural materials,” Van Duysen notes. Channeling the designer’s yen for simplicity, the pieces are generically named and numbered: Coffee Table 01, for the first of its genre, and so on. The 01 signifies this is the debut “drop,” with another to come later in the year, and two Van Duysen collections annually thereafter. Sounds like the beginning of a long and fruitful partnership. zarahome.com

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CLOCKWISE FROM BOTTOM: FRANÇOIS HALARD (2); FREDERIK VERCRUYSSE (3)

“The series is manufactured with tactile materials and finishes, rendered in timeless forms”

TOP IMAGE & BOTTOM ROW, CENTER: FRANÇOIS HALARD (2); FREDERIK VERCRUYSSE (5)

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Heath Ceramics is best known for ceramic dishes and tiles, but the

TREZO

California company embraces a new medium with Cedric Mitchell’s colorful glassware inspired by cultural movements such as the Memphis group, midcentury modernism, and contemporary graffiti. The handblown collection from the Oklahoma native (now based in L.A.) encompasses vases, bottles, a bowl, tumblers, a cocktail mixer, and stir sticks and is loosely divided into three aesthetic groupings. The Trezo trio marries translucent yellow and teal glass into totemic bottles. Blomme is a series of Atomic Age–inflected conical, cylindrical, and spherical vases in more opaque shades of mandarin orange, lemon yellow, and lime green. (The spherical one, Mitchell notes, is the most challenging to produce and pushed his skills into new territory.) The third grouping consists of tinted glassware ideal for poolside cocktails. heathceramics.com

CEDRIC MITCHELL

BLOMME

“The pieces combine simplicity in design with bold colors”

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PORTRAIT: HUGO AHLBERG

art of glass

f ur n i t u re

lig h t in g

o utdo o r

134 Ma d is o n Av e N e w Yo r k d d cny c . c o m

a c c e sso r ie s

syste ms

rock star

STEVEN JOHN CLARK

“The design is driven by the materiality of the stone”

CLOCKWISE FROM TOP: BOBBY CLARK; PETER RYLE (3)

Denholm, a small village in the Scottish Borders, is where Steven John Clark originates from. (“It’s very, very small but very, very beautiful,” he divulges.)

Clark left school when he was 16 to become a stonemason but soon segued into fashion, getting his degree with an embroidery concentration. Years later, he came back to stone, and now lives in Melbourne, Australia. Under the moniker denHolm, Clark works South Australian limestone by hand, sculpting with hammers and chisels and then sanding his one-off pieces—from tables to bathtubs— to a smooth finish. Afterwards, the stone goes through hardening and finishing processes to render it furniture-grade.

References are wild and wide-ranging: One table is sliced like a Kit Kat and named for it, too. Another, Pure Dead Mental, with a big, round head and a chiseled midsection, is based on a pal with a penchant for one-upmanship, while a third, Ellie, personifies a “posh and confident” niece. (“Niece turned side table” is one of the funnier things we’ve read in press fodder this year.) Such irreverence also manifests in the cartoonish proportions and wacky angles that roughen up Clark’s otherwise refined and sculptural shapes. den-holm.com

PURE DEAD MENTAL

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Invest in Design 2022 CALIPER PENDANTS 800.826.4766 | VERMONT USA | DESIGN@VTFORGE.COM | HUBBARDTONFORGE.COM All Designs & Images ©1989 - 2022 Hubbardton Forge, LLC. All Rights Reserved. Hubbardton Forge is the registered trademark of Hubbardton Forge, LLC.

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David Irwin for Another Country

Hopie Stockman of Block Shop

for ABC Stone

Serena Dugan of Serena Dugan Studio

product Davenport standout Delineate work and home life by closing the hinged door of the Irish-born designer’s bureau, which boasts an internal pinboard and concealed lighting.

Once shut, the oak and brass piece becomes a simple cabinet to the unknowing eye. anothercountry.com

product Poiret standout The L.A. studio worked with a Connecticut printer to reimagine its block-printed fabrics as wallcoverings. Inspired by fashion designer Paul Poiret’s button clasps for a woman’s jacket, this Art Deco–esque pattern comes in four colors. blockshoptextiles.com

product Soft Rock standout In her Classic Rock capsule collection for the New Yorkbased stone seller, the design doyenne achieves her signature elevated style by mixing solid Italian marbles like Grand Antique and Calacatta Viola with soft upholstery. abcworldwidestone.com

product Olga standout Part of the Sausalito, California–based designer’s handprinted cotton-twill block-print collection, this distinctive take on the polka dot is offered in eight colorways, including cheerful marigold, grounding granite, and uplifting cherry. serenadugan.com

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Cara Woodhouse

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5 PORTRAIT 5: ALUN CALLENDER; PORTRAIT 8: IONA WOLFF

Charlotte Cosby and Joa Studholme Arjun Rathi of Farrow & Ball of Arjun Rathi Design product 2022 New Colours standout The British brand’s creative head and color curator coselected 11 new shades for fall—the first update to its 132-color palette since 2018—that range from flamered Bamboozle to a delicate pink dubbed Tailor Tack…plus neutrals aplenty. farrow-ball.com

product Pan Pasand Umbrella standout The Mumbai studio specializing in architecture and lighting design introduces an LED brass chandelier based on the spokes of a bumbershoot and adorned with hand-blown glass globes evocative of water droplets. arjunrathi.com; 1stdibs.com

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Leanne Ford for Crate & Barrel

for Pierre Frey

product Haldeman recap This open bookcase in FSCcertified pine from a wider collection of shelving and cabinetry by the interior design star is inspired by vintage French bakery racks.

We love how it sits lightly on Tshape legs and can double as a room divider. crateandbarrel.com

product Kiss standout A slipper chair made of three upholstered volumes that lightly touch and appear to balance against each other is accented with lacquered MDF panels, part of a collection by the British designer that also includes a pedestal table and ottoman. pierrefrey.com

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retro reimagining

FLATWARE

In quaint St Leonards-on-Sea, on the south coast of England, Deborah Bowness designs and makes wallpaper patterns that have traveled the world—including to such major museums as New York’s Cooper Hewitt and the Musée des Arts Décoratifs in Paris. Her latest collection, Heirloom, is a collaboration with Hornsea Potteries, the recently resurrected midcentury ceramics brand that was once a household name in Britain. (It’s said that practically everyone in the country had at least one piece of its ’70sdoes-’20s-esque tableware.) Heirloom centers on ceramicist John Clappison’s 1966 geometric pattern of the same name, which became a smash hit for the label. Inspired by the way Clappison evolved the pattern over different types of dishes, Bowness re-styled the motif as hand-printed wallpaper borders that can hang as a single drop or in sequence to fill a wall vertically or horizontally. Mix and match for extra punch. deborahbowness.com

SEQUENCE 10

BORDERS

DINNER SET

“The most significant challenge I faced was conjuring the focus and decisiveness needed to navigate Hornsea’s seemingly boundless repository of patterns and shapes”

SHE WASN’T always ON TIME. B U T S H E A LWAY S M A D E A N entrance.

THE MODERN GODDESS FEATURING THE ODIN® BATH COLLECTION

“We homed in on how we can modernize the design language of the existing kitchen collection while honoring tradition”

hide and seek GEORGE YABU AND GLENN PUSHELBERG

Interior Design Hall of Fame members George Yabu and Glenn Pushelberg, of the New York– and Toronto-based multidisciplinary practice Yabu Pushelberg, refresh Tivalì, Molteni&C Dada’s kitchen for small spaces, originally designed by Dante Bonuccelli in 2004. Natural, raw materials and architectural angles are the name of the game for the Canadian designers’ updates to the collection’s form, proportions, and materials. A travertine countertop with integral sink is carved to follow the angled line of steel-faced base units. Above, a grid of open shelves in thermo-treated oak is highlighted by warm LEDs. But the star of the show is two huge concertina doors soaring nearly 10 feet high and made of double cellular aluminum panels that can be configured in the range’s TIVALÌ 2.0

myriad finishes. They glide and fold open to either side of the linear kitchen and pocket back into recesses bookending the workbench, taking up the depth of the base units. That means the kitchen can be displayed or hidden away as you desire. Extending the range is a corresponding travertine island with an attached table-height breakfast bar and hidden sockets to recharge devices. Very sleek—but earthy, too. dada-kitchens.com

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STONE

T H AT

STIRS

Like a diamond’s evolution from raw earth to unique design, every idea becomes a reality that opens your imagination. Eldorado Stone can transform your space nurturing humble materials to create any world within your home.

Extraordinary can begin small and turn into the start of something beautiful.ª

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at home

calm and collected The Paris flat of Galerie kreo founders Didier and Clémence Krzentowski is peacefully in flux

FROM TOP: MOON RAY STUDIO/LIVING INSIDE; COURTESY OF GALERIE KREO

Top: Clémence and Didier Krzentowski in front of Danh Vo’s We the People in their Paris living room, where a vintage Gino Sarfatti chandelier hangs above Jaime Hayon’s Hymy cocktail table; the chair on the right is Hieronymus Wood by Konstantin Grcic. Bottom: One of Marc Newson’s most recent creations for the couple’s Galerie kreo, the Quobus 1,3,6 Multicolored shelving unit, in enameled steel.

Design dealers Didier and Clémence Krzentowski have lived at the same address, an apartment directly on the Right Bank of the Seine, since the mid-1980s. Looking directly onto the Eiffel Tower, their initial space measured 1,500 square feet. In 2000, they got the chance to extend it when the neighboring flat came up for sale. Their only problem? How to finance the acquisition. “I went to see my banker and told him, ‘All my money is in my art collection. I’ll have to sell a few things,’” Didier recalls. Initially, he thought he’d have to part with 20 or 30 works. In reality, he ended up deaccessioning just one: an ostrich by Italian artist Maurizio Cattelan. At auction, it fetched $270,000 and was dubbed by the French daily Le Monde “the most expensive ostrich in the world.”

Since 1999, when they founded Galerie kreo (“creation” in Esperanto) in Paris, the couple has gained almost legendary status. They produce limited-edition and one-off pieces with a roster of designers that includes Marc Newson, Konstantin Grcic, and Ronan and Erwan Bouroullec, many of which have found their way into the apartment. They are mixed with vintage furnishings, in particular an impressive array of chandeliers, sconces, and lamps by Italian maestro Gino Sarfatti (Didier has co-written two books on modernist lighting and has a personal collection of around 500 models, mostly in storage).

The apartment’s décor changes regularly in an apparently organic fashion.

“There is no method,” Clémence insists. “We don’t worry about things going together. Our collection is our self-portrait. So, there’s a natural coherence.”

And not everything is a signed work. For Didier, a meteorite he bought 20 years ago is “the most important sculpture in existence,” he explains. “It’s the only one that can never be copied.” —Ian Phillips FALL.22

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3 1. A light installation consisting of 30 globes by Corsican artist Ange Leccia hangs above the couple’s bed. The Allan McCollum wall piece, 96 Plaster Surrogates, dates from 1989.

2. In front of the bedroom window, a playful sculpture by David Noonan converses with Gino Sarfatti’s 1050/2 floor lamp and a Pierre Paulin slipper chair and ottoman.

3. The corridor is enlivened by Etienne Bossut’s Watt, made of resin bulbs that don’t actually light up.

4. Ronan & Erwan Bouroullec’s Sofa, which consists of a large black oak box inside of which are cushions, a shelf, and a lamp, anchors a living room seating area that encompasses a Gino Sarfatti chandelier, Marc Newson cocktail table, vintage Florence Knoll sofa, and Hella Jongerius’s blue UN lounge chair—conceived for the 2013 redesign of the UN North Delegates’ Lounge at the United Nations in New York.

5. Among the works above the vintage Robin Day credenza in the dining room are paintings

by Keith Haring, A.R. Penck, and Jean-Michel Sanejouand.

6. The Krzentowskis organized two exhibitions of furniture by the late Virgil Abloh in their Paris and London galleries in 2020. His Efflorescence Bench 2 is a one-off.

7. A work consisting of four suitcases by Zoe Leonard stands in front of Marc Newson’s aluminum-clad Pod of Drawers chest.

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MOON RAY STUDIO/LIVING INSIDE

8. An Alessandro Mendini mirror is paired with Dutch designer Wieki Somers’s playful Bath Boat in the principal bathroom.

“We don’t worry about things going together”

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CLOCKWISE FROM TOP: MOON RAY STUDIO/LIVING INSIDE (3); COURTESY OF GALERIE KREO

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E D ITION

MODER N

The French Modernist Designers’ reproduction collection

LOS ANGELES

EDITIONMODERN.COM

fall22

Follow us to the top

MARNIE HAWSON / LIVING INSIDE

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tropical international

Strang Design blends vernaculars to conjure a Miami home at one with its surroundings

text: stephen treffinger photography: kris tamburello

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“This house is surprising for Miami,” admits Max Strang, founding principal of Strang Design. While the city’s name typically conjures up visions of South Beach residences packed on prime palm-tree-lined waterfront properties, he and firm partners Alexandra Mangimelli and Elizabeth Starr created something altogether different for a family relocating from Brazil. On an estate-sized oak grove just 20 minutes from downtown, the project accurately reflects the couple’s heritage in everything from the layout and materials to the landscaping and furnishings.

The house that originally stood on the lot was torn down, allowing a new one to grow from the ground up. The studio specializes in contextualizing homes to their immediate surroundings via use of natural materials, eschewing plain white boxes. Here, this approach translated to an earthy palette and the placement of plant life—and the structure itself—in a manner that blurs the line between building and landscape. “We were careful to work with existing oaks and gumbo limbos when siting the house,” Strang recalls. The firm designed planters to wrap the second-floor exterior, supplemented by aluminum privacy louvers that double as trellises, enabling vines to climb up the facade. “Eventually, the elevations will be partially enveloped in the growth,” he predicts.

The project, Strang continues, “presented an opportunity to marry our firm style, which we describe as ‘environmental modernism,’ with the more tropical modernism of the Brazilian aesthetic.” An H-shape footprint creates a series of wings, a configuration that allows light to spill into every corner. Multiple rooms feature floor-to-ceiling glass pocket doors that open onto a pool, abetting an easy rapport between indoors and out while upholding a strong sense of privacy.

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Previous spread: Aluminum louvers on the stucco-clad second story provide privacy while serving as trellises; floor-to-ceiling pocket doors throughout abet a fluid indoor-outdoor experience.

Opposite: A Janaina Tschäpe painting, Amir Nikravan sculpture, Jorge Zalszupin coffee table, and Jean Gillon armchairs furnish the living area’s main seating vignette.

Top: The ground level exterior features walls of Jerusalem stone. Bottom: Sergio Rodrigues chairs and a Jonny Niesche canvas animate the intimate sitting zone at the far end of the living area.

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Top: An encaustic tile backsplash accents the kitchen, with cabinetry from Mia Cucina; flooring throughout is Navona light travertine. Center: Jorge Zalszupin armchairs set the tone in the dining room, with walls and ceiling clad in Burmese teak; the Haywire chandelier is by David Krynauw. Bottom: The daughter’s bedroom is furnished with a Togo pouf by Michel Ducaroy and a woven artwork by Tammy Kanat.

Opposite: Patio furniture is from Restoration Hardware; in the club room visible beyond, Roll bar stools by Thomas Hayes join Mario Bellini’s Camaleonda sofas.

The sliders are also practical: “Miami is hot as hell, but as long as you have generous shade and a little bit of a breeze, you’re fine,” Strang notes. Starr adds that the openness of the layout suits the clients’ lifestyle: “How the family entertains informed the variety of seating areas and the circulation between them, as well as the creation of interior and exterior spaces that flow into one to another.” The latter include a patio-adjacent club room equipped with an exhaust system to handle cigar smoke.

The furnishings, many of which were collected by the owners over the years, pay poetic homage to the concept of relocation. The living room contains midcentury pieces by Jorge Zalszupin, who moved to Rio de Janiero in 1949 after fleeing his native Poland to escape Nazi persecution, and Jean Gillon, born in Romania and later based in São Paulo. Both were known for their use of local materials and traditional furniture-making techniques. Also inhabiting several rooms is seating by Sergio Rodrigues, frequently referred to as the father of Brazilian furniture design, who made languorous pieces that responded to his country’s tropical climate and easygoing way of life. They’re right at home here.

While the palette is predominantly earth-tone, with travertine flooring and abundant teak paneling, generous moments of color are provided by the homeowners’ art collection.

Works on display are drawn from an international roster, including Ethiopian talent Elias Sime; Munich-born New York– based Janaina Tschäpe (who was raised in São Paulo); and Amir Nikravan, an American artist of Iranian and Mexican descent. The design team provided settings that create a rich, varied backdrop. One piece, Sime’s Tightrope: I Want to Slow Down and Think, 2017, a collage of repurposed electronic components, was bought while the house was under construction, “so we had to find a wall that would work,” Mangimelli says. A secondary seating area in the main living space became the designated spot. “The piece really looks like it was meant to be there,” she notes of the serendipitious result.

In keeping with South American tradition, the kitchen is not the central hub, but rather positioned off to one side of the floor plan. That said, it’s no wallflower—note the dramatic geometric-patterned backsplash tile. “It was definitely the right way to go,” Mangimelli says of the attention-grabbing encaustic mosaic.

Although the residence is well-suited to entertaining, it does have a public/private divide, with the more tucked-away second floor housing bedrooms, a family room, and a gym. One wing is devoted to guest quarters and the two childrens’ rooms, the other to the primary suite. Despite the home’s generous size—10,000 square feet—it contains only five bedrooms. The intent was to create spacious sanctums, Mangimelli says, “rather than see how many bedrooms we could fit.”

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“Miami is hot as hell, but as long as you have shade and a bit of breeze, you’re fine”

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As for the 1.5-acre plot, the clients’ request was a garden that gives joy. To accomplish this, Strang Design collaborated with La Casona Garden to create a “manifold sensory experience of sight, smell, hearing, and taste—a garden of earthly delights,” landscape designer Ana Miron explains. Plantings are diverse, a mix of ground cover, flowers, small bushes, and various sizes of trees, designed to complement the oaks. Native species are included, as well as a section certified by the National Wildlife Federation as a wildlife habitat, with the land offering ideal conditions, Miron says, “for companion species, birds, bees, butterflies, and squirrels.” And, of course, the property’s human residents.

PROJECT TEAM MARIA ASCOLI, VANESSA ARTEAGA PEÑA, VIVIANA CONLEY, CATHERINE CROTTY: STRANG DESIGN. LA CASONA GARDEN: LANDSCAPE CONSULTANT. FRANCISCO CUELLO JR.; HENRY VIDAL & ASSOCIATES, INC.: STRUCTURAL ENGINEERS. JORGE G. MALDONADO: CIVIL ENGINEER. CONTEMPORARY BUILDERS, INC.: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT DAVID KRYNAUW THROUGH SOUTHERN GUILD GALLERY: CHANDELIER (DINING ROOM).

RESTORATION HARDWARE: ARMCHAIRS, TABLES (PATIOS); BEDS (PRIMARY BEDROOM, DAUGHTER’S ROOM). APPARATUS STUDIO: CEILING LIGHTS (CLUB ROOM, PRIMARY BEDROOM). MIA CUCINA: CABINETRY, COUNTERTOP (KITCHEN). ARTISTIC TILE THROUGH CERAMIC MATRIX: BACKSPLASH TILE. SUBZERO-WOLF: WALL OVENS, COOKTOP. LIGNE ROSET: OTTOMAN (DAUGHTER’S ROOM). DURAVIT: TOILET (PRIMARY BATHROOM). VOLA: SINK FITTINGS. THROUGHOUT OPUSTONE: TRAVERTINE. ES WINDOWS: WINDOWS. DN DESIGN STUDIO INC.: MILLWORK.

Opposite top: The wall and custom basin in the primary bath are the same Jersualem stone used on the house’s exterior. Opposite bottom: In the primary bedroom, light fixtures are

by Apparatus Studio and the painting is by Marcia de Moraes; George Nelson benches serve as bedside tables.

Top right: The conversation area between the living and dining rooms feature a Giuseppe Scapinelli coffee table, Sergio Rodrigues armchairs, and Elias Sime’s Tightrope: I Want to Slow Down and Think, 2017. Bottom right: The H-shape footprint of the house forms a protected courtyard for the pool, which extends into the rear yard.

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At Coudelaria Rocas do Vouga, a stud farm in Itu, Brazil, Studio Arthur Casas designs an entertainment pavilion and guesthouse that set off the purebreds’ natural elegance

horse sense text: marisa bartolucci photography: fernando guerra

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You might call the fascination humans have for horses “primal.” After all, we have been captivated by them ever since we were cave dwellers and painted their images on the rock walls. Over the ages, they have remained a source of inspiration for artists—and architects. In fact, there may be no more iconic work of Latin American modernism than Cuadra San Cristóbal, a private residence and stable outside Mexico City designed in the 1960s by Luis Barragán, himself an avid equestrian. Stunning as the austere white house is, it’s the stable with its punched-out walls in rosy hues, trough waterfall, and Lshape exercise pool that most beguiles. The spare, artful arrangement of mass, space, and color brilliantly showcases the horses as if they were living sculpture.

Continuing in that tradition is a new recreation complex that architect Arthur Casas recently completed at Coudelaria Rocas do Vouga, one of Brazil’s leading Lusitano horse studs, in the old colonial municipality of Itu, northwest of Saõ Paulo. The Lusitano is a majestic breed of ancient Portuguese origin, once prized as a war charger and now sought after for competitive sport and personal equitation. Casas’s brief encompassed indoor and outdoor spaces where the client could not only parade his purebreds but also entertain, hold meetings, and provide accommodations for visiting family, friends, and prospective buyers.

The architect, who is known for fusing modernist and contemporary styles with tropical flair, responded with a comprehensive scheme that gives a nod to the Mexican master, while being wholly his own. “I always wanted to one day create a work where horses—for me the most beautiful animals—could be part of the scenery,” he confides.

The Studio Arthur Casas principal is a longtime proponent of sustainable architecture. “If I could, I would create invisible works,” he says, “leaving nature to take the lead.” He studied the site carefully to optimize his plan’s 72

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Previous spread: A groom leads a Lusitano past the guesthouse, one of the two new structures that comprise the entertainment and accommodations complex.

Top, from left: The walls of the guesthouse entry are clad in Portuguese azulejo tiles, a nod to the heritage of both the owner and his purebred horses. The entertainment pavilion’s sand-plastered ceiling, carbonized-pine paneling, burntconcrete flooring, and rough-stone walls bring earthy tones and textures inside. The entry’s patterned tiles are arranged randomly. Bottom: On either side of the sitting area’s freestanding fireplace, Casas-designed sofas anchor seating groups that include Sigurd Ressel’s Falcon lounge chair and ottoman on the left, Sergio Rodrigues’s Tonico armchair behind it, and a pair of jacaranda coffee tables by Jorge Zalszupin; to the right, there’s a games area with a pool table.

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Top, from left: The conversation pit–style home theater is outfitted with pillow-strewn linen-upholstered sofas, a quartet of Jorge Zalszupin’s Capri side tables topped in travertine and suede cushions, and an Indian wool-andcotton kilim rug. The pavilion roof extends to create a covered barbeque area overlooking the swimming pool. Bottom: Backed by a bar and glass-enclosed wine cellar, the sunken dining area includes built-in banquettes, round tables of Casa’s design surrounded by Bernardo Figueiredo’s cane-seat chairs, and a large family-heirloom table for 10 flanked with Rodrigues’s leather-upholstered Kiko chairs on casters; the stairs on the right lead to the spa, massage room, and gym.

potential for cross ventilation and natural illumination, reducing the need for air conditioning and artificial light. Quick construction was also of the essence, so Casas chose prefabricated steel frames for the structures, shortening building time to a mere 10 months and keeping waste to a minimum.

Like his horses, the client is of Portuguese descent, and he continues to have strong ties to his ancestral country. With that heritage in mind, Casas conceived the complex as a pair of simple, low-slung buildings—a 9,700-square-foot entertainment pavilion and a 5,400-square-foot guesthouse—replete with courtyards and water features, classic elements in Portugal’s romantic old quintas. While the pavilion and guesthouse are strikingly contemporary in appearance, the materials used inside and out are evocative of those Iberian rural estates, with their stone walls, timber columns and beams, and azulejos, the flamboyantly patterned blue-and-white tin-glazed tiles seen throughout the country.

Keen that the complex also blend with the landscape, Casas sourced many of his materials locally and adhered to a palette of earthy tones.

The different textures and hues of the rough

stone, carbonized pine, and burnt concrete are what gives his design a rustic, yet sophisticated character.

And sophisticated it is. There is nothing homespun about this complex. Mismatched azulejos cover the walls of the guesthouse entry, their random imagery making for highly stylish abstract murals. The two-story entertainment pavilion has sliding glass walls that open it up completely to a covered barbeque area, flagstone terrace, and stone-lined infinity swimming pool, ideally situated for viewing sunsets. Inside, the 115-foot-long main room reveals itself to be an ultramodern pleasure dome with two sofa-defined seating groups flanking a freestanding fireplace in the sitting area, which features pieces by Brazilian midcentury modernists such as Sergio Rodrigues and Bernardo Figueiredo; a vast sunken dining section outfitted with pillow-strewn banquettes and several tables, including one for 10 people; a games area with a pool table; and a conversation pit–style home theater lined with plush sofas. Additional amenities include a gourmet kitchen, glass-enclosed wine cellar, and, upstairs, a spa, massage room, and gym.

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The guesthouse is equally luxe. It comprises 14 suites, each with a glass-walled bathroom and screened private garden, flanking a spacious gravel patio planted with trees and grasses, a calm reflecting pool at its center. The rooms have sand-plastered walls and, as with the pavilion, highly refined furnishings, some designed by Casas himself. There are also pieces by contemporary São Paulo designer Marcelo Magalhães, whose signature use of discarded tree branches fits the compound’s aesthetic perfectly.

Handsome as the complex is by day, it’s even more stunning as night falls. Ground-level spotlights bathe the exterior stone walls, accentuating their surface textures, while recessed floodlights in the ceiling softly illuminate the interior, with table and floor lamps providing an additional warm glow. When a fire blazes in the central hearth and the Lusitanos are put through their paces in the gathering dusk outside, guests may well experience the same primal stirrings of wonder that our ancestors must have felt when the flickering firelight played across the horses painted on their cave walls.

PROJECT TEAM NARA TELLES, RAFAEL PALOMBO, GABRIEL LEITÃO, PAULINA TABET, CAMILA DALLOCA, MARCOS RETZER, RAUL VALADÃO, AMANDA TAMBURUS: STUDIO ARTHUR CASAS. RENATA RILLI PAISAGISMO: LANDSCAPE CONSULTANT. MINGRONE ILUMINAÇÃO: LIGHTING CONSULTANT. OSBORNE CONSTRUTORA: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT VIÚVA LAMEGO: WALL TILE (ENTRY). ETEL DESIGN: COFFEE TABLES (SITTING AREA), CENTER TABLES (HOME THEATER).

MICASA: SOFAS (SITTING AREA, HOME THEATER). BOOBAM: FOLDEDSTEEL SIDE TABLES (SITTING AREA, HOME THEATER). DPOT: ARMCHAIR (SITTING AREA), SIDE CHAIRS, BAR STOOL (DINING AREA). HERANÇA CULTURAL DESIGN ART GALLERY: LOUNGE CHAIR, OTTOMAN (SITTING AREA), ROUND TABLES (DINING AREA), TABLE LAMP (GUEST ROOM). STUDIO OBJETO: TABLE LAMP (SITTING AREA), BENCH (GUEST ROOM). BLACKBALL: POOL TABLE (GAMES AREA).

ARQUIVO VIVO: CASTER CHAIRS (DINING AREA). OSWALDO ANTIQUES: ARMCHAIR (GUEST ROOM). BY KAMY: RUG. CURTAINS EMPORIUM: CUSTOM HEADBOARD. ARTHUR CASAS FOR TROUSSEAU: BED COVER. DECA: SINK, SINK FITTINGS (BATHROOM). L’OEIL: CHAISE LONGUES, SIDE TABLE (SWIMMING POOL). THROUGHOUT CORCOVADO, KVADRATT, UNIFLEX: UPHOLSTERY AND CURTAIN FABRIC. LA NOVITÁ: UPHOLSTERY LEATHER.

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Top: The 14-suite guesthouse is arranged around a gravel patio that’s planted with trees and grasses and has a reflecting pool at its center. Bottom, from left: Sandplastered walls, carbonized-pine ceiling and millwork, and a hemp rug bring subtle richness to a guest bedroom, as does the tree-branch table lamp by Marcelo Magalhäes. Surrounded by a screened garden, a guest bathroom is equipped with a Casas-designed sink and fittings. The dramatically lighted infinity pool is an ideal spot for taking in the sunset.

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benvenuti a napoli Giuliano Andrea dell’Uva Architetti introduces us to a hidden side of the Italian city text: edie cohen photography: nathalie krag/living inside

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Italy’s third largest city, Naples, is not exactly known as a locus of peace and quiet. “The city is certainly chaotic,” says architect Giuliano Andrea dell’Uva, who has lived most of his 41 years there. “Its charm also comes from managing to find the serene and calm in that chaos.”

That is precisely what he accomplished with his redesign of a threebedroom, four-bath flat in the upscale Posillipo quarter for art/design collectors Irene and Teodoro Falco and their teenage daughter and son.

In a twist of fate, the 3,400-square-foot apartment, located in a 1956 building by Davide Pacanowski, has roots in dell’Uva’s youth, when he first became acquainted with the work of the Polish-born architect, a student of Le Corbusier’s. “I lived in a stretch of the Posillipo hill and was fascinated by the sight of Villa Crespi, a bold project of rationalist architecture that Pacanowski designed in 1955,” he recalls. The cliffside residence, with cantilevered slabs wedged between ancient pine trees, “was, for me, a symbol of the direct relationship between architecture and sea.” Alas, his clients’ flat, though retaining some historical elements like porthole windows, had been restored in the 1990s “to a more neoclassical taste that eradicated its original charm,” dell’Uva recounts. “I really tried to get it back.”

Doing so entailed reconfiguring the floor plan around sea views, so that the public areas and main bedroom face the Gulf of Naples. Dell’Uva forewent corridors and divisions in favor of making the space as open as possible. The entry leads to conjoined living and dining areas (the Falcos requested a statement salon in which to Previous spread: In the living area, a pair of Pierre Paulin Osaka sofas bracket a vintage Jorge Zalszupin origami-like Petalas table accented with Gio Ponti vases; the armchairs at rear are by Martin Eisler and Carlo Hauner.

Top: The apartment building’s spiral staircase dates to 1956, when Polish architect Davide Pacanowski designed the property. Bottom: The vintage steel fireplace at the far end of the living room was created by Robert Ascain in 1972; the floor lamp near the window is by Luigi Caccia Dominioni.

Opposite: A BBPR lighting fixture from the 1960s hovers above the dining area’s custom walnut-topped Formica table by Martino Gamper.

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“The building had been restored in the 1990s to a more neoclassical taste and lost its original charm. I really tried to get it back”

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receive guests) separated from the eat-in kitchen by full-height brass-frame glass doors. To the left of the living area’s fireplace—a steel marvel designed by the French sculptor Robert Ascain in 1972—a curved wall subtly directs foot traffic to a row of sleeping quarters: first the main suite, followed by bedrooms for the kids, as well as their own youthful sitting room. The son gets a custom berth tucked into a space-age aluminum enclosure.

The gulf also inspired the color scheme: sparsely deployed yellows and blues (see the cipollino marble paving the entry and cladding the primary bath walls) against a background of sparkling white. The city’s world-class cultural scene also figures prominently in the form of the couple’s blue-chip art collection as well as covetable vintage furnishings from a cadre of specialist dealers. Elements by maestri of design invariably factor into any dell’Uva project. He grew up surrounded by the work of Gio Ponti, Franco Albini, and others, which instilled a love of design in him from an early age. “Even as a little boy I would draw houses and interiors,” he recalls.

(Dell’Uva was certainly precocious: his first project, at the tender age of 17, was the renovation of a family home his architect great-grandfather had designed in 1924; and he launched his own studio at 23, shortly after graduating from the Università di Napoli Federico II.) In the living area, a pair of sinuous Pierre Paulin Osaka sofas face each other across a vintage Petalas cocktail table, designed by Jorge Zalszupin in the 1960s for Atelier Brazil. Similarly distinctive is Mario Bellini’s Camaleonda modular seating—its components joined by an innovative system of cables, hooks, and rings—a current

Opposite, clockwise from top left: Marina Abramovicˉ’s Ecstasy II hangs in the living area; flooring is resin. The son’s room features works by artist Alfredo Maiorino, a leather armchair by Osvaldo Borsani, and a custom aluminum-enclosed bed. A vintage Gino Sarfatti sconce marks entry to the kids’ lounge, where Gian Maria Tosatti’s Il mio cuore è vuoto come uno specchio hangs over Mario Bellini’s Camaleonda modular sofa.

A vintage ceiling light by Vico Magistretti illuminates the kitchen.

Top: Joaquim Tenreiro chairs furnish the dining area, presided over by Luca Monterastelli’s site-specific concrete bas-relief.

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collector’s darling that commands the kids’ lounge. Also crave-worthy are Gio Ponti’s Superleggera chairs, weighing in at little more than three pounds each, arrayed around his Pirellone table in the kitchen.

Not to be outdone is Martino Gamper’s walnut and multicolorFormica dining-area table, a bespoke wonder from Milan’s famed Nilufar gallery. Lighting fixtures are signed by Gae Aulenti, Ettore Sottsass, Vico Magistretti, and BBPR. Even accessories bear such renowned names as Tobia Scarpa, Bruno Munari, and Gabriella Crespi.

Also represented here are Naples art gallerists Lia Rumma, Alfonso Artiaco, and Laura Trisorio supplying works by a who’s-who of contemporary talent: Marina Abramović, Thomas Ruff, Michelangelo Pistoletto, Jannis Kounellis, Gian Maria Tosatti, Giulio Paolini. Arguably best in show is Luca Monterastelli’s site-specific bas-relief concrete sculpture, which spans more than 16 feet of dining-area wall. Site specific, too, is installation artist David Tremlett’s color-saturated composition of hand-enameled tiles that forms the primary bedroom’s flooring. Beside it, the architect designed a raised platform for the bed, to take best advantage of ocean views. A serene and sophisticated oasis? You bet. Not a hint of chaos anywhere.

PRODUCT SOURCES FROM FRONT CC TAPIS: RUG (LIVING AREA). LA CIVIDINA: SOFAS. THROUGH GALLERIA FRANCESCO: COFFEE TABLE. TACCHINI: ARMCHAIRS. REZINA: RESIN FLOOR. THROUGH DIMORE GALLERY: FLOOR LAMP. THROUGH ROBERTAEBASTA: CHIMNEY BREAST (LIVING AREA), CHANDELIER (DINING AREA). NILUFAR: CUSTOM TABLE, CHAIRS (DINING AREA). PAOLA C.: GLASS CENTERPIECE. THROUGH GALLERIA MASSIMO CAIAFA: LEATHER ARMCHAIR (SON’S ROOM). CASSINA: CHAIRS (KITCHEN). ABIMIS: ISLAND. B&B ITALIA: SOFA (KIDS’ LOUNGE). THROUGH GALLERIA ROSSELLA COLOMBARI: VINTAGE CEILING LIGHT. ALIMONTI MILANO: MARBLE (BATHROOM). DORNBRACHT: SINK AND SHOWER FITTINGS. GALLERIA ELENA: TILEWORK (PRIMARY BEDROOM). NILUFAR: SOFA.

Top: The kitchen’s Pirellone table and Superleggera chairs were both designed by Gio Ponti, and the custom steel cabinetry by dell’Uva. Bottom, from left: The primary bathroom is clad in heavily figured cipollino marble, quarried in northern Italy. The Tara sink fittings are by Sieger Design.

Opposite: A Gio Ponti side table and Gae Aulenti floor lamp, both vintage, furnish the primary bedroom, with Giulio Paolini’s Exil du cygne; the floor installation is a collaboration between artist David Tremlett, Galleria Alfonso Artiaco, and tile supplier Galleria Elena.

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A Park City, Utah, property by CLB Architects and The Iluminus Group offers drop-dead views and hotel-worthy amenities

hit the slopes!

text: rebecca dalzell photography: kevin scott

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Gated communities are not usually known for their architecture. Houses are often dated and ostentatious, with little connection to their surroundings. The Iluminus Group wanted to prove the stereotype wrong at a private enclave in Park City, Utah.

The development firm hired CLB Architects to design a timeless residence that was simpler and more elegant than its neighbors—though just as enormous—and would appeal to potential outdoors-oriented buyers.

“Their goal was to establish a new standard for thoughtful design in this part of Utah,” CLB partner and architect Eric Logan explains. At the same time, the house would have over-thetop amenities like a climbing wall, sports court, bowling alley, and spa.

CLB showed that these directives need not be contradictory.

The 4.9-acre site is on a steep slope in the Wasatch Mountains, thick with spruce, fir, and aspen trees. At 8,500 feet above sea level, the property has

commanding views of the Park City Mountain resort and across a valley. CLB approached the landscape with respect. Based in Jackson Hole, Wyoming, and Bozeman, Montana, the studio has decades of experience designing highend mountain residences and strives to honor the natural beauty of each location. “We take the notion of connecting with place very seriously,” Logan says.

“We’ve been lucky to work on some incredible properties in the West, and we try not to screw them up. Sometimes I think, You should do nothing here and make it a park. But something will be developed there, so we do the best work we can.” At the Park City site, CLB aimed to make the house as compact as possible given the extensive program and keep it from

Previous spread: Bronze panels around the fireplace conceal speakers in the living room; the bouclé sofa is custom.

Opposite top: A mouth-blown glass chandelier by Semeurs d’Étoiles hangs in the Croatian limestone–clad foyer; a bridge by the window links two wings of the house. Opposite bottom: A fireside den, with a lacquer coffee table by Pierre Augustin Rose, abuts the dining area, with vintage brass Parsons chairs designed by John Stuart in 1968.

Top left: Newell Studio made the custom-dyed sheepskin wall panels in the office. Top right: A repurposed chairlift hangs at the foot of the oak staircase, which has a plaster surround. Bottom: A Bourgeois Boheme Atelier chandelier, Stark silk-blend rug, and Charles Kalpakian armchairs fill the office.

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sprawling too far into the forest.

CLB built the home, dubbed Monitor’s Rest, into the hillside and designed an L-shape plan. Approaching from above, visitors enter a courtyard and see a structure that looks smaller than its 18,000 square feet. “The courtyard creates a quiet space where you can take in the sky and get oriented, and it also brings light into the home,” Logan says. The building’s exterior establishes the material palette used throughout: Croatian limestone, shou sugi ban cedar cladding, steelframed windows, and a copper roof.

Its simple form is designed to withstand the harsh winters; anything too expressive will leak or get scraped off in the snow.

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The experience of the enclosed, serene courtyard deliberately contrasts with the openness of the interior. A limestone foyer, the nexus of the twostory house, leads in three directions.

You can turn right to go to the primary bedroom suite and the office or left to the living and dining areas. Straight ahead is a dramatic atrium with win-

dows facing the forest and stairs leading down to the guest bedrooms and bowling alley. CLB oriented the common areas to the southwest, including a large patio with an indoor-outdoor pool, and you can ski in and out of a lower entrance that has a locker room. “The public part of the program explodes onto the hillside, and you

Opposite top: Vintage skis cover the ceiling of the locker room. Opposite bottom, from left: A collaged and handpainted Fromental wallcovering decorates the bowling alley. Clé tiles jazz up a guest bathroom, with marble floor and counters.

Top: A Molteni cooking range and Wood Stone Home pizza oven appoint the kitchen. Bottom left: A bronze-and-wool sheep statue stands in a hallway with a copper ceiling; the storage bench is by Jake Whillans. Bottom right: The sports court includes a climbing wall.

connect with the slope and the environment,” Logan says. Adds Sarah Kennedy, CLB principal and interior design director, “You’re projected out onto the tree line and really sit with the forest.” Spa and sports rooms are tucked in the back.

CLB collaborated on the interiors with the client, Iluminus co-founder and creative director David Ostrander.

Given the house’s size, a main challenge was editing the material selection to create a focused aesthetic.

Hemlock ceilings, oak floors, and walls of oak or Croatian limestone unify the disparate rooms. Kennedy cites the Zenlike primary bathroom— composed simply of wood, stone, and black metal—as emblematic of her firm’s pared-down approach.

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“You connect with the environment, projected out onto the tree line so you sit with the forest” The cozy 19-by-19-foot tower room has a wraparound terrace, floating fireplace by Focus, rosewood coffee table, and Mrirt rug.

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Narrow mirrors hang in front of a window, so you can look out at the trees while brushing your teeth, and a freestanding wood tub creates a sense of calm. The limestone on the walls and floor appears seamless: “It’s cut along the vein, so you don’t read it panel to panel,” Kennedy notes. The adjacent bedroom is similarly restrained, with oak paneling, a custom reeded-oak bed frame, a hanging leather chair, and a Gio Ponti brass mirror.

At the back of the ground floor is a small tower. Since the house is built into the hillside, Ostrander wanted a pop-up perch where residents could take in 360-degree views. Measuring 19 by 19 feet, it has a wraparound balcony and references the forest-fire watchtowers found in national parks.

“It’s a little retreat that’s whimsical and unexpected,” Ostrander says.

Warm and intimate, it practically begs for a kids’ sleepover, though a floating fireplace, rosewood table, and Moroccan Mrirt rug make it plenty sophisticated for adults. Like the rest of the property, the tower is both fun and refined, and brings a whole new perspective to the neighborhood.

PROJECT TEAM ANDY ANKENY, BRENT SIKORA, JAKE OSTLIND, CASSIDY STICKNEY, JAYE INFANGER, ERICA HAWLEY: CLB ARCHITECTS. DESIGN WORKSHOP: LANDSCAPE ARCHITECT. MAGELBY CONSTRUCTION: CONTRACTOR. SHERWOOD DESIGN ENGINEERS: CIVIL ENGINEER. KL&A, INC.: STRUCTURAL ENGINEER. ENERGY 1: MECHANICAL/ELECTRICAL ENGINEER. ORSMAN DESIGN: LIGHTING DESIGNER. PRODUCT SOURCES FROM FRONT JOUFFRE: CUSTOM SOFA (LIVING ROOM). ENY LEE PARKER: LAMPS. SEMEURS D’ÉTOILES THROUGH INVISIBLE COLLECTION: CUSTOM CHANDELIER (ENTRY). KONEKT: OTTOMANS (HEARTH ROOM).

PIERRE AUGUSTIN ROSE THROUGH INVISIBLE COLLECTION: CUSTOM COFFEE TABLE. PLACE TEXTILES: CUSTOM SECTIONAL FABRIC. DANIEL BECKER STUDIO: CUSTOM CHANDELIER. THROUGH TOM ROBINSON: VINTAGE DINING CHAIRS. MIKSI THROUGH INVISIBLE COLLECTION: CUSTOM RUG. CHRISTOPHER KREILING THROUGH BLACKMAN CRUZ: LAMP (OFFICE). SKI LIFT DESIGNS: CUSTOM SKI LIFT CHAIR (STAIR). BOURGEOIS BOHEME: CUSTOM CHANDELIER (DEN). DORNSTAB THROUGH KALMAR: FLOOR LAMP. STARK: RUG. BRUNSWICK BOWLING: BOWLING ALLEY. RESTORATION HARDWARE: SIDE TABLE. FROMENTAL: WALLCOVERING. JUNIPER LIGHTING: LIGHTS (GUEST BATH). DURAVIT: SINK. CLÉ: TILE. MARRONE: CUSTOM RANGE HOOD (KITCHEN). WOOD STONE: PIZZA OVEN. DORNBRACHT: SINK FITTINGS. OLD PLANK COLLECTION: ART SHEEP (HALLWAY). RESPONSE HG: FLOORING (SPORTS COURT). THE COURT COMPANY: WALL PANELS. LUXURY MRIRT RUG THROUGH BENISOUK: RUG (TOWER ROOM). GRAND SPLENDID STUDIO: RUG. THROUGH TWO ENLIGHTEN: VINTAGE MIRROR. CRUMP & KWASH: CUSTOM DESK (GUEST BEDROOM). MADE GOODS: DESK CHAIR. SUTHERLAND FURNITURE: LOUNGE CHAIR. THROUGHOUT MASTERPIECE MILLWORK & DOOR: CUSTOM MILLWORK. CRAFTSMAN UPHOLSTERY: CUSTOM SOFA FABRICATION (HEARTH ROOM, BOWLING ALLEY, TOWER ROOM). NEWELL STUDIO: CUSTOM COFFEE TABLE (LIVING ROOM); CUSTOM DINING TABLE (HEARTH ROOM); CUSTOM WALL PANELS (OFFICE); CUSTOM SHUFFLEBOARD TABLE (BOWLING ALLEY). THROUGH 1STDIBS: VINTAGE CHAIR (OFFICE); ARMCHAIRS (DEN); BENCH (HALLWAY); TABLE, LAMP (TOWER ROOM). BLUEPRINT LIGHTING: CUSTOM PENDANTS (PRIMARY BEDROOM, PRIMARY BATHROOM). MARSET: READING LIGHTS (BEDROOMS). WATERMARK: SINK FITTINGS (BATHROOMS).

Opposite top, from left: In the primary bedroom, a ceramic artwork by Jennifer Prichard hangs above the bed’s leather-and-limestone headboard. A freestanding wood tub anchors the adjacent bathroom, with Ocean travertine walls and floor. Opposite bottom: A Pod leather hanging chair from Blackman Cruz furnishes the primary bedroom.

Top: Each guest room opens onto a patio. Bottom: Shou sugi ban cedar and Croatian limestone clad the exterior of the house, which is entered via a courtyard.

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Hunky Dory David Bowie is the presiding spirit in a musician’s London apartment by Owl Design text: jesse dorris photography: rachael smith / living inside

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When a famous British singer bought a pad in a Foster + Partners multi-tower apartment complex on the banks of London’s River Thames, a duet of desires played in his mind. First, he longed to transform its undoubtedly luxurious but standard-issue interiors into one of the city’s great party spots. And second, a beloved portrait of his idol David Bowie had to take pride of place.

After a few scrolls on Instagram, he found his players: Simone Gordon and Sophie van Winden of Owl Design. The pair had met in an interior architecture course at Ravensbourne University London, rebelling against the school’s partiality toward glass-box minimalism. By 2014, a few years after graduating, they’d founded their own firm, lending their signature blend of fluid shapes and bold colors to hospitality and office projects across the country. The pandemic moved them mainly into residential spaces, freshening up homes with a touch of post-Memphis here, post-Modernism there. With Owl remixing the 2,000-square-foot three-bedroom apartment, the singer knew he’d have a hit.

Gordon and van Winden’s top-to-bottom redesign is indeed off the charts.

The pair addressed the challenges of the building’s distinctive curved walls— lovely on the outside but hard to work with in the rooms themselves—with a

Previous spread: The dining area, with a Greta Grossman GMG chaise lounge and Gropius CS1 chairs surrounding a custom table, boasts enviable views of the Thames.

Opposite: In the living area, Terje Ekstrøm’s Ekstrem armchair and a Puddle coffee table

by Massproductions join a custom mohair sofa, the sinuous lines referencing the winding river. Top: A chandelier by Utu Soulful Lighting illuminates the dining area, with linoleum flooring in a custom pattern that riffs on terrazzo. Bottom: Servicing the kitchen island, Sella Concept’s Ladies Pond stools in Jesmonite and bouclé nod to the curvy shapes of bathing beauties.

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Memphis-inflected preference for clear geometric forms. The living area walls boast built-in bookshelves that trace the curves, divided into snappy triangular compartments for the client’s collectables. “The principal bedroom was a really difficult shape as well,” Gordon notes. A bed takes up most of the room’s footprint, so the designers framed a custom headboard directly against the wall.

“Its curve mirrors the shape of the room, as do the bedside tables.” Both are a rich, deep red.

“Monochrome always brings a room together,” she adds.

The burgundy-ish tone pops up in ceramic side tables throughout the space, brightening a shadowy media room dominated by a beckoning, oversize green-velvet-upholstered custom sofa and plush carpet right out of a 70’s conversation pit. Bigger crowds can gather at the custom dining table while perched on Noom’s groovy Gropius chairs in eye-popping orange wool, quaffing drinks shaken up at the full-height built-in bar cabinet nearby, its interior lacquered a zesty tomato hue. Both rest on linoleum floors in a custom pattern meant to recall terrazzo—albeit supersized. “The flooring was a completely bespoke design, and installing it was quite nerve-racking,” Gordon reports. “But it ended up looking amazing.” Owl didn’t touch the kitchen much, apart from spraying the cabinets a snappy mint green to match the walls and installing a tidy grid of backsplash tiles. (“It’s mostly a place for caterers to cook in,” Gordon notes with a laugh.)

Owl did put a lot of work into the elevations of each room. “The living room walls are covered in Venetian plaster,” Gordon continues.

“That was a real challenge, getting all the nooks and crannies.” Hallways are coated in high-gloss paint to amplify the abundant daylight. And the spare bedrooms boast eyecatching wallcoverings: a blue faux–grass cloth for one, and an op-art repeating pill pattern for the other (the client’s manager’s favorite place to crash).

While guests inevitably dash into the dining area to check out the blockbuster views, the

Clockwise from top left: High-gloss blue paint backdrops the client’s treasured portait of David Bowie, one of the his favorite musicians, in the hallway. A WC offers a shimmering tribute to Bowie, courtesy of bespoke sequin walls and a disco ball. Vinyl faux-sisal wallcovering lends texture to one of two guest bedrooms, with a Verner Panton Flowerpot lamp on a Palette side table by &Tradition. In the living room, a built-in bar with fluted MDF doors is unmissable when open yet disappears after last call.

Opposite: Owl clad the media room (aka the snug) in stained wood veneer, mimicking a recording studio’s soundproof walls; the ceramic side table is by Daniel Schofield.

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“The designers addressed the challenges of the building’s distinctive curved walls with a Memphis-inflected preference for clear geometric forms”

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Top: In the second guest room, the designers covered the closet’s existing doors with lozenge-shape graphic illustrations. Bottom: The primary bedroom is a play of geometry, with lacquered panels framing a curved velvet-upholstered headboard and a glosslacquered bedside table, both custom; the rattan-accented Frame light is by Utu. Opposite: A graphic wallcovering accents the headboard wall in the second guest room, with a Bold chair by Moustache and a framed print by Karel Balas.

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true VIP spots are the hallway in which the Bowie portrait holds court and, unexpectedly, the nearby WC. Its walls are clad in sequin homages to Aladdin Sane’s famed lightning-bolt face paint, and a secreted stereo greets each partier with a timeless hit and timely exhortation to party: “Let’s Dance.”

PRODUCT SOURCES FROM FRONT GUBI THROUGH CHAPLINS: CHAISE LONGUE (DINING AREA). UTU SOULFUL LIGHTING THROUGH DO SHOP: FLOOR LIGHT, CEILING PENDANT. NOOM: CHAIRS. ZIETA THROUGH MONOLOGUE: MIRROR. VIERO: WALL PLASTER (LIVING AREA). MAMAN RUGS: CUSTOM RUG. AMY SOMERVILLE: SOFA FABRIC. THROUGH JANE RICHARDS INTERIORS: ARMCHAIR. THE CONRAN SHOP: SIDE TABLE. MASSPRODUCTIONS THROUGH CLIPPINGS: COFFEE TABLE. DOOZIE LIGHT STUDIO: CHANDELIER. SELLA CONCEPT: STOOLS (KITCHEN). SHIMMERWALLS: CUSTOM WALLCOVERING (WC). MIRROR BALLS: MIRROR BALL. PHILLIP JEFFRIES: WALLPAPER (GUEST BEDROOM). JONATHAN ADLER: CUSHIONS. HOLLOWAYS OF LUDLOW: TABLE LAMP. &TRADITION THROUGH CLIPPINGS: SIDE TABLE. WARWICK: SOFA FABRIC (SNUG). HUNG UP: CUSTOM CUSHIONS. GP & J BAKER: CUSHION FABRIC. CTO LIGHTING: WALL LIGHT. THE CONRAN SHOP: SIDE TABLE. ARTE: WALLPAPER (SECOND GUEST BEDROOM). WARWICK, KIRKBY DESIGN, LARSEN: HEADBOARD FABRICS/BED UPHOLSTERY. NATURAL BED COMPANY: SIDE TABLE. OYOY: LAMP. MOUSTACHE THROUGH NUNIDO: CHAIR. LYDIA HARDWICK: VASE. CRAFT GALLERY: FRAMED PRINT. HUNG UP: CURTAIN FABRICATION (PRIMARY BEDROOM). MÉTAPHORES: CURTAIN FABRIC. WARWICK, NOBILIS, DEDAR: HEADBOARD FABRICS. UTU SOULFUL LIGHTING THROUGH DO SHOP: WALL LIGHT. ARTE: WALLCOVERING. CARPENTER & CARPENTER: CUSTOM BEDSIDE TABLE. THROUGHOUT FORBO FLOORING SYSTEMS: CUSTOM FLOORING. HUX: CUSTOM MILLWORK (LIVING ROOM, SNUG); CUSTOM TABLE (DINING ROOM). THE COTSWOLD BED COMPANY: CUSTOM BEDS (BEDROOMS). FIXUP: GENERAL CONTRACTOR.

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See page 114 for a rooftop addition perched above an Austin, Texas house by Nicole Blair. Photography: Casey Dunn.

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text: peter webster

finding their form The strikingly diverse shapes of these five residences from around the globe are in direct response to their specific locales—physical and cultural

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“Preserving the rough, primitive atmosphere of being in the mountains was very important to the client”

hw studio arquitectos site Morelia, Mexico. recap Half buried under a grassy hillock, this 2,700-square-foot bunkerlike house— all concrete, wood floors excepted—is accessed by a narrow high-walled pathway that expands slightly to accommodate a tree. The bedrooms in the back look onto an equally narrow walled courtyard, while the large, vaulted living space in the front is completely open to the wooded ravine, thanks to an entire wall of glass. photography Nin Solis / Living Inside.

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“The house is made of elements that are bolted together, so it can be dismantled at the end of its useful life and the materials reused”

imogen pullar architecture site Walkerville, Australia. recap At a mere 475 square feet, this seaside family retreat is a tiny house that doesn’t feel that way at all, thanks to lofty pitched ceilings, a mezzanine level, builtin furniture and storage, and expansive views of mountains, forests, or bay wherever you look.

The exterior is clad in non-combustible fiber cement—the area is prone to bushfires—which a team of local artists has covered with colorful murals, making the little structure a delightful sight in its own right. photography Marnie Hawson / Living Inside.

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hgx design site Hudson, New York. recap Despite its size—more than 6,000 square feet in all, including a basement media room and gym—this elegant weekend house sits lightly on a grassy ridge, its clean form and silvery cedar cladding echoing the simple rural buildings in the area.

Inside, a limited color and materials palette—walnut planks, also silvery, on floors and some walls; other surfaces painted a single, unifying hue—and soaring 13-foot-high ceilings create serene, light-filled spaces as hospitable to people as they are to the homeowner’s art collection. photography Scott Frances.

“Like a poem or a piece of music, the house contains subtleties—shifts and gradations in texture, color, and rhythm—that can only be fully appreciated over time”

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“The concept is based in the Mesoamerican worldview, where trees have a symbolic meaning starting from the roots to the trunks to the canopy”

mcxa group site Malinalco, Mexico. recap Nature and pre-Hispanic culture guided the design of this 2,900-square-foot house, which is surrounded by trees and located near Aztec ruins. Comprising a series of flexible volumes interwoven with courtyards of varying size, the residence is a seamless blend of indoor and outdoor spaces that take full advantage of the leafy canopy overhead while referencing ancient materials (chukum, a Mayan stucco) and structures (wood blocks that echo the steps of the region’s iconic pyramids). photography Nathalie Krag / Living Inside; production Tami Christiansen.

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“The clients—a landscape architect and a hairstylist— wanted an addition that maintained their mature backyard landscape but didn’t require they relocate during construction”

nicole blair site Austin, Texas. recap Like a bird, this 660-square-foot addition perches on four steel columns a couple of feet above the existing bungalow’s roofline. It’s shop-built steel frame was craned into position in a single day and then clad in low-maintenance oxidized-steel siding that chimes with other site elements. The split-level interior offers flexible space for family living, hobbies, and, during the pandemic, a hairstyling station. photography Casey Dunn.

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b o o k s edited by Stanley Abercrombie Hamptons Modern: Contemporary Living on the East End

by David Sokol New York: Monacelli, $55 224 pages, 170 color illustrations

Rocky Mountain Modern: Contemporary Alpine Homes

by John Gendall New York: Monacelli, $50 224 pages, 174 illustrations (170 color)

An East Coast companion of sorts to Monacelli’s other new release about contemporary mountain homes, this one spotlights modern residential architecture on Long Island’s affluent and physically stunning East End. Despite the narrow geographic focus suggested by the book’s title, the 18 houses represented can be found from as far west as Bellport all the way east to the island’s end forks. The properties include both reworkings of 20thcentury designs and new constructions.

Works are divided into three sections, beginning with “Stewarding the Past,” which discusses adaptive reuse as both an environmentally conscious act and an appreciation of works of classic architecture. These include a home by George Nelson that is now owned by Interior Design Hall of Fame member Lauren Rottet, and examples by Andrew Geller, Norman Jaffe, and others.

Next comes “Extending the Legacy,” which focuses on homes by contemporary designers like Desai Chia Architecture that replace neglected structures and reference the history of the properties on which they sit. Finally, “Setting New Precedents” tackles the way factors like climate change, densification, and short-term rentals will shape the region moving forward.

The author points to a particular historical moment—when developer Richard B. Allen enlisted architect Alfred Scheffer to rebuild the Beach Hampton subdivision of Amagansett following the Great New England Hurricane of 1938—as the genesis of modern architecture in the area. The COVID-19 pandemic and the specific challenges it wrought for Hamptons residents stand at the other end of the book’s scope. At its heart, though, it’s simply a celebration of timeless design.

The areas of the Rocky Mountains covered by this handsome book are, from south to north, in parts of New Mexico, Colorado, Utah, Wyoming, Idaho, Montana, and British Columbia. Judging by the book’s photography, they are spectacular: snow-capped mountains, of course, but also valleys, lakes, and rivers.

Modern design did not come here recently. The author reminds us of work in this region by Ludwig Mies van der Rohe (although his stream-spanning Resor house was never built), Marcel Breuer, Frank Lloyd Wright, John Lautner, Eero Saarinen, Victor Lundy, Eliot Noyes, and perhaps others. And the annual Aspen Design Conference, held under a Saarinen-designed tent for more than half a century before ending in 2004, attracted design nobility from every state and many countries.

Their current heirs, responsible for the 18 examples shown, also include some highly respected names and Interior Design Hall of Fame members: Olson Kundig, Brad Cloepfil, Rick Joy, Bohlin Cywinski Jackson, Annabelle Selldorf, and Maya Lin. Less familiar but pleasantly unpretentious are the names of some of the houses and their properties, perhaps taken from nearby landmarks: Lone Mountain, Kicking Horse, Dogtrot, Dragonfly, and Blur.

The illustrations, credited to 30 different sources, are uniformly excellent, and the page design, credited to Benjamin English, is also very handsome (although, I admit, the miniscule typeface was, for me, a bit challenging).

“The book was developed to accompany an exhibit that I saw at the National Portrait Gallery in London and then David Hockney: Drawing from Life

by Sarah Howgate and Isabel Seligman again at the Morgan Library in New York. Now in his ninth decade and more than 70 years into his forever-evolving art career, David Hockney contributed to this collection, which is primarily focused on his superb draftsmanship London: National Portrait Gallery, $31 and the related arts.

208 pages, 225 illustrations (134 color) The format of the book is intriguing. It focuses on five important people in Hockney’s life and shows his portraits of them over the course of 80 years. The five people are his mother, Laura; Celia Birtwell, the innovative British textile designer; Gregory Evans, an intimate friend; Maurice Payne, a master printer of art and longtime Hockney collaborator; and Hockney himself. The substantial portions focused on each person take them through all ages and show how friendships change over the years (growing apart, growing closer, and the inevitable passing of time) and how who you are becomes reflected in your vision to the outside world.

The book always inspires me by showing how Hockney’s work has continued to grow and evolve. His experimentation in media extends to the traditional pen and ink of the old masters, as well as charcoal, photomontage, camera lucida, and even to the mastery of painting on the iPad. Hockney is forever searching for ways to grow and delight, and this search is what keeps him young and wanting to pursue the next decade.

Hockney’s diverse work and exploration continue to drive my creativity. And in the same way that Hockney experiments with different media and evolves his approach to the portrait form over time, our new projects like 393 West End Avenue celebrate historic Nancy Ruddy sensibility and the classic New York residential building form while interpreting these cues in Co-founding principal and executive director of interior design at CetraRuddy a modern vernacular.”

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BOTTOM: COURTESY OF CETRARUDDY

What They’re Reading...

DESIGNER IN OPEN HOUSE Studio Bright (“Reimagining the Past,” page 33), studiobright.com.au

DESIGNER IN AT HOME Galerie kreo (“Calm and Collected,” page 57), galeriekreo.com

DESIGNERS IN “FINDING THEIR FORM” (PAGE 104) HGX Design, hgxdesign.com HW Studio Arquitectos, hw-studio.com Imogen Pullar Architecture, imogenpullar.com MCxA Group, mcxa.group Nicole Blair, nicoleblair.com

Interior Design (USPS#520-210, ISSN 0020-5508) is published 16 times a year, monthly except semi­ monthly in April, May, August, and October by the SANDOW Design Group. SANDOW Design Group is a division of SANDOW, 3651 Fau Boulevard, Boca Raton, FL 33431.

Periodicals postage paid at New York, NY, and additional mailing offices.

Subscriptions: U.S., 1 Year: $69.95; Canada and Mexico, 1 year: $99.99; all other countries: $199.99 U.S. funds. Single copies (prepaid in U.S. funds): $8.95 shipped within U.S. ADDRESS ALL SUBSCRIPTION RE­QUESTS AND CORRESPONDENCE TO: Interior Design, P.O. Box 16479, North Hollywood, CA 91615-6479.

TELEPHONE TOLL-FREE: 800-9000804 (continental U.S. only), 818-487-2014 (all others), or email: subscriptions@interiordesign.net.

POSTMASTER: Send address changes to INTERIOR DESIGN, P.O. Box 16479, North Hollywood, CA 916156479. Publications Mail Agreement No. 40624074.

PHOTOGRAPHERS IN FEATURES Fernando Guerra (“Horse Sense,” page 70), ultimasreportagens.com Nathalie Krag (“Benvenuti a Napoli,” page 78), livinginside.it Kevin Scott (“Hit the Slopes!” page 86), kevinscott.us Rachael Smith (“Hunky Dory,” page 96), livinginside.it Kris Tamburello (“Tropical International,” page 82), kristamburello.com

DESIGNER IN INTERVENTION Izquierdo Lehmann Architects (“Round It Goes,” page 119), izquierdolehmann.com

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i n t er vention

round it goes

Tapped to design a guesthouse for a lakefront vacation property in La Región de Los Ríos, Chile, Izquierdo Lehmann Architects devised a simple yet complex structure that strategically maximizes views and offers a delightful play of geometry. “The project was conceived as a pavilion to contemplate the forest,” firm partner Cristián Izquierdo explains. The 1,475-square-foot dwelling, slightly elevated above the lawn by way of a concrete foundation, takes the form of a glass-enclosed cylinder, not unlike a barn silo or lookout tower. (The curved edifice, Izquierdo notes, is more egalitarian than an “imposed” unidirectional facade.) A spiral staircase from the ground floor living space leads up to the sleeping quarters: three self-contained suites, each housed in its own boxy volume, that puncture through the cylinder and cantilever out over the landscape. The design affords the living areas a 360-degree panorama of the rolling hills—a sort of inverse theater-in-the-round— while the bedrooms boast more curated vews of the treeline (and beyond).

Also on display is the structure itself: the 18 columns that support the bulk of the load give the facade a sense of rhythm and double as window frames. They’re supplemented by three interior columns and pairs of canted beams that uphold the bedrooms in appropriately treehouse-like fashion. —Jen Renzi

ROLAND HALBE

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