November 2025

NOVEMBER 2025

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CONTENTS NOVEMBER 2025

VOLUME 96 NUMBER 11

ON THE COVER Epitomizing an exquisite blend of styles and eras is the main bedroom of a New York town house by Australian designer Greg Natale, who paired Allied Maker’s contemporary Tangent 5 pendant fixture with Japanese Edo­period–inspired White Blossom wallpaper by Iksel, Vincent Darré’s surrealist Neofutur headboard from the Invisible Collection, and Gae Aulenti’s 1965 Pipistrello lamp for Martinelli Luce. Photography: Anson Smart.

Syling: Mariana Marcki-Matos.

features 104 QUEEN OF THE CASTLE

by Stephen Wallis

Laura Bohn’s discerning eye and roll-up-her-sleeves attitude reign at a centuriesold French château she and her husband bought and meticulously renovated.

116 MISE EN SCÈNE

by Peter Webster

Greg Natale evokes movieinflected European art deco in the makeover of a 19th-century New York town house.

124 FAMILY VALUES

by Edie Cohen

H&S International and Rottet Studio infuse a hotel-scale Las Vegas residence with the lived-in warmth of a kid-filled home.

132 CONCRETE JUNGLE

by Elizabeth Fazzare

For the Maybury, a ground-up residential tower in New York, Handel Architects and Mazzarini & Co. channel both nature and city.

142 NATIONAL TREASURE

by Michael Snyder

Pascali Semerdjian Arquitetos constructs a prismatically oriented home in São Paulo that showcases Brazilian talent and tradition—with a global sensibility.

150 THE HIGH LIFE

by Peter Webster

Seven residential towers across the Americas redefine the art of dwelling above it all.

ADAM KANE MACCHIA

11.25 132

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11.25

CONTENTS NOVEMBER 2025

VOLUME 96 NUMBER 11

walk-through 49 FRIEND ZONE

by Lila Allen 57 IN HARMONY

by Annie Block

Pavilions flanking patios, glass walls giving way to gardens, verandas amid treetops—homes in Europe and Asia fully synchronize with the natural world.

departments 19 HEADLINERS 23 DESIGNWIRE

by Annie Block 32 BOOKS

by Wilson Barlow 34 PINUPS

by Rebecca Thienes 38 SHOPTALK edited by Georgina McWhirter 41 CREATIVE VOICES Mind Games

by Dan Howarth

Formafantasma’s Simone Farresin and Andrea Trimarchi infuse their multifarious projects with intellectual rigor and a sense of play.

71 MARKET edited by Rebecca Thienes text by Lisa Di Venuta, Georgina McWhirter, and Stephen Treffinger 99 CENTERFOLD The Nature of Change

by Athena Waligore

Awarded the Serpentine Pavilion commission in London, architect Marina Tabassum conceived a luminous structure that embodied her firm’s focus on climate and equality, temporary and long-lasting.

166 CONTACTS

PIOTR MACIASZEK

175 INTERVENTION

by Rebecca Dalzell

57

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A MORE SUSTAINABLE INTERIOR DESIGN As part of the SANDOW carbon impact initiative, all publications, including INTERIOR DESIGN and METROPOLIS, are printed using soy-based inks, which are biobased and derived from renewable sources. This continues Sandow Design Group’s ongoing efforts to address the environmental impact of its operations and media plat­forms. We have a partnership with Keilhauer to offset all estimated carbon emissions for the printing and distribution of every print copy of INTERIOR DESIGN in 2025 with verified carbon credits, including the one you hold in your hands.

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e d i t o r ’s welcome

residential

x 2!

It was high time to continue updating and expanding our repertoire, and then presto—in one fell swoop, with this very November issue, we did!

Now, there’s no great enigma to solve or secret to share. It’s universally known that when one in our craft wants or needs to add new material to their act, they beeline for the new gigs of contemporary residential design, in all its innumerable vernaculars and permutations. By the way, it’s an excruciatingly painful editorial bit that I’ve never quite gotten used to in my years running the book: all those great ideas and trends, all those inspirations and innovations—and all strictly for reporting, and nothing for Cindy! Always looking but not touching, sigh!

Oh well, boo-hoo, ever the pro—so be it. We do this job, after all, so you can multiply the tricks in your magic design bag to conjure up your next magnificently executed commission…so we can then turn it into our next smashing magazine story. You know, virtuous cycle and all. Yet we do our job so well, actually, that we don’t just scour all corners of the planet gathering award-winning projects but, most importantly, we also work from that much-coveted, genuinely soughtafter sector of this trade: commercial residential design. Apparently, everyone— and everyone’s mom—wants to be in it, too.And looking at the stories inside, gee whiz, I wonder why (snark!)?

Anyhoo, let me cut to the chase and do my Costco lady routine, offering some samples of what’s inside. Starting with all things “residential,” we go to NYC to scout a European-style art deco town house makeover by Greg Natale (with a showstopping Wassily Kandinsky–inspired wall mural!). Next stop is the Loire Valley in France to visit a jaw-dropping château restored top to bottom by Hall of Fame member Laura Bohn and her builder hubby, Richard Fiore—think 12thcentury meets modern, and everything high-low in-between. . .very Laura, and very chic! Representing “commercial residential,” we tour a 453-unit luxury residential building by Handel Architects and Mazzarini & Co with 20,000 square feet of amenities including coworking space, a coffee bar, and a penthouse sky lounge, all with biophilic motifs (the aluminum Vapor panels make you feel like you’re in a forest!). And we complete this mixed feast with a roundup of residential towers, from L.A. to São Paulo, with bells and whistles to make any of us dream of living there.

So, curl up in your comfies, wherever you may be, and get inspired by all the myriad ways we share residential life with you! xoxo

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headliners

Laura Bohn Design Associates “Queen of the Castle,” page 104 principal: Laura Bohn. firm site: Cellettes, France. firm size: One designer. current projects: A house in Guanajuato, Mexico. honors: Pratt Institute Distinguished Career Award; Roscoe Award. urban: Bohn studied interior design at Pratt Institute in Brooklyn, New York. rural: She and her husband are caretakers of six horses at their château in France’s Loire Valley. @laurabohndesign

“I create inviting, interesting interiors that reflect my passion for blend­ing materials and objects. My use of gray tones for backgrounds allow them to disappear, so the room, rather than its walls, is experienced” VLADIMIR WEINSTEIN

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H&S International

Mazzarini & Co. “Concrete Jungle,” page 132 principal, creative director: Dan Mazzarini. senior designer: Caroline Fields. firm site: New York. firm size: 15 architects and designers. current projects: The Tuxedo Club in Tuxedo Park, New York; Hotel Columbia in Telluride, Colorado; confidential branded residences in Crete, Greece. honors: Interior Design Best of Year Awards; NYCxDesign Awards. toes: Mazzarini recently took a tap-dancing class. tummy: Fields first explores new travel destinations via local restaurants instead of landmarks. mazzarinico.com

“Concrete Jungle,” page 132 founder, managing partner: Gary Handel, FAIA. associate principal: Krista Armstrong. firm hq : New York. firm size: 139 architects and designers worldwide. current projects: 808 Pavonia mixed-use residential community in Jersey City, New Jersey; the Geneva rental-apartment development in Washington; Santander Tower office building in Miami. honors: AIA Housing Award for Excellence in Affordable Housing; Terwilliger Center Award for Innovation in Attainable Housing; CTBUH Best Tall Building Award. clippings: Every day, Handel makes a collage from The New York Times. kids: A New York Cares volunteer, Armstrong especially enjoys helping with the children’s cooking classes. handelarchitects.com

“Family Values,” page 122 principal, owner:

Bing Hu, AIA.

firm site: Scottsdale, Arizona. firm size: Eight architects

and designers.

current projects: Custom pro­

jects at Discovery Land Com­ pany developments in Ne­ vada, Hawaii, and New York.

student: Beijing-born Hu is a graduate of the Frank Lloyd Wright School of Architecture in Scottsdale. master: He recently restored Wright apprentice Ling Po’s cottage on the grounds of Wright’s Arizona compound, Taliesin West. handsinternational.com

Rottet Studio

Pascali Semerdjian Arquitetos

Greg Natale

“Family Values,” page 124

“National Treasure,” page 142 partner: Domingos Pascali. partner: Sarkis Semerdjian. firm site: São Paulo. firm size: 13 architects and designers. current projects: Houses in São Paulo and Alagoas, Brazil; a hotel in Mato Grosso, Brazil. honors: Interior Design Best of Year Award; iF Award.

“Mise en Scène,” page 116 director: Greg Natale. firm site: Sydney. firm size: Eight architects and designers. current projects: Residences in Victoria and Mossman, Australia; a residential de­ vel­opment in Athens, Greece. honors: Vogue Living VL50 Award; Australian Good Design Award; Australian House & Garden Room of the Year Award.

founding principal, president: Lauren Rottet, FAIA, FIIDA. senior designer: Hannah Rae. firm hq: Houston. firm size: 75 architects and designers nationwide. current projects: Goldman Sachs campus in Dallas;

Rivage residential tower in Bal Harbour, Florida; Wynn Al Marjan Island resort in Ras Al Khaimah, United Arab Emirates. honors: Engineering News-Record Regional Best Projects Merit Award; Restaurant & Bar Design Award; Gold Nugget Merit Award. preschool: Rottet has two adored grandchildren: 3-year-old Lia and 10-month-old Isla. postgrad: Rae is currently pursuing an MBA at Rice University in Houston. rottetstudio.com

h e a d l i n e rs

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apart: There’s a 24-year age difference between Pascali and Semerdjian. aligned: They share a worldview that traces to their family roots, both raised amidst their parents’ artisanal work. psarquitetos.com

on screen: Natale’s interest in his current profession was ignited at age 10 by the sets of 1980’s TV show Dynasty. in class: He studied visual arts before pursuing interior design at Sydney’s TAFE NSW Design Centre Enmore. gregnatale.com

TOP, FROM LEFT: ADAM KANE MACCHIA; STEPHANIE METZGER; WILLIAM MOTCHAN; BOTTOM, FROM LEFT: DELISE WARD; ANDY PHAN; FERNANDO LASZLO; ANSON SMART

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AMEDEO BENESTANTE/© ANISH KAPOOR, ALL RIGHTS RESERVED, DACS-SIAE, 2023

From left: In Italy, the University of Naples Federico II campus entrance to the new Monte Sant’Angelo Subway Station by sculptor Anish Kapoor, in col­lab­ oration with Future Systems and AL_A, is composed of Corten panels, the form’s dimensions totaling 62 by 63 by 140 feet. Marking the station’s Traiano entrance is a sleek aluminum tube that descends belowground and measures 36 by 39 by 128 feet.

edited by Annie Block

While Anish Kapoor’s early, ethereal pigment sculptures are on view at the Jewish Museum in New York City through February 1, a substantial, more-lasting creation of his has bowed in Naples, Italy: Monte Sant’Angelo Subway Station. Although the artist has completed permanent public installations in other cities (Cloud Gate in Chicago, ArcelorMittal Orbit in London), this is his first transportation commission—and his first with a function.

It’s “a sculpture you enter,” Kapoor said in 2003, when he received the invitation from city officials, “I loathe making anything practical.”

Lucky for us and the hundreds of students, Rione Traiano residents, and visitors taking the train each day, that dislike didn’t stop him. Working with architecture studios Future Systems and AL_A, Monte Sant’Angelo has two entrances: one defined by a sunken, tubular aluminum form, the other, on the University of Naples Federico II campus, by a swelling aboveground ellipse in weathering steel that morphs into an inverted funnel. “The idea was to turn the tunnel inside out, like a sock,” adds Kapoor, who notes Mount Vesuvius and Dante’s mythical entrance to the Inferno as inspirations. He joins Karim Rashid, Álvaro Siza, and Benedetta Tagliabue, who are among those involved in a wider urban regeneration scheme called Stazioni dell’ Arte, bringing art, architecture, and archaeology to some 20 stops throughout the city.

urban legend

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paradise found For Richard England, the 88-year-old Maltese architect and Mediterranean modernism master, Le Corbusier’s oeuvre was an inspiration—evident in the soulful forms of his commissions like St. Andrew’s Chapel in Pembroke from the 1980’s. So it’s fitting that England’s first international retrospective, “Looking for Richard,” is at Gallery Kolektiv Cité Radieuse, inside the Unité d’Habitation de Marseille, Corbu’s 1952 French housing unit. The influence of Gio Ponti, for whom England worked in the early ’60’s, can also be seen in the 16 projects represented via large-format photographs and dozens of England’s original drawings—striking scenes in vibrant marker-felt pen—exhibiting pastel-tinted exterior stone and arched, rectangular, and square openings. “I’ve long ago realized that architecture is the least lasting of all the arts,” England, who recently delivered a lecture at Gallery Kolektiv, said in a 2023 interview, noting that several of his early designs have been changed or demolished due to real estate pressure propelled by offshore financial activities (the show is also a sort of call for Maltese architecture preservation). But many still stand, including the glorious Aquasun Lido pool from 1983—and are even recently completed, like the Santa Venera meditation garden and chapel for Dar il-Hanin Samaritan.

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CLOCKWISE FROM TOP LEFT: ROMAIN LAPRADE; COURTESY OF RICHARD ENGLAND (4); DANIEL CILIA

Clockwise from top left: Among the 16 projects represented in “Looking for Richard,” a retrospective of Maltese architect Richard England at Gallery Kolektiv Cité Radieuse in Marseille, France, through December 11, are photographs of Aquasun Lido, St. Andrew’s Chapel, a chapel for Dar il-Hanin Samaritan in Santa Venera, Ir-Razzett ta’ Sandrina residence in Mgarr, and a meditation garden for Dar ilHanin Samaritan in Santa Venera.

f ur n i t u re

lig h t in g

o utdo o r

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

a c c e sso r ie s

syste ms

kitchens

d e s i g n w ire

Emmanuel “Manny” Radnitzky was born in South Philadelphia and grew up in Williamsburg, Brooklyn, where he earned a scholarship to study architecture. These are perhaps lesser-known facts about the prolific 20th-century artist Man Ray, who lived much of his life in Paris. Another Easter egg may be that, although he was most famous for his surrealist photography, paintings, and films, Ray also made textiles.

For the first time in the U.S., and in conjunction with his retrospective at the Metropolitan Museum of Art, 10 of them are on display in “Man Ray: The Revolving Doors Tapestries,” at Boccara Gallery in New York. The origin of the series dates to 1916, when Ray produced colorful collages of cut construction paper that he assembled into rhythmic, art deco–influenced geometric shapes and displayed on interactive stands that viewers could rotate (like a revolving door). In 1973, three years before Ray’s death but under his direction, the Parisian weaving workshop Atelier 3 translated the collages into nearly 7-foottall tapestries. Along with giving his art newfound depth, tactility, and longevity, such woven works as Long Distance and Concrete Mixer capture Ray’s playful subversion and fascination with motion.

Clockwise from bottom: Among the 10 pieces appearing in “Man Ray: The Revolving Doors Tapestries,” through February 1 at New York’s Boccara Gallery, which specializes in modern and antique tapestries as well as collaborations that bridge fine art and craftsmanship, are The Meeting, Long Distance, and Legend, all 59 by 79 inches, translated in 1973 by Atelier 3 from paper collages Ray made in 1916, and handwoven of wool. Atelier 3 cofounders and weavers Frédérique Bachellerie and Péter Schönwald (and Michel Slaghenauffi not pictured) in Paris earlier this year with Ray’s Concrete Mixer tapestry.

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CLOCKWISE FROM BOTTOM: SIMON CHERRY (3); DIDIER MARIEN

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saturation point Jaime Hayón, Sabine Marcelis, Guillermo Santomá. They are among the luminaries who have been invited over the years to host workshops at Domaine de Boisbuchet, the architecture and design research center on 370 acres in southwest France begun in 1986 by Alexander von Vegesack, cofounding director of the Vitra Design Museum. Large-scale photographs of the installations that resulted from those workshops are now on show in “The Colours of Architecture,” at the Gewerbemuseum Winterthur in Switzerland, an expanded iteration of the exhibition that first appeared at the Domaine last year. They’re among the 90 images, 50 objects, and three videos that have been organized into eight sections, all underscoring the expressive role color has in the built environment, from prehistoric cave paintings to iconic 1950’s furniture to a 21st-century parking garage. The exhibit is particularly relevant, since, in times of upheaval, concepts and trends are in flux, influencing perception, atmosphere, and meaning, and reflects the shared interest between the two institutions in social and ecological issues, materials science, and the changing demands placed on designers over time.

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CLOCKWISE FROM LEFT: MICHO ROMERO, CIRECA/DOMAINE DE BOISBUCHET; RAPHAEL SALZEDO/ALAMY STOCK PHOTOS; SANTIAGO VEGA, CIRECA/DOMAINE DE BOISBUCHET; SUN, CIRECA/DOMAINE DE BOISBUCHET; HEMIS/ALAMY STOCK PHOTOS

Clockwise from left: Among the 90 photographs in “The Colours of Architecture,” at the Gewerbemuseum Winterthur in Switzerland through March 15, is one of the installation designer Sabine Marcelis created with students from her 2017 workshop Exploring Light at Domaine de Boisbuchet, its 100 feet of metallic foil temporarily suspended from the balcony of the research center’s 1864 château in Lessac, France. Also in the exhibit: a photograph of Le Corbusier’s Cité Frugès à Pessac 33, 1927; Mathieu Matégot’s 1954 Nagasaki chair and Charlotte Perriand’s 1952 Mexique bookcase, its colors a collaboration with Sonia Delaunay; a photograph of the upside-down tree house created by architect Guillermo Santomá and students from his 2018 workshop Interior Wildness; and a photograph of Parking Toumaï garage in Poitiers, France, by Antoine Grumbach Associés, 2008.

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Tom Kundig: Complete Houses

By Tom Kundig, edited by Dung Ngo New York and London: Monacelli, $100 600 pages, 970 color illustrations

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When Tom Kundig arrived as an undergrad at the University of Washington, before switching to environmental design, followed by a master’s of architecture, he was there to study geophysics.

It’s not all that surprising if you’re familiar with the Olson Kundig cofounder and Interior Design Hall of Famer’s work, which is imbued with a reverence for the natural world. Complete Houses, Kundig’s fifth monograph, focuses on his career as a solo practitioner, com­ piling the nearly 500 residential projects in his oeuvre to date.

Spotlighting 38 projects across five sections, each introduced through an interview with editor Dung Ngo and a gallery of sketches, many of the houses feature Kundig’s signature detail: hand cranks that operate massive doors or even entire walls that open to the outside, yet are easy enough to turn, thanks to careful counter­ balancing, that a child can do it. Another common element is remote, rugged sites, a preference informed by the architect’s lifelong love of mountaineering. One featured here is a steep, forested plot in rural Wash­ ington on which he built a house with a detached studio mounted on railroad tracks, which, when rolled away, gives the resident a chance to “commute” to the office, separating play and work.

Another project encapsulates Kundig’s dedication to building with, rather than against, the landscape, the aptly named treehouse in Costa Rica, its core structure and interior finishes made of teak harvested just feet from the site.

(Since teak trees are invasive to the country, cutting them down actually provides a benefit to the local ecology.)

The volume—the first of two, the later of which, due out in 2027, will focus on Kundig’s commercial and institutional projects—ends with a chronology of all his residential projects from 1986-2024, with more than 100 having been completed in the last two years of that timeline alone. Though this record is complete for now, Kundig shows no signs of slowing down.

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COURTESY OF COLONY

Tiles hand-painted with flying fish adorn Treasure Box, a 51-inch-wide mapleveneered cabinet from maker Youtian Duan and visual storyteller Yingxi Ji, the cofounders of Another.World studio, that’s meant to contain secrets and dreams. Through Colony. goodcolony.com

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Style, strength, and sustainability.

FLOORING + RUGS | WALL TEXTILES UPHOLSTERY | WINDOW COVERINGS

chilewichAD.com GROVE, Eucalyptus

The wavy Serpentine bench from Lucas Simões, a Brazilian artist known for architectural forms and material exploration, contrasts a soft, ochre-hued velvetupholstered cushion with a sine curve–like stainless-steel base extending nearly 8 feet. Through Ulysses de Santi. ulyssesdesanti.com

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ALESSANDRO GRUETZMACHER

p i n ups undulating

A LEAP ACROSS 30 YEARS OF DESIGN FROG PIERO LISSONI

Illustration: Leonie Bos

#FROG30TH

AREA MANAGER NORTH AMERICA SHAWN KELLY T. +1 917 291 0235 SHAWN.KELLY@LIVINGDIVANI.IT

s h o p talk In celebration of thoughtful details, what design moment from a recent residential project are you most proud of?

—Janie Hungerford, Hungerford Interior Design

“A recent project was all about showcasing music as a life­ style—not something relegated to a media room. At the bottom of the staircase is a piece by deconstruction artist John A. Peralta: Components of a 1908 Victrola phonograph that have been sus­ pended above a pedestal housing a recording of the original music spool. It’s an ideal counterpoint to the full-blown McIntosh sound system—the fascinating history of sound, all in one space.”

—Fern Santini

“I was particularly happy with the outcome of a seafoam-painted lattice in the foyer of a waterfront, shingle-style 1930’s bungalow on the North Fork of Long Island, New York. It took a lot of time to plan it out mathematically, figure out the details, and execute the vision. The result is an architecturally interesting room with a punch of color as soon as you enter the home.

The latticework travels up the stairs to the landing, which we turned into a small library. There, a hidden door pushes open into a kids’ bunk room—another fun detail that adds whimsy to a home full of personality.”

—Gideon Mendelson, Mendelson Group

“I’ve been thrilled to see our younger clientele embracing custom finishes. Not all houses come with architectural provenance and character; we often have to choose between settling for less or being more ambitious and creating it.

It makes me so happy to see clients gain a deeper appreciation for craftsmanship, investing in artisans to layer their interiors with special techniques like trompe l’oeil, lacquer, or intricate plaster moldings. These decorative elements can lift a room from mundane to ‘wow.’ The best part? They’re realizing this is not their granny’s traditionalism: Classic is cool, and timelessness is hip.”

—Corey Damen Jenkins, Corey Damen Jenkins & Associates

“We see kitchen hoods as an opportunity for creativity rather than as a purely functional element. We’ve designed playful custom enclosures, unique to each setting, that become sculptural centerpieces: faceted, curved, at times colorful or clad in unexpected materials like fluted glass or lacquered cast plaster. By transforming something ordinary into a crafted object, these hoods bring character to the home, making the daily ritual of cooking feel both elevated and delightfully personal.”

—Ksenia Kagner, Civilian 38

INTERIOR DESIGN NOV.25

TOP RIGHT: GABRIEL EVERETT; CENTER RIGHT: ANDREW FRASZ

“Curating a deeply personal collection of pieces for a client who was as invested in the story as in the style. Together, we sourced functional works of art from around the world—each with its own history, craftsmanship, and meaning. We explored ancient furniture-making techniques and visited artists in their studios, experiencing their processes firsthand. By move-in day, every element had become more than beautiful—it carried a memory, a conversation, a connection. That layer of emotional resonance turned the house into a true home.”

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Formafantasma’s Simone Farresin and Andrea Trimarchi infuse their multifarious projects with intellectual rigor and a sense of play

c r e at i v e voices

mind games FROM TOP: GREGORIO GONELLA; COURTESY OF FORMAFANTASMA; SAVERIO LOMBARDI VALLAURI

Simone Farresin and Andrea Trimarchi are among the most inquisitive and intellectually rigorous Italian designers working today. Everything that enters their orbit is meticulously examined, questioned, and then artfully reimagined for the benefit of both people and the planet. Born in Emilia-Romagna and Sicily, respectively, the two met as students at Florence’s Istituto Superiore per le Industrie Artistiche.

After earning master’s degrees at Design Academy Eindhoven in the Netherlands— where they led the GEO-Design department until 2023—they founded Formafantasma in 2009, their Milan-based studio distinguished by the curiosity, playfulness, and borderline obsession it brings to every project.

The studio’s name was inescapable during Milan Design Week 2025, from the Drafting Futures Arena, a dedicated discussion space at the Salone del Mobile, to a performance-based exhibition for Cassina at a theater in the city center.

Formafantasma’s ongoing collaborations with heritage Italian brands like Prada and Rubelli also extend far beyond product collections, unearthing and expressing the DNA of these historic companies.

A recent fascination with the re­ lationship between domesticity and modernity, and its legacy across contemporary systems and production, has also guided the firm’s commercial work for Artek and Vitra as well as collectible design for the gallery Friedman Benda. Through­ out the duo’s practice, however, they’re always careful to avoid clichés.

For example, Farresin and Trimarchi’s deep sense of care for the environment has driven painstaking technical research into easily repairable modular lighting and spurred imaginative literature aimed at educating the next generation on climate issues. Their approach eschews typical “corporate sustainability,” and instead aims to redefine the cultural structures that shape our economy and production.

We spoke to them recently about project highlights from the last year.

From top: Andrea Trimarchi (left) and Simone Farresin, life partners and cofounders of Milan-based studio Formafantasma, in the city’s Bagatti Valsecchi Museum. A mockup of their picture book, Down Under: The Curious Fall of a Boy Who Knows Nothing and Becomes Everything, published last summer by Nero Editions.

The Drafting Futures Arena, a carpet-covered seminar space at Milan’s Salone del Mobile, 2025.

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Jaque, and Feifei Zhou. At a certain point, we handed it over to director Fabio Cherstich to respond to our ideas. It was nerve-racking but beau­ tiful to let it go. The result was surpris­ ing in the best way—unpredictable, collaborative, alive.

something consistent, thoughtful, and genuinely engaging. It allows us to fo­ cus deeply on subjects we care about.

Cassina’s “Staging Modernity” was both peculiar and adventurous for us— intellectually stimulating and aligned with the brand’s objectives. On a smaller scale, we developed a chil­ dren’s publication, Down Under. It may not have had the same budget as the others, but it allowed us to explore our interests in a new and meaningful way.

How did the Down Under book take shape, and why is educating young people about environ­ mentalism important to you?

Andrea Trimarchi: We were looking to make something serious and re­ spectful, not patronizing. We all had those books as children that seemed boring at first but became fascinating later—that’s the feeling we sought.

True change requires rethinking today’s worldview, and education is where that begins. It’s meant to be transgenerational—something adults can learn from, too. It’s personal, even playful, with stories that reflect our own perspectives—and even include our dog!

“Staging Modernity” was an unusual theatrical presentation marking the 60th anniversary of Cassina producing works by Le Corbusier, Pierre Jeanneret, and Charlotte Perriand. How did you conceptualize it?

SF: We believe the past should always be viewed critically, which doesn’t mean dismissively. The work of Perriand and Corbusier is incredible, but it’s still a product of its time. It’s interesting to reinterpret that through contempo­ rary lenses—ecological, cultural, and philosophical. During Milan Design Week, we feel a responsibility to honor the spaces we occupy. That led to a performance in a theater instead of a conventional installation. The format let us explore the relationship between bodies and chairs—not literally, but as a way to deconstruct icons of modern­ ism. We involved thinkers and writers we admire: Emanuele Coccia, Andrés

Tell us about your “Formation” exhibition of furniture and lighting with Friedman Benda gallery in New York.

AT: Marc Benda asked us to think about “archetypes,” so we looked at laptops to inform lighting proportions, and the “plank” as a timeless con­ struction element. More importantly, we asked what it means to design for a gallery today. We didn’t want to make amorphous, overly expressive “gallery pieces”—the kind of blobby forms that have become clichés. In­ stead, we aimed for something rigor­ ous, thoughtful, and expressive in a quieter way. You don’t need a strange form to make something meaningful.

CLOCKWISE FROM TOP LEFT: BERNHARD STRAUSS; OMAR SARTOR; COURTESY OF FORMAFANTASMA (2); COURTESY OF FLOS; MARCO CAPPELLETTI

c r e at i v e voices

Which have been particularly exciting projects for you over the past year?

Simone Farresin: The ongoing “Prada Frames” talks series has become something we truly enjoy. It’s rare to work with a brand where you can do

Opposite, clockwise from top left: “The Shakers: A World in the Making,” an exhibition this summer at the Vitra Design Museum in Weil am Rhein, Germany.

Marking Cassina’s 60th anniversary producing Le Corbusier, Pierre Jeanneret, and Charlotte Periand furniture, “Staging Modernity,” a performance and installation at Teatro Lirico Giorgio Gaber during Milan Design Week 2025. A spread from Down Under featuring petrography by Roland Dreesen. Another spread with an illustration by Clément Vuillier. A table lamp from SuperWire, a collection of consumerreplaceable LED-strip fixtures for Flos. A cherrywood and acrylic chandelier from “Formation,” an exhibition of limited-edition furniture and lighting in collaboration with New York gallery Friedman Benda.

This page: At “Staging Modernity,” images of the natural world in dialogue with iconic pieces reflecting Corbusier’s “machines for living” dictum. Insets, from left: A performer dressed in Jil Sander costuming. Animal model figures populating the display platforms.

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You’ve been working extensively with Flos lighting. What’s your latest collaboration?

SF: SuperWire, one of the industrial projects we’re most proud of. It took four years to develop. The most in­ novative aspect is that users can repair or replace the LEDs themselves— something rare in contemporary lighting. The technology is unique, using elongated light sources instead of standard strips, and the design

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evolved naturally from that. The objects have a slightly architectural look, with many visible screws, which we like because they feel both forward-looking and familiar. It’s about transparency and circularity.

What themes or ideas do you want to explore next?

AT: We’re increasingly interested in influencing production systems rather than just designing products. We’re still fascinated by modernity—maybe even obsessed—and how its values continue to shape our thinking. We want to keep exploring what modernism erased, especially in relation to domesticity. And internally, we’re rethinking how our studio operates, making space for self-initiated research so it doesn’t get overshadowed by com­ mercial work. Finding that balance is our next big goal.

—Dan Howarth

Clockwise from top left: From the Teorema fabric collection for Rubelli, Kyoto acrylic/cotton/silk drapery and Sherlock wool/cotton/viscose upholstery. The col­ lection’s Sharky polyester/nylon drapery and Scratch viscose/cotton upholstery. The Spine, a wall-mounted bookshelf in natural ash for Cassina. Sophie polyester Jacquard in background and Frank polyestervelvet upholstery for Rubelli. The SuperWire installation at the Flos showroom in Milan. Incorporating cherry, aluminum, acrylic, and linoleum, the table lamp from “Formation.” The SuperWire floor lamp, a tribute to Achille and Pier Giacomo Castiglioni’s classic 1954 Luminator. For Rubelli, Martora polyester velvet on the chair, with Zigzag embroidered cotton/polyester/acrylic in background.

CLOCKWISE FROM TOP LEFT: CLAUDIA ZALLA (2); LUCA MERLI; CLAUDIA ZALLA; GIANLUCA BELLOMO; MARCO CAPPELLETTI (2); CLAUDIA ZALLA

What was your approach for “The Shakers: A World in the Making” at Germany’s Vitra Design Museum this summer?

SF: We’ve always loved the Shakers, but this project let us go beyond the iconic furniture to consider its inherently female-oriented origins.

We were drawn to the idea of textile labor—the everyday work of ironing, folding, and caring for linens. That became the basis for the exhibition: using modules derived from table­ cloths and bed linens in simple gestures, such as hanging cloth on string to define space. We wanted it to feel deconstructed, almost like a toolkit that could be folded away, rather than a heavily designed installation.

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walk through

friend zone firm: forma site: hillsdale, new york

Planks of 6-inch-wide Western red cedar, slate-stained and natural, compose the three-bedroom home’s siding and deck floor, paneling, and ceiling, respectively.

DEVON BANKS

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friends—so flexibility was paramount.

The footprint of the resulting three-floor volume is a mere 27 by 27 feet, the interiors a tidy 1,500 square feet. Even in that wee size, Forma has packed in three bedroom suites, one on each level for maximum privacy, as well as a cedar-lined covered deck and an open-plan living-dining-kitchen area, the latter on the second floor for elevated vantage points of the surrounding Berkshires.

The apertures through which those views are seen signal this is not a typical upstate retreat.

Tectonically, the house is like a dog sitting: its haunches grounded in the back, with two upright legs supporting the front. “The angles were calibrated to align with the diagonal porch openings, i.e. the ‘legs,’ which then also needed to work on the inside,” Brooks says of the outdoor-indoor relationship.

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Architects Miroslava Brooks and Daniel Markiewicz were committed to the bit. The two friends and business partners— cofounders of the firm Forma— were smitten with New York’s Hudson Valley after bidding on a local project in the area. So much so that they decided to build a getaway there from their then primary residences in Stamford, Connecticut, and Brooklyn, respectively—a “clean slate,” as Brooks puts it, where they could test their architectural ideas. But first, there were boxes to tick: a sizable property, views, and proximity to the city.

More than 50 plot visits later, they found it. Markiewicz, the scout that day, made a video for Brooks from the 9-acre expanse in Hillsdale. “It was like a painting,” she recalls. The home they’d planned would be shared—a place for them to visit solo or with their partners or

Clockwise from opposite top: On the second floor, the living area centers on a fireplace and cast-iron wood stove enveloped by glazed ceramic tile; furnishings are inherited vintage. Three stories tall but efficient, the cubic structure contains 1,500 square feet. Hay’s 32-inch-diameter Rice Paper Shade pendant fixture hangs in the adjoining kitchen, where most cabinetry is oak and counters are quartz composite. Paneling in both spaces is birch plywood.

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Clockwise from top left: The 27foot-square footprint intentionally treads lightly on the 9-acre plot.

There’s a bathroom on each floor, including this ground-level one that’s partially wrapped in largeformat terrazzo tile, featuring a Dioscuri sconce by Michele De Lucchi. Flooring in the main bed­ room and throughout is white-oak planks. The unusual aperture shapes help break up the height of the house while affording pan­ oramic vistas of the Berkshire and Catskill Mountains.

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The polygonal windows mirror the diagonal thrust of those legs. “We like to think it has an animated quality,” Markiewicz notes, like the exhaust hood that swoops in, action-hero style, above a slanted window cut and the fireplace mantel that resembles a Transformers toy.

Furnishings tell a different story: Chairs by Marcel Breuer and Arne Jacobsen

came from Markiewicz’s grandmother.

Five years in the making, the project received its finishing touches last spring.

Now, though, there are a few more residents to factor in: Brooks and Markiewicz both had children during the process. But if ever there were a home where the more’s the merrier, they’ve built it.

—Lila Allen

FROM FRONT MORSØ JERNSTØBERI: STOVE (LIVING AREA). DALTILE: FIREPLACE TILE (LIVING AREA), UPPER WALL TILE (BATHROOM). COSENTINO GLOBAL: COUNTERTOPS (KITCHEN). DURA SUPREME CABINETRY: CABINETRY. DESIGN

COLLECTIONS: SINK. ARTEMIDE: SCONCE. THROUGHOUT STUGA: FLOOR PLANKS. ANDERSEN CORPORATION: CUSTOM WINDOWS. COLUMBIA FOREST PRODUCTS: BIRCH-PLY PANELING. SHERWIN-WILLIAMS COMPANY: PAINT.

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in harmony Pavilions flanking patios, glass walls giving way to gardens, verandas amid treetops—homes in Europe and Asia fully synchronize with the natural world

MATEJ HAKÁR

See page 60 for this four-bedroom ranch by Paulíny Hovorka Architects that’s set within and takes full advantage of a lush valley in Banka, Slovakia.

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Twobo Arquitectura

site Empordà, Spain.

JOSÉ HEVIA

square feet 3,200. standout Although located along the Costa Brava, north of Barcelona, this villa hints at the Case Study houses of Los Angeles, as the client couple spent time working in California and appreciated Richard Neutra’s experimental vision of modern living. But the series of three pavilions and corresponding courtyards, each set devoted to socializing, sleeping, or contemplation, nods to a nearby influence, too: Catalonia’s ancient Empúries, its ruins now a collection of vestiges and voids. The décor skews local as well; ceramic latticework and tile are by Ceràmica Ferrés, its workshop a few miles away. Passive energy solutions—natural cross ventilation, insulating walls, gray water tanks, solar arrays—are similarly thoughtful. two-bo.com

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JOSÉ HEVIA

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Paulíny Hovorka Architects site Banka, Slovakia. square feet 2,600. standout Thanks to an ingenious Y-shape plan, this single-story family home simultaneously separates public and private areas while fully connecting with and maintaining the mature landscape; in fact, preserving every existing tree was part of the brief, which was achieved by having the three wings extend outward at 120degree angles, accommodating all plant life and dividing the ½-acre plot into smaller garden segments. Then, windows with ultra-slim frames that retract into pockets and large glazed walls that slide open to a covered terrace merge inside and out, as does the natural material palette, comprising exposed concrete, engineered oak, and thermally modified pine. pha.sk

MATEJ HAKÁR

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Dining, designed.

The designer’s source for furniture, lighting and decor.

Lumens.com

Iroje Khm Architects

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square feet 4,000. standout One could assume the interiors of this four-bedroom home capped by a traditional numaru, or gazebo, roofline to be dark—just two small windows punctuate its exposedconcrete facade. But, courtesy of a nearly fully glazed opposite elevation and a two-story inner madang (courtyard), it is the epitome of light and bright and affords unobstructed water views. The catwalk leads to the main entrance and public spaces on the second floor, its fluid living-diningkitchen area furnished with Eero Saarinen Tulip chairs and table.

Hovering above like a cloud—the project is called ho-un, Korean for cloud on the lake—is the family room, contained in a vinyl-finished volume. irojekhm.com 62

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SERGIO PIRRONE

site Jeonju, South Korea.

Introducing Drift, a sculptural acoustic wall panel featuring dramatic folds and bends.

Crafted with pure wool felt, Drift is one of four new captivating designs available in over ninety colors.

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Noke Architects site Pasym, Poland.

PIOTR MACIASZEK

square feet 1,240. standout Farmhouse, but make it modern. That could be the slogan for the rustic yet refined two-bedroom cottage nestled in the postcard-perfect Masurian region, part of a 6½-acre residential development also planned

by Noke. Utilizing prefabricated-timber technology, traditional elements like stable, cowshed, and barn were reimagined as interconnected, cohesive volumes with contemporary flair. Glazed corridors, expansive windows, and upper-level verandas immerse the home in the landscape, while interiors, collaborated on with Paulina Cziba, feature Polish linen curtains on rods forged by a local blacksmith, custom oak furniture, and pieces by such area designers as Maja Ganszyniec, Malwina Konopacka, and Ola Niepsuj, further tying project to site. nokearchitects.com

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INTRODUCING

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Minarc site Kópavogur, Iceland.

GUNNAR SVERRISSON

square feet 4,000. standout With its snow-white upper facade of StoVentec engineered rainscreen cladding, this energy-efficient, four-bedroom home is like a Tetris-inspired igloo. But its tinted cement base is dark like lava. That’s because the firm founders, native Icelanders now based in Santa Monica, drew from their country’s elemental palette when conceiving the exterior. The same goes for the interiors, where such woods as oak and maple recall the region’s golden summer sun and floorto-ceiling expanses of glass frame picturesque vistas of the verdant surrounding landscape— particularly visible when perched on the second-floor living area’s custom Dropi chair, its sling in pine-green Sunbrella. minarc.com —Annie Block

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An exclusive collection of high-performance upholstery, designed to stand up to everyday life.

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IN PARTNERSHIP WITH MARVIN

DELUXBURY SEA FARM: FLOATING A FRESH IDEA In waterside Duxbury, Massachusetts, a barn-style property for oyster farmers blends historic and modern elements

IN PARTNERSHIP WITH MARVIN

For a couple of oyster farmers in Duxbury, a historic Massachusetts town located near where the Mayflower landed, the expansion of their 1729 New England Cape– style home required a delicate touch. Homeowners Anna and Mark Priester found their ideal partner in Mark’s former elementary-school classmate, Jessica Williams, founder of local firm Sail Architects. She and her team envisioned keeping the building’s traditional clapboard front and cedar roof while expanding the downwardsloping back into a contemporary, two-story boat storage space, workshop, and oyster-processing facility, with living quarters for visiting friends and family above. Williams humorously dubbed the idea “mullet” architecture: traditional in the front and modern in the back.

Marvin provided the glazing, its Elevate line with natural wood interiors and proprietary fiberglass exteriors, which are paintable, were used throughout. Double-hung variants with muntin bars were specified in the traditional barnstyle section up front, while larger picture windows flood the mostly subterranean back work areas with daylight.

At the Marvin Brand Experience Center—located at 7 Tide, Boston’s innovative home design showroom—expert guides brought the actual size of the window up on the wall. “We could stand next to the window at the exact height it would be in our room and really get a feeling of what it would be like,” recalls Mark. “In deep winter, to be in our oyster shop or boat workshop and have all that natural light coming in is really, really beautiful.”

collection DÉCORS & PANORAMIQUES pattern SUNDARA

studio tashtego “Woodworkers of the Hudson Valley,” a superlative exhibition on view at Studio Tashtego gallery in Cold Spring through December 7, explores the malleable medium through the lens of upstate New York makers.

Alongside chairs, lamps, and vessels from the likes of Jonah Meyer, Kentaro Takashina, and Nadia Yaron is a series by Zach Hadlock: Hypothetical Example, small objects made on the lathe without a defined plan. The Platform founder determines the form as he goes, crafting pieces that take the shape of spinning tops, donuts, or balusters in species like bleached spalted maple and rosewood. “I don’t set out to make a spool or a lemon; I set out with curiosity,” he says. “The process is a type of play that is intuitive, impulsive, and indulgent—like free-association drawings or taking a walk with nowhere to go and finding a new place.” studiotashtego.com

HYPOTHETICAL EXAMPLE

Specify the next wave of U.S.-based talent IDX251201_INTERVENTION

market edited by Rebecca Thienes text by Lisa Di Venuta, Georgina McWhirter, and Stephen Treffinger

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Jackson Schwartz of Hennepin Made

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Louis Venturelli of Louis Venturelli

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product Emerson. standout Named for the American Transcendentalist philosopher/poet Ralph Waldo Emerson, this wet-rated Minneapolis-made sconce in cast Swedish glass (and various metal finishes) is a study in suspended motion. hennepinmade.com 72

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product The Painted Chair. standout The Brooklyn-based painter three-dimensionalizes his abstract language by way of a solid-maple chair, crafted with fourth-generation New York builder Mark Jupiter, that’s finished in blue lacquer. louisventurelli.com

Tania Leipold of Laine + Alliage

Johannes Pauwen and Michaele Simmering of Kalon

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product Archipelago. standout Gypsum dunes and cacti were among the Brooklyn-based French designer’s muses for a grasscloth wallcovering whose colorblocked forms, digitally printed in Connecticut, are based on her own paintings. laine-and-alliage.com

product Elemental. standout Informed by American modernist design, the Los Angeles studio’s floating side table of sustainably harvested Douglas fir and brushed aluminum celebrates tailored proportions and material restraint. kalonstudios.com

PORTRAIT 1: RYAN LODERMEIER; PRODUCT 2: JOE KRAMM; PORTRAIT 2: SAM PICKART; PRODUCT 3: COURTESY OF LAINE + ALLIAGE; PORTRAIT 4: KATRINA DICKSON

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m a r k e t s c a p e made in america

PORTRAIT 5: CHELSIE STARLEY; PORTRAIT 6: MOLLY HAAS; PORTRAIT 7: BEN EDWARDS; PORTRAIT 8: CYDNEY COSETTE

Jacob and Chelsie Starley of Astraeus Clarke

Emma Gardner of Emma Gardner Design

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product Vesper. standout Crafted in the brand founders’ New York workshop, this solid-mahogany dining table— cloaked in clear or colored gloss lacquer and punctuated with lathedsteel joinery—conjures old Hollywood glamour. astraeusclarke.com

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product Scatter. standout Play, a hand-knotted rug collection that tweaks classic genres like plaids and florals, posits a self-posed question, “What can be more American than reinvention?” emmagardnerdesign.com

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Justin Nelson of Fernweh Woodworking

Annie Downing of Annie Downing Interiors

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product Oxbend Windsor. standout The Bend, Oregon, studio founder’s experimentations with steam-bent greenwood (i.e. not kilndried) resulted in a shapely dining chair, with optional leather seat pad and backrest, that doubles as a valet stand. fernwehwoodworking.com

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product Micro Lotus. standout As a kid, the interior designer spent holidays painting alongside her grandmother at their Texas ranch; now, she launches her first wallpaper col­lec­ tion, featuring dainty details rendered in fibrous nonwoven paper or grass cloth. shop.anniedowning.com NOV.25

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“Furniture pieces celebrate the relaxed, sophisticated vibe of Southern California”

croft house BLAKE

Pieces from this Los Angeles furniture brand, founded in 2010 by Riley Rea and Alex Segal, exhibit a chill, chic Cali vibe. New introductions, all handmade, draw inspiration from the weathered landscapes and stones and woods native to the West Coast, combined in ways that highlight each element. A hard-wax oil finish enhances the swirling grain of the Anza bench’s elm-burl frame, topped in a slim leather pad. A subtle geometric pattern clads the padded headboard of Blake, a low platform bed. Lucia cocktail tables and bar and counter stools have slender steel legs with bobble feet and walnut, leather, or marble tops. And the wide fluting on the Zuma collection of oak or walnut consoles and tables was inspired by the curves of Frank Lloyd Wright architecture and the undulating waves of the Pacific Ocean beating against the shore. crofthouse.com

ANZA

ZUMA RILEY REA, ALEX SEGAL

LUCIA

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Ariel Seating Collection by Mario Ferrarini Now available as fully upholstered

“After years of making one-off works, we wanted to create a company that could scale; something built in the U.S. that incorporates the sculptural language of our studio”

sun set New York design practice Wentrcek Zebulon typically shows its one-of-a-kind avant-garde furnishings in highbrow galleries. Now, the studio sets its sights on larger-scale production with the launch of Sun Set, a new outdoor seating company that manufactures its wares domestically. The brand’s debut product, Lounge 500, is made in Pennsylvania and Ohio using closed-mold fiberglass fabrication. The chair’s blocky spaceage curves recall the bucket seat of a 1950’s car, with a leather-look seat and back pads of marinegrade UltraFabrics upholstery that secure by way of magnets. The six nostalgic hues on offer, from minty pea-soup green to brown-black, are made via a process used in automotive manufacturing that embeds a tinted gel coat into the resin itself, producing a glossy and UV-stable surface that won’t fade, peel, or crack over time. sun-set.us

LOUNGE 500

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m a r k e t made in america

RETRO REWIRED The Forma Collection reinvents vintage verve with sleek lines, joyful palettes, and unapologetic flair.

Y E L LO W G OAT D E S I G N . C O M / I D

m a r k e t made in america

“The collection was born out of a desire to recast the archive of a 130-year-old textile house in a new light— and for a new audience”

PALAZZO

backdrop and schumacher

HORSES, TANBARK, EDITH NATALIE EBEL

“It was like vintage shopping of the best kind,” Backdrop creative director Natalie Ebel says of diving into the treasure-trove archive of sister brand Schumacher. For the resulting Archive collection, Ebel hand-selected a range of the textile house’s patterns from the last century, reinterpreting them through her own playful and witty lens. There’s Edith: a surrealist take on classical and neoclassical objects featuring cameos of lyre-playing cherubs and shells within a lattice frame; equestrian Tanbark, a reinterpretation of a toile from 1957; Horses, also from the 1950’s, now re-tailored for today with a clever combination of architectural and equine elements; and Palazzo, a four-panel mural based on a 17thcentury drawing of a grand atrium. Fanciful and ornate, the designs are digitally printed in Brooklyn, New York, on textural, nonwoven paper using a Greenguard Gold–certified process. backdrophome.com, schumacher.com

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Excellence, Made to Measure

FOUR SEASONS HOTEL Madrid

Every piece, handcrafted in our atelier in Valencia, Spain www.mjmorell.com

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proyectos@mjmorell.com

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+34 696 947 748

“Gantri Made is a radically simple on-demand production process with no minimums for launching lighting designs within weeks”

RAE, LUNA, BEAM GIO LITTLE DOT

gantri

market made in america

Lead times, schmead times! The San Francisco–based lighting company introduces Gantri Made, a product-development and digital-manufacturing platform that offers a fast, simplified, cost-efficient, and sustainable pro­ cess for brands to develop and scale their own products—all made in San Leandro, California. The company’s own lighting designs are crafted from its proprietary biodegradable Plant Polymers, which are derived from non-GMO sugarcane. That same material, which can be translucent or sanded and painted, is also available to Gantri Made users and manufacturers. Haworth recently produced lamps on the platform, collaborating with Ammunition on 1970’s-esque Gio and with Prowl on Rae, Luna, and Beam, a trio of 3D-printed lamps that boasts softly curved silhouettes and a refined, sculptural look. Collectible furniture upstart Rarify’s Cube One houses a Gantri-made lighting unit in a frame made from vintage and new USM Haller components. And L.A. manufacturer RAD leveraged the platform’s flexibility for Little Dot, inspired by the gridded per­ forations of Jean Prouvé building facades. gantri.com, rarify.co, radfurniture.com, haworth.com CUBE ONE

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Expormim —— (212) 204-8572 usa@expormim.com www.expormim.com

Cask Outdoor. Armchair. Norm Architects —— Photographer: Meritxell Arjalaguer ©

“The pendant intertwines my signature hand-sanded curves and the ephemeral nature of the 100-year-old space it was originally designed to inhabit” m a r k e t made in america

BRIELLE ROVITO DF BODEGA

dust + form The name of Brielle Rovito’s art/design studio reflects her “dirty, physical” process, creating molds and forms in glass and clay that she scrapes at and refines until she is satisfied with the result. Such labor fuels the DF Bodega fixture, which is equal parts sculpture and lighting. Creating the milk-white porcelain pendant, its smooth, slip-cast curves sanded to a velvety finish, “challenged and allowed me to collaborate with some incredible craftspeople here in Vermont,” says Rovito, who's based in the Green Mountain State. The handmade piece was commissioned by creative director and stylist Liz Gardner to illuminate the century-old Minneapolis building she rehabbed into her livework-salon space, Maison Bodega, where it’s also being sold in an artist's edition of 10—thoughtfully provided to the customer with cotton gloves for installation and a goat-hair dust brush for cleaning. maisonbodega.com, dustandform.com

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HAND CAST BRONZE HARDWARE | 12 FINISH OPTIONS ROCKYMOUNTAINHARDWARE.COM 208.788.2013

marketscape made in america

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Alex Mutter-Rottmayer and Austin Carrier of Haus of Hommeboys

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product Bishop. standout The debut line of the Sonoma, California, atelier includes three ottomans in different sizes made from solid wood and COM upholstery that all feature a sculp­ tural block-and-ball base motif. hausofhommeboys.com 84

Hanneke Lourens of Hanneke Lourens

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product Barred. standout Handmade in her home state of California, the South African–born furniture designer’s 18-inch side table has a Brutalist feel, with stainless-steel bars connecting chunky oil-finished black-ash legs. hannekelourens.com

Marc Ange for 11 Ravens

Phantila Phataraprasit and Jess Fügler of Sabai

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product Colosso. standout Crafted in California, the French-Italian artist/designer’s stone-legged billiards table— offered in 60 colors of Kvadrat upholstery—takes cues (pun intended) from his own surrealist sculptures. 11ravens.com

product Bacana. standout Fabricated in High Point, North Carolina, this loveseat is made for chillin’, with a frame of wide-plank FSC-certified maple (sourced from Appalachian forests) and comfy latex cushions dressed in recycled velvet. sabai.design

PORTRAIT 1: ANNAMAE BAFFIA; PRODUCT 2: HUBBARD M. JONES

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DUNE PLANTER

by Monica Armani

m a r k e t bath/spa

market DOUBLE SHAI

SHAYD

VIRGINIA SIN

made in america

“Inspired by the Japanese art of origami, each piece is shaped from a single sheet of clay”

sin New York designer Virginia Sin, who works out of a studio in the Brooklyn Navy Yard, unveils Gami, a collection of lighting fixtures inspired by the delicate folds of origami. Rather than make the shades out of paper, however, Sin translates these ethereal forms into something more substantial and enduring: clay. Each piece is crafted from sand-speckled stoneware, air-dried and then double-fired—a process that required extensive experimentation to perfect. “By grounding these paper-inspired shapes in ceramic, the pieces move beyond their muse, becoming luminous objects that invite curiosity, warmth, and a touch of poetry,” Sin explains. The series spans table lamps, flush-mounts, and sconces like the Double Shai, and comes full circle with the Shayd pendant, which features a French parchment-paper shade that returns to the collection’s original origami inspiration. virginiasin.com

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Scan to explore the collection

IMAGINE COLLECTION | LEADING EDGE Innovative flooring designs wherever life takes you.

RESIDENTIAL / COMMERCIAL / HOSPITALITY

market made in america

C BACK

“A suite of seating options celebrates the enduring spirit of animal prints” TRIANGLE ARC

cuff studio Lions and tigers and bears, oh my! Animal prints are always in fashion, a foolproof way to bring energy and texture to any interior scheme. (Hard to believe they were once considered totally daring.)

The L.A.-based studio cofounded by Kristi Bender and Wendy Schwartz mines such exotic motifs in the trade-exclusive Wild Things collection, handmade in California. The Arc chair, inspired by swooping architecture, is fully upholstered in leopard-print velvet for playful contrast. Barrel-backed and low-profile, the C Back chair flaunts a frame covered in almond-colored leather and Scalamandré Tigre silk cushions. The three-legged Triangle stool, with its hand-forged iron frame and cheetah-print hair-on-hide topper, has a secret: a silk tassel dangling from the seat’s underside (like a tiny tail, perhaps?).

Finally, there’s the cheetah Rippling Bunching stool, inspired by Jean Royère, with iron ball-foot details.

For something a little less animalistic, try Tulip, an oak counter-height stool with an eye-catching wavy back swathed in chartreuse velvet. cuffstudio.com TULIP RIPPLING BUNCHING

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VANITY & MIRROR

CREATING BEAUTIFUL BATHROOMS MADE IN THE USA CUSTOM PROJECTS WELCOME

FL UTTI i n s a g e g re e n & m a tte b l a c k

FAUCET

C I G NO i n m a tte b l a c k

TOWEL BAR

G UL I A i n m a tte b l a c k

LACAVA .com

“The line feels handwoven and bespoke, soft and livable, serving both interior and exterior needs”

block shop textiles and sunbrella Los Angeles textile studio Block Shop, founded by sisters Hopie Stockman Hill and Grier Stockman, collaborates with Sunbrella on a collection woven in the latter’s Anderson, South Carolina, facility.

The range, Block Shop’s first line of performance fabrics, brings the sisters’ hand-printed aesthetic to indoor/outdoor acrylic textiles that offer cleanability, durability, and resistance to mildew, mold, and color fading. The collection, Hollyhock, is named for—and informed by—the 1919 Frank Lloyd Wright house in Los Angeles that’s replete with blocky geometries and floral motifs. Those contrasting patterns are translated into 12 fresh designs, including Jetty’s wavelike repeat; Key’s checkered riff on a Greek Key motif; wiggly Verdugo, after the mountain range; and Lollipop, an homage to Wayne Thiebaud’s paintings of the candy. blockshoptextiles.com, sunbrella.com

m a r k e t made in america VERDUGO

HOPIE STOCKMAN HILL, GRIER STOCKMAN

JETTY

TOP LEFT, BOTTOM RIGHT: OLLIE TOMLINSON (2)

KEY

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product Tybee. standout Unveiled at High Point Market, the Charleston, South Carolina–based designer’s debut collection for the brand includes a 30-inch-tall table lamp with an undulating ceramic base and outsized linen shade. hvlgroup.com 92

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Jou-Yie Chou, Ruben Caldwell, and Leigh Salem for Idaho Wood

Stefanie Brechbuehler, Robert Highsmith, and Ryan Mahoney of Workstead

Luke Kelly of Luke Lamp Co.

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product 448 Series. standout From the Post Company partners’ Ravine series (named after Brooklyn’s only forest), a houselike lamp sports a base and pyramidal top carved from single pieces of oiled or charred Douglas fir or western red cedar. idahowood.com

product Essex. standout The former police officer sold minimalist luminaires on Etsy before opening a lighting showroom in New York’s NoLita, where these dimmable satin-brass pendants— with flexible diffused LED rope— debuted. lukelampco.com

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product Lantern. standout The New York– and Charleston, South Carolina–based studio’s pendant radiates glamour courtesy of its Dupioni raw silk wrapping with hand-finished tassel, fabricated at a family-run workshop in the Blue Ridge Mountains of Virginia. workstead.com

PORTRAIT 2: SACHA MARIC; PORTRAIT 3: AMIR HAMJA

Cortney Bishop for Hudson Valley Lighting

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EXPLORE THE COLLECTION

ONE-STOP SHOP FOR EVERYTHING YOU NEED SERVING 37 REGIONS NATIONWIDE

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homegrown delights Stellar bathroom products exempt from tariff chaos and shipping delays 1. Papel Pintado’s Palm of My Hand in Head Line available on Type II smART vinyl or Type II nonvinyl equivalent, printed in Brooklyn, New York, by Parete. paretewalls.com 2. Delgada zero-threshold mineral-composite shower base made in Sugar Hill, Georgia, by MTI. mtibaths.com 3. Loft deck-mount three-hole gooseneck bath sets in new Smoked Lilac, Dark Cedar, and Buttercup power-coat colors, made in Brooklyn, New York,

by Watermark Designs. watermark-designs.com

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4. Cirque art grade–bronze towel ring with white bronze light finish made in Idaho by Rocky Mountain Hardware. rockymountainhardware.com 5. Anson freestanding tub with hydrotherapy features, fabricated of HydroLuxe solid surface material in Valencia, California, by Hydro Systems.

hydrosystem.com 6. Andy Fleishman’s Pillowed Leather concrete wall tiles handcrafted in Durham, North Carolina, for Ann Sacks. annsacks.com 7. Tigers Eye studio glaze on ceramic tiles handmade in Aromas, California,

by Fireclay Tile. fireclaytile.com 8. Newterra CT055 concrete vessel sink in Galaxy, made in Chicago by Lacava. lacava.com 9. Select rectangular knurled appliance pulls for glass shower doors with

back-to-back mounting and satin-copper finish, assembled in California,

by Emtek. emtek.com 94

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“Our concept reflected on the transient nature of the commission, which appeared to us as a capsule of memory and time, of permanence and impermanence”

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Awarded the Serpentine Pavilion commission in London, architect Marina Tabassum conceived a luminous structure that embodied her firm’s focus on climate and equality, temporary and long-lasting

FROM TOP: MARINA TABASSUM ARCHITECTS; STAGE ONE CREATIVES SERVICES/COURTESY OF SERPENTINE AND MARINA TABASSUM ARCHITECTS (5)

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designers, engineers, and technical advisors led by Marina Tabassum

102 FEET LONG

1. In the early stages of designing A Capsule in Time, the 2025 Serpentine Pavilion temporary installation last summer on the grounds of London’s Serpentine Galleries, Marina Tabassum Architects founder Marina Tabassum hand-sketched ideas for an elongated, seg­ mented structure built around a semi-mature tree and inspired by cloth-and-bamboo Shamiyana, open-air tents erected for wed­dings in Bangladesh, Tabassum’s native country, that are both reusable and rooted to place. 2. Her concept came to life with technical sup­ port from AECOM and manufacturing expertise by Stage One Creative Services, which fabricated custom steel frames for the pav­ilion’s vaulted roof in its Tockwith facility. 3. The steel framed glulam ribs that were later fitted with hundreds of polycarbonate panels covered with translucent film in golden coffee and tea shades. 4. and 5. After a temporary foundation was built on-site, the team in­stalled the glulam ribs that would form the pavilion’s four sections. 6. One section was kinetic, positioned on a concealed track so it could slide and be open to the elements, like a Shamiyana.

600 polycarbonate panels

5 COLORS OF FILM

ONE

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c e n t e r fold 1. Bisecting MTA’s A Capsule in Time was a court­ yard with the 27-foot gingko, which was chosen for its climate-change tolerance and, during the June 6 to October 26 run, how its leaves shift from green to a panel-complementary yellow and has been replanted in Kensington Gardens. 2. The 2025 installation was especially meaningful as it kick­ started the 25th anniversary of the com­mission, which initially launched with a structure by the late Dame Zaha Hadid and continues her ethos of pushing the boundaries of architecture—some­ thing Tabassum, whose work strives to im­prove living conditions for the marginalized, land­ing her on Time magazine’s 100 Most Influ­ential People list last year, exemplifies.

—Athena Waligore

IWAN BAAN/COURTESY OF SERPENTINE AND MARINA TABASSUM ARCHITECTS

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chilled

boiling chilled sparkling

Water at its best. www.us.zipwater.com

nov 25

It’s all about a curated mix

ERIC LAIGNEL

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Deck for well story

goes here deck for well story goes here

text: jesse dorris photography: douglas friedman

headline goes here queen of the castle Laura Bohn’s discerning eye and roll-up-her-sleeves attitude reign at a centuries-old French château she and her husband bought and meticulously renovated text: stephen wallis photography: eric laignel

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Previous spread: A Julia Calfee photograph, vintage pendant fixtures, and a restored plaster ceiling define a sitting area off the living room in Château Montrion, a 9,000square-foot historic house in Cellettes, France, that designer Laura Bohn and her husband, BFI Construction founder Richard Fiore, bought and then renovated over the course of four years.

Top: A humble paper lantern hangs from the entrance hall’s intricate original ceiling.

Bottom: Flooring is also original, but the area behind the stairs was opened up and glass terrace doors added to bring in more light.

Opposite top: The château, framed here by 300-year-old horse chestnuts, has elements dating to the 12th century. Opposite bottom: In the living room, the refinished herring­ bone floor and stripped and replastered walls surround Bohn’s custom mohair-covered sofa and redwood-slab cocktail table.

Half a century into her career as an interior designer, Laura Bohn still loves nothing more than a project with a capital P. The more challenging, the better.

When it comes to her own residences, she and her husband of four decades, BFI Construction founder Richard Fiore, have lived primarily in New York, never staying put too long in one place, always eager for the next renovation.

They’ve conjured stylish lofts for themselves in former industrial spaces, converted a beaux-arts bank into luxury apartments, moving into a glassand-steel penthouse extension they built on top, and, just outside the city, updated old farmhouses in Bucks County, Pennsylvania.

For those who know Bohn, an Interior Design Hall of Fame member, and Fiore, it’s probably not hard to imagine them in a cherry picker, 25 feet off the ground, ripping thickets of ivy off the facade of a historic château they bought in the French countryside. “What can I say? I’m a designer, my husband’s a builder, and we’ve been doing projects together for a long time,” Bohn says, by way of explaining their decision to uproot and move to the Loire Valley to rehabilitate a château, unoccupied for 40 years, on a 165-acre property with a history going back some ten centuries.

It all started nearly a decade ago, when Bohn read a New York Times article about house-hunting in France that cited a number of châteaus for sale, many at surprisingly modest prices. The story landed like a siren call for Bohn, an avid Francophile who had lived in Paris in her 20s, when she worked as a model before becoming a designer.

So she and Fiore set off for France, traveling around in a van. “We went all over,” Bohn recounts. “We had no idea what we were doing, but it was the adventure of it.” The couple narrowed their focus to the Loire and began working with a French agent, even moving in with him for a time. Ultimately, after all their searching, they wound up buying a property at auction in 2021, sight unseen.

Château Montrion, as it’s called, is perched on the bucolic banks of the Beuvron, a tributary of the Loire. Nearby are some of the region’s most

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“The house needed everything, but the rooms were beautifully proportioned”

Top: Backed by a tall cabinet designed by Fiore, the kitchen now centers on a quartz composite–topped, L-shape island incorpo­ rating a cooktop. Bottom: A pair of Bohn’s beloved old train station lights suspend over a vintage table and chairs in the dining room, where the existing mosaic floor was preserved but the wainscot’s height reduced for a lighter, more open feel.

Opposite top: In the kitchen’s sitting area, a restored Eames lounge chair and footstool Bohn acquired from a client and a walnut-root sculpture on the mantel pair with a painting by Kathryn Lynch. Opposite bottom: Among the animal mounts in the dining room is an elk above the carved mantelpiece.

famous châteaus, including Chambord, Cheverny, and Blois, where there is also a sizable town with shops, restaurants, and a train station, conveniently just a 15-minute drive away.

As Bohn explains, Château Montrion checked several key boxes, not least the fact that the house is a manageable size, at around 9,000 square feet, with rooms that are a comfortable scale. “Some have 20-, 24-foot ceilings, which maybe looks great but doesn’t feel good,” she says.

“The rooms here are beautifully proportioned.”

The first time Bohn and Fiore visited Montrion, its condition was what one would expect of a place that had been boarded up for decades. The iron front gate had been wedged open by creeping tree roots, and the entrance drive’s allée of 300-year-old horse chestnuts was so overgrown that a car could hardly get through.

Then there was the dense ivy that cloaked much of the facade, while inside, as Bohn puts it, “The house needed everything.” (During the renovation, the couple lived in a cottage outbuilding attached to a centuries-old stone church on the property.)

Parts of the main house date as far back as the 12th century, with the last renovation taking place in 1921.

Needless to say, electricity and other systems required upgrading, all windows and doors had to be replaced, and plaster ceilings and walls needed to be completely redone. Where they could, Bohn and Fiore took a lighthanded approach, preserving existing elements.

In the entrance hall, for example, they did little more than clean up the intricate plaster ceiling and extend the flooring—classic white marble with black cabochons—

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Across from a commissioned woodland mural by Staszek Kotowski that spans 20 feet in the secondfloor hallway is a Don Friedman photograph of flowers styled by Joseph Lembo, Bohn’s former Lembo-Bohn Design partner, as inspiration for a Donghia textile they created in the 1980’s.

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Top: The stone-veneer tiles cladding the walls around the entry and upstairs hallway were existing. Bottom: In the office, under a vintage canoe Bohn has displayed in multiple homes, an opening to the terrace was cut into the thick stone wall; the leather-and-linen sofas are custom, the large painting by Antonio Morado.

Opposite top, from left: The rear terrace, looking through one of the castle’s two towers.

A neighbor and their horse visiting. A Kotowski painting atop an antique dresser in the main bedroom. Opposite center, from left: A shell-encrusted mirror by Bohn in the main bedroom. An allée of more chestnut trees along the entry drive. Tabletop curios in the office. Opposite bottom, from left: The main bathroom’s RH chair, locally sourced tub, and undyed floor covering, all vintage. Sconces found at a Loire Valley flea market in the foyer stairwell. Terrace seating area beneath a tower.

toward the back of the house, where they ripped out a powder room and added new glass doors so the entire space is splashed with natural light.

Bohn inserted her own personal touches, such as a low metal cabinet with glass panels, a vintage piece from India she has owned for years that reflects her “industrial thing,” as she describes her affinity for sleek materials and the pared-down aesthetic she inherited from her early mentor, designer Joseph D’Urso.

For the entry’s lighting, instead of a crystal chandelier—“That would be typical,” she notes—Bohn hung a simple, oversize paper globe. “I think it was 10 euros and reduced to 4,” she says. “It was supposed to be temporary, but I like it so much, I’ll never change it.”

Bohn, who still consults on European projects, enjoys mixing high and low, and she often recycles favorite pieces from previous residences. A vintage turquoise-canvas canoe that she has installed like a wall sculpture in multiple homes—“It’s probably from the ’20’s, I think it’s got a thousand holes in it”—is perched atop a wall of cabinets in the office. The canoe overlooks a pair of beloved gray leather sofas Bohn designed years ago with double fringe, only here she recovered the seat cushions in a chocolatey linen. “I’m taking those wherever I go.”

More long-owned pieces turn up in the living room. There’s the massive, richly patinaed antique medicine cabinet with dozens of drawers and Chinese labels that presides over one corner, as well as the live-edge cocktail table Bohn made using “a giant piece of redwood that a friend in Wisconsin found in someone’s garage.”

Pre-renovation, the living room’s plaster ceiling was crumbling, and the walls were clad in a silk “the brightest yellow-orange you’ve ever seen,” Bohn says. When the wallcovering was removed, the scarred plaster underneath wasn’t much better, so she and her team spent months chipping it away, down to the stone rubble walls, which are 2 feet thick in some places.

Bohn then added a layer of plaster in gray, a color she uses as a less conventional and, to her mind, a warmer and more versatile alternative to white.

“I’m a gray freak,” says the designer, who used various shades of it in the dining room—above the original wainscot paneling that was shortened to lighten the feel—and in the overhauled kitchen, previously grime-caked with 112

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Top: A set of doors Bohn found in the property’s church have been repurposed into a screen to divide the sleeping and bathing areas in one of the 10 guest bedrooms.

Bottom: A second, back staircase has been refurbished.

Opposite top: The Beuvron river runs behind the house, where a bridge believed to have been built in the 1920’s provides access to an island. Opposite bottom: Simply furnished, the main bedroom was given a walk-in closet, its entry visible behind the armchair and hide-covered ottoman.

a huge coal-burning stove surrounded by a warren of tiny rooms. “It was gutted front to back with helpers, friends, anybody who had a sledgehammer,” Bohn recalls. She then crafted a multifunctional space, adding a counter extension off the island with stools for casual dining, plus composing a denlike sitting area next to a fireplace with an Eames lounge chair she has owned for three decades.

Here and throughout the house, Bohn peppered the spaces with wunderkammer–type natural objects—cloches containing bird’s nests, deer and elk heads, a spectacular walnut-root sculpture. The walls, meanwhile, host a personal mix of family photos and artworks the couple has collected over the years. For the second-floor hallway, Bohn commissioned a 20-foot mural of a pastoral landscape, echoing the setting outside.

One of the best vantage points for taking in those surroundings is on the back terrace, where Bohn and Fiore have coffee or lunch overlooking the river. “It’s only about 12 feet wide, too narrow for much of anything, but it’s just the greatest little spot,” she muses.

Ever creatively restless, Bohn says she’s already thinking about her next project, perhaps a home in Mexico. “We’re crazy—we love to work,” she says. “I’m dying to do it again.” Not that Château Montrion has lost its allure.

“Every time I drive through the allée, I can’t get over how beautiful this is.”

PROJECT TEAM LAURENT D’EU: LIGHTING DESIGN. FARLEY COLLOM: WOODWORK. BFI CONSTRUCTION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT ANN-MORRIS: PENDANT FIXTURES (SITTING AREA). DONGHIA: CHAIR, FOOTSTOOL (LIVING ROOM), CHAIR (MAIN BEDROOM). KRAVET: LINEN PILLOW FABRIC (LIVING ROOM). CHILEWICH; SAVEL: SOFA FABRICS. SCHMIDT GROUPE: CABINETRY (KITCHEN). DEKTON: COUNTERTOPS. THOMSON APPLIANCE: REFRIGERATOR. BOSCH: STOVE. AIRLUX: COOKTOP. ELECTROLUX: HOODS. RALPH LAUREN: SOFA (SITTING ROOM). LARSEN: SOFA LEATHER (OFFICE). ARTEMIDE: LAMPS (OFFICE, BEDROOMS).

RH: CHAIR (BATHROOM). THROUGHOUT PEINTURES SAINT-LUC: PAINT.

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mise en scène Greg Natale evokes movie-inflected European art deco in the makeover of a 19th-century New York town house text: peter webster photography: anson smart styling: mariana marcki-matos

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Australian designer Greg Natale’s stylistic evolution could be viewed through the lens of American movies. He established his reputation with a bold, contemporary take on Hollywood Regency’s high-contrast glamour. Later, he refined his approach by reimagining the sleek sophistication of streamline moderne for today. But it’s a slightly different movie-informed sensibility—the art deco era as refracted through 1970’s European cinema—that seems to pervade his eponymous firm’s recent makeover of a narrow 19th-century town house in New York. Not literally—with one or two exceptions, nothing in the 3,330-square-foot residence dates from the prewar period— but as a poetic infusion from the sumptuous 1930’s world evoked in the films of Bernardo Bertolucci, Luchino Visconti, and other masters of historical lyricism.

The project’s continental aura came with the brief from repeat clients Leticia Francini and Stephen Ninnes, Australians who had acquired the four-story, mixeduse property on Manhattan’s Upper East Side as an above-the-shop pied-à-terre.

The ground-floor retail space would become a white-box studio for their Art With Love Foundation—an organization with outposts in Brisbane, Australia, and Florence, Italy, that offers free workshops in Renaissance painting techniques. The couple, who have homes in both countries, called Natale with the assignment while—as the designer reports—“They were in Paris eating at maximalist restaurants like

Previous spread: In the living room of a New York town house renovated by Greg Natale, a wall­ paper mural based on Wassily Kandinsky’s 1935 painting Deux points verts is one of the few period-specific cues informing the 3,330-square-foot residence’s European art deco–era ambience.

Below: The style is suggested through color, shape, and texture, not provenance—evident in the sinuous curves of Gianfranco Frattini’s 1971 Sesann sofa and ottoman, the plush sheepskin upholstering Arnold Madsen’s 1944 Clam armchairs, and the floral profusion of Anna Bonino’s custom paper pendant fixture.

Opposite top, from left: Alesia Sirokina’s Bauhaus-inspired Exhibition sconce illuminates the powder room. The dining area’s vintage Murano glass chandelier surveys Dirk van der Kooij’s Meltingpot table and Juliana Lima Vasconcellos’s Giraffe chairs. Opposite bottom, from left: The original double entry was reinstated, serving a public painting studio and the residence, respectively. A guest room’s ’70’s Lido lamp by Peill & Putzler tops a nightstand, also vintage.

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Mondaine de Pariso.” They wanted some of that color, pattern, and layering in their new American bolt-hole, telling him, “We have this green and pink vision in our heads.”

Natale obliged by painting the rooms—both walls and ceilings—in a rich palette of blush, plum, and terra-cotta, paired with greens that range from deep and muted to light and breezy. Colorful shades of veined marble—Calacatta Viola, Rosso Levanto, Verde Alpi—are deployed just as expressively, not only on floors, walls, countertops, and a fireplace but also in framing nearly every portal and door. The lavishly detailed stonework was facilitated by the clients’ close relationship with an Italian quarrier and fabricator near their Forte dei Marmi villa; the company cut all the marble there before flying masons over for an installation that took several months. This included an exterior intervention: the reinstatement of a historically appropriate double street entrance—two doors, defined by fluted limestone pilasters, leading to the art foundation and the residence, respectively.

Much of the flooring is engineered oak in a herringbone pattern of Natale’s design. The paint, marble, and wood create a vivid yet warmly welcoming interior envelope, made even more intimate by the modest scale—the brick building is only 12½ feet wide. The town house had been renovated in the ’70’s, and Natale retained the general layout but stripped it down to the studs. “Because they’re not living there full-time, they just needed a sitting room, a kitchen, and a dining room,” notes the designer, who placed the living spaces on the middle level, sandwiched between a pair of two-bedroom floors—enough to accommodate the couple’s five adult children when visiting New York.

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Opposite top: Gabriel Hendifar’s Trapeze wall fixture complements the kitchen’s Calacatta Viola marble backsplash and countertop. Opposite bottom: Inspired by Japanese Edo-period art, Mehmet and Dimonah Iksel’s hand-painted White Blossom wallpaper cocoons the sleeping area in the main bedroom, while the other walls and ceiling are painted a sympathetic shade of terra-cotta.

Top, from left: Created and installed by the Forte dei Marmi, Italy–based supplier of the stonework throughout, the main shower features an abstract marble inlay reminiscent of rationalist art.

Umberto Riva’s fiberglass A.D.A. lamp, on a vintage burl-wood side table, accompanies the living room sofa. Bottom: Channeling Henri Matisse’s cutouts, a hallway’s mural in embroidered linen and silk overlooks engineered oak–herringbone flooring of Natale’s design.

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Energizing, room-expanding mirror paneling appears throughout, most notably as an art deco–inflected arrangement of bronze- and smoke-hued rectangles in the dining area—the only space with a white ceiling. Natale uses that blank canvas for another period flourish: a starburst molding centered on an ’80’s Murano-glass chandelier that’s like a modern take on Italy’s flowing Liberty style. But it’s a couple of murals that set an overt ’30’s- and ’40’s-European tone: An embroidered linenand-silk riff on Henri Matisse’s Jazz cutouts runs the length of the second-floor hallway, while one side of the living room is spanned by a wallpaper blowup of Wassily Kandinsky’s 1935 painting Deux points verts, a work in which rectilinear Bauhaus meets biomorphic surrealism.

The furniture—vintage and contemporary pieces, most of them Italian—echoes that potent mix. “Even though I’m a bit of a maximalist, my foundation lies in minimalism and plain lines,” Natale acknowledges. “So I look on a project like this through a clean, modernist lens.” Ergo, the living room’s Gianfranco Frattini ’70’s Sesann sofa—an expanse of sybaritic softness constrained by chrome tubing—faces the Daliesque profile of Shawna and Matt Heide’s concrete-framed Iris mirror above the elegantly simple Verde Alpi fireplace. Overhead, a custom Anna Bonino pendant fixture—a constellation of paper-flower globes—blossoms like festive fireworks.

A similar playfulness animates the dining area, where the multicolored chandelier finds a counterpart in the painterly swirls of Dirk van der Kooij’s recycled-plastic Meltingpot table, surrounded by Juliana Lima Vasconcellos’ Giraffe chairs, their triangular backs suggesting constructivist sculpture.

Italian rationalism—strongly influenced by constructivist ideas—is evoked in the complex inlaid-marble pattern on the main bathroom’s shower wall. In the adjacent bedroom, a touch of art deco Japonisme surfaces in Mehmet and Dimonah Iksel’s hand-painted White Blossom wallpaper, inspired by Edo-period art. It backdrops another Daliesque silhouette—Vincent Darré’s Neofutur headboard, its witty, asymmetrical outline a prelude to the residence’s coup de théâtre: the dressing room.

Connected to the bedroom by a trio of marble-encrusted portals, the windowed space is raised a few steps, with a lacquered, altarlike cabinet at its center. Sculptural slabs of marble, cut into surreal shapes, project from the sidewalls like totemic sentinels, creating open closets. “The client asked that the room look like a shop,” Natale explains, but it could just as easily be a movie set awaiting Dominique Sanda or some other ’70’s screen siren to make her entrance.

PROJECT TEAM RENEE ALAM; GEORGA GOODWIN: GREG NATALE. MONDO MARMO ITALIA: STONEWORK. VECTRA CONSTRUCTION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT PAPIERS DE PARIS: WALLPAPER (LIVING ROOM). TACCHINI: SOFA, OTTOMAN, LOUNGE CHAIRS, LAMPS. DAGMAR: ARMCHAIRS. CONCRETE CAT: MIRROR. CRIZU: CUSTOM PENDANT FIXTURE. NORDIC KNOTS: RUGS (LIVING ROOM, BEDROOM 1). GIOBAGNARA: STOOL (LIVING ROOM), BENCH (HALL). SQUARE IN CIRCLE: SCONCES (POWDER ROOM, BATHROOM). KOOIJ: TABLE (DINING AREA). THE INVISIBLE COLLECTION: CHAIRS (DINING AREA), HEADBOARD (MAIN BEDROOM). SOHO HOME: BED (BEDROOM 1). FLOS: PENDANT FIXTURE. APPARATUS: SCONCE (KITCHEN). IKSEL: WALLPAPER (MAIN BEDROOM). MARTINELLI LUCE: TABLE LAMP. ORNÄS: BENCH. ALLIED MAKER: PENDANT FIXTURE (MAIN BEDROOM), CEILING FIXTURE (HALL). DE GOURNAY: WALLPAPER (HALL). DESIGN WITHIN REACH: HEADBOARD (BEDROOM 2). MYHOME COLLECTION: NIGHTSTAND. STARK: CARPET (BEDROOM 2, DRESSING ROOM). LORENZA BOZZOLI DESIGN: CHAIR (DRESSING ROOM).

THROUGHOUT THROUGH 1STDIBS: VINTAGE FURNITURE AND FIXTURES. KOHLER CO.: SINK AND SHOWER FITTINGS. TONGUE & GROOVE: ENGINEERED OAK FLOORING. BENJAMIN MOORE & CO.: PAINT.

Left: Only 12½ feet wide, the 19th-century brick building has new exterior steelwork, including the doors, windows, and balcony.

Opposite top, from left: The unifying hue of the walls, ceiling, Giulio Iacchetti Arcom nightstand, and Verde Alpi windowsill lends serenity to a second, dormered guest room. Achille and Pier Giacomo Castiglioni’s Viscontea pendant hangs above Campbell-Rey’s Folding Ribbon hand-knotted wool rug in the first guest room. Opposite bottom, from left: Its bathroom features Pole and Circle, another Sirokina sconce. Open closets with sculptural marble-slab dividers line the main dressing room, where Lorenza Bozzoli’s Pirouette armchair joins a custom island cabinet.

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family values text: edie cohen photography: eric laignel

H&S International and Rottet Studio infuse a hotel-scale Las Vegas residence with the lived-in warmth of a kid-filled home

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No doubt this Las Vegas residence is a trophy house.

No doubt it’s also stunning—both visually and statistically: 29,000 square feet, seven bedroom suites, six powder rooms plus a gym shower, and a bunk room that sleeps 10. In other words, something closer to a boutique hotel than a private home.

Ostensibly no problem for hospitality doyenne, architect, and Interior Design Hall of Fame member Lauren Rottet. But therein lay the challenge. “I’ve always been fascinated by scale and proportion,” says the Rottet Studio founding principal and president.

“I needed to achieve human-scale design and make this feel homey.” It was crucial that the massive, twostory house be equally welcoming to the owners—a couple with four young boys—their wide circle of friends, and the many guests they host at frequent events. Not a mere showplace for showy people, Rottet emphasizes, since the clients are anything but.

Architect Bing Hu brought Rottet onto the project, reprising their Arizona MidFirst Bank branch collaborations more than a decade earlier. The founding principal of H&S International had already designed multiple international residences for the clients. For this property, adjacent to a world-class golf course with sweeping views of the desert, mountains, and 126

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distant Vegas Strip, he embraced Frank Lloyd Wright’s ethos of “inside out,” conceiving interior and exterior as one. “Everything integrated, everything in sync,” Hu asserts. “That’s the beauty of why the architecture and interiors look so striking.

It’s not just one thing or the other.” His challenge?

Fitting the dense program within the limits of the building envelope.

A paradigm of desert architecture, the low, sprawling structure is steel-framed and incorporates generous expanses of glass, despite Nevada’s blinding light and searing heat. “It’s something they know and understand,” Rottet says of the clients, who went to school in the area. Outside, sweeping stucco planes define the rectilinear form, complemented by a welcoming portico—its cantilevered construction and backward-canted columns suggesting motion.

The movement theme continues in the entry hall, where a 26-foot-long chandelier of fritted tangerine glass undulates above a multileg bench by Rottet in Nero Marquina marble. “It’s sturdy enough for the boys to skateboard on,” she says with a laugh. The same sense of dynamism is expressed in the blackened-steel diagonals of the switchback stair that marks the transition into the vast great room.

Previous spread: A grand piano that once belonged to Elton John strikes a vibrant note in the great room of a 29,000-square-foot, two-story residence in Las Vegas by H&S International and Rottet Studio.

Opposite top: Space-dividing seating groups in the living area include back-to-back Antonio Citterio Groundpiece sectionals and two Adam Court Repose curved sofas faced by pairs of Giuseppe Viganò Overdrive lounge chairs. Opposite bottom: The same area’s Big Big armchairs by Kristian Sofus Hansen and Tommy Hyldahl and a Holly Hunt Goblet drink table stand on Marlene Huissoud’s Swarm rug.

Top, from left: A fritted-glass chandelier above Lauren Rottet’s marble Walking bench in the foyer. The steel-frame stucco portico at the front door. The skylit atrium, encircled by the children’s quarters, including a sitting area with Jorge Herrera’s Magic Stick pendant fixtures. Bottom: Beyond the dining room’s custom wine cabinets and above its Z Quad table and Terrah armchairs

by Hellman-Chang, Thierry Dreyfus’s Wall Rupture recessed linear fixture glows like a volcanic fissure in the ceiling.

“The house epitomizes Frank Lloyd Wright’s ethos of ‘inside out’ design, conceiving interior and exterior as one”

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Occupying roughly a quarter of the ground floor, the space comprises a large living area flanked by an open eat-in kitchen, fulfilling the “family first” dictum while serving as a convivial venue for entertaining. “The week after completion, they had a 100-person event, even moving in a stage,” Rottet reports. She managed the oversize scale by mapping out three rug-anchored seating groups furnished with commanding pieces. Back-to-back Antonio Citterio sectionals form the spine of the central vignette, facing the 9-foot-wide fireplace on one side and the kitchen on the other, while a pair of curvaceous Adam Court sofas each draws its own circle of comfortable armchairs. Under the space-defining rugs, the flooring is large-format, concrete-look porcelain tile—the durable bedrock of “a minimalist palette with quiet finishes,” as Rottet Studio senior designer Hannah Rae puts it. But those words hardly describe one showstopping item: a fire-engine-red grand piano, once owned by Elton John and now played by the lady of the house.

Almost as attention-grabbing is the kitchen chandelier—globes suspended from swagged chains of chunky, topaz-yellow glass—above the sculptural black island, where breakfast and casual family meals are served at a cantilevered counter. Behind the kitchen, the entrance to the formal dining room is flanked by glass-walled wine cellars—one for red, one for white. Mirroring the symmetry, a 12-seat Hellman-Chang table is aligned on axis with a totemlike palm tree framed by the enormous window. The connection to the natural world continues symbolically overhead, where a ceiling cleft lined in gold leaf and fitted with color-changing LEDs glows like a molten-lava fissure, while a Paul Fleming installation transforms one wall into a spangled galaxy of castresin pucks. “Conceptually, it’s like being outside,” Rottet observes, “with the sky, a constellation, and nature surrounding you.”

The landscape even appears to enter the house as an internal garden beneath an enormous skylight.

Enclosed by oak-slat screens, it becomes a Zen retreat of sand, rocks, a pair of small trees, and a

Opposite top: Doshi Levien’s Armada club chairs pull up to the open kitchen’s custom island paneled in smoked, hammered nickel and standing on concrete-look porcelain floor tile. Opposite bottom: Oak slats screen the atrium’s Zen garden, outfitted with sand, rocks, trees, and a Bea Pernia Naked chair.

Top: The infinity-edge pool is 116 feet. Center: In the study, Simon Legald’s Hyg task chairs are joined by custom cabinets with gradient glass fronts. Bottom: Angeletti Ruzza’s glossy cocktail table is a sophisticated touch in the adjacent bunk room, which sleeps 10.

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monumental chair carved from a single block of marble. “It had to be craned in, which taught us about timing,” Rae remarks. An open gallery linking the sons’ bedrooms, playroom, study, and bunk room encircles the atrium’s second floor. Access is via the stair, its wall a complex composition of laminated glass and perforated oak veneer layered over a mirrored background that gives passersby fleeting glimpses of themselves. A similar playfulness animates the entertainment and relaxation spaces surrounding the garden on the ground floor, which include a home theater, golf simulator, and the gym.

A large lounge accommodates a pool table, vintage arcade games, and other group diversions. Beyond a sliding barn-style door lies the cigar bar, glammed up with a charcoal-plaster ceiling inset with nickeland-oak cove-lighting fixtures above a stool-lined counter that terminates in a large basalt boulder.

The same rock, in the form of a hand-chiseled tub backdropped by rough-hewn block columns, features in the main suite’s bathroom at the other end of the house. Counterpointing the ruggedness, smooth, brushed limestone clads the floor, walls, and vanity in the spalike space. All is serenity in the adjoining sleeping quarters, where the 23-foot ceiling is moderated by a soaring oak-slat canopy—impressive in scale yet cocooning in feel. But then the same could be said of the grand family home itself.

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PROJECT TEAM CLAUDIO MUNOZ WHITING; YEE WING YIU: H&S INTERNATIONAL. AMBER LEWIS; MICHAEL TREVINO: ROTTET STUDIO. CREATIVE DESIGNS IN LIGHTING: LIGHTING CONSULTANT. BDS STRUCTURAL: STRUCTURAL ENGINEER. PINNACLE ARCHITECTURAL MILLWORK: MILLWORK. OZZIE KRAFT POOLS: POOL CONSULTANT. DISCOVERY BUILDERS: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT HOLLY HUNT: WHITE LOUNGE CHAIRS, DRINK TABLE (LIVING AREA). OKHA: CURVED SOFAS. ARKETIPO FIRENZE: BROWN LOUNGE CHAIRS. NORR11: SHEEPSKIN LOUNGE CHAIRS, OTTOMANS. GLAS ITALIA: GLASS COFFEE TABLES. EDELMAN: LEATHER PANELING. CC-TAPIS: FREEFORM RUG (LIVING AREA), RUGS (DINING ROOM, CIGAR BAR). FLEXFORM: SECTIONALS (LIVING AREA), BED (BED­ ROOM). TAI PING: ROUND RUGS (LIVING AREA), RUG (BEDROOM).

ARCHETYPE GLASS: GLASS PANELING (STAIR WALL), CABINET FRONTS (STUDY). TRUEING STUDIO: PENDANT FIXTURE (KITCHEN).

MOROSO: CHAIRS. BULTHAUP: WALL CABINETRY. LASVIT: CUSTOM CHANDELIER (FOYER). GMLIGHTING: RECESSED LINEAR FIXTURE. ROTTET COLLECTION: BENCH (FOYER), GLASS COFFEE TABLE (CIGAR BAR), SIDE TABLES (BEDROOM). HELLMAN-CHANG: TABLE, CHAIRS (DINING ROOM). FLOS: LINEAR CEILING FIXTURE (DINING ROOM), CEILING FIXTURES (ATRIUM). BEA INTERIORS DESIGN: CHAIR (ZEN GARDEN). NORMANN COPENHAGEN: CHAIRS (STUDY). MYHOME COLLECTION: SIDE TABLE (BUNK ROOM). RICH BRILLIANT WILLING: SCONCES. FENDI CASA: BARSTOOLS (CIGAR BAR). WALTER K.: ARM­ CHAIRS. JAMIE BECKWITH COLLECTION: PARQUET FLOORING. SOUTHWEST BOULDER & STONE: BASALT COLUMNS (BATHROOM).

VISUAL COMFORT & CO.: PENDANT FIXTURES. THORNTREE SLATE: VANITY, FLOOR, WALL LIMESTONE. ROCHE BOBOIS: ARMCHAIRS (BEDROOM). GABRIEL SCOTT: PENDANT FIXTURES. THROUGHOUT KNOWN COLLECTION: OAK FLOORING. STONE SOURCE: PORCELAIN FLOOR TILE. BENJAMIN MOORE & CO.: PAINT.

Opposite top: Long and low, the seven-bedroom home on more than 1½ acres is integrated into the desert landscape. Opposite bottom: The cigar bar ceiling is inset with custom fixtures.

Top, from left: Custom barn-style white-oak doors separate the game lounge from the cigar bar, where the counter terminates in a basalt boulder. The same stone forms the main bathroom’s hand-chiseled tub and columns, which contrasts with the Crème Rocco brushed limestone cladding most surfaces. Bottom: In the main bedroom, Carlo Colombo’s Newbridge bed nestles beneath a custom oak-slat canopy, while Rottet’s Dichroic side tables accompany Sacha Lakic’s Astrea armchairs before a 7-foot-wide fireplace.

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concrete jungle For the Maybury, a ground-up residential tower in New York, Handel Architects and Mazzarini & Co. channel both nature and city text: elizabeth fazzare

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Previous spread: On the eighth floor of the 46-story Maybury, a 453-unit luxury rental building in New York with exterior and interior architecture by Handel Architects and FFE in the public and amenity spaces, model units, and initial leasing office by Mazzarini & Co., the resident lounge features a variety of flexible gathering areas inspired by nature, with Caterina Moretti’s Loto ottomans standing before a custom marble cocktail table that’s surrounded by chairs and sofa by Jake Arnold and a live fig tree, all under aluminum Vapor ceiling panels evocative of a forest canopy.

Opposite: Another area of the lounge that’s more conducive to working or dining has an oak communal table, its chairs upholstered in a pattern called Abstraction Outdoor, and custom terrazzo-topped café tables backed by Kimberly George’s fabric-plaster wall art and lit by Bertjan Pot’s Heracleum III Endless pendant fixture.

Top, from left: Above a custom sofa, oak forms treelike branches in the lounge. A verdant marble bistro table stands on a wool rug. Bottom: In the travertine-tiled lobby, Handel’s aluminum screen dapples sunlight onto the sectional sofa, both custom; the marble-based Lato side table is by &Tradition. Photography: Adam Kane Macchia.

Within the crowded New York City skyline, it can be difficult for a new tower to stand out. In Hudson Yards, a recently built Manhattan neighborhood, the Maybury, a residential building, focuses less on facade vanity and more on providing a top-notch living experience. Not that its 46-story, bronzed masonry-inspired exterior doesn’t handsomely differentiate itself from its glass-walled neighbors. And the same can be said of the interiors of the 453-unit luxury building, targeting cosmopolitan millennials with such tag lines as “Live in full bloom” and “rentals for the sophisticated urbanite.” That’s because the two firms behind the project, Handel Architects and Mazzarini & Co., tapped into nature, albeit through a metropolitan lense.

“The facade is formulated to filter the city, with perforated panels that veil the streetscape while letting in softened daylight, creating patterns that recall sunlight through leaves,” describes Krista Armstrong, a Handel associate principal who codesigned the 435,000-square-foot building’s exterior and interior architecture, including the apartments, with founder and managing partner, Gary Handel. “Stepping into the lobby feels like arriving on the forest floor, with stone pathways underfoot and light filtering down as through a canopy,” she adds, referring to its travertine floor tile and aluminum screen laser-cut with an abstract floral pattern, all contributing to an arboreal first impression.

Biophilic motifs continue throughout the building’s four levels and more than 20,000 square feet of amenities, which include a two-story coworking space with upholstered banquettes and a coffee bar on the fourth and fifth floors, a generous resident lounge and state-of-the-art gym that open to a terrace and occupy all of eight, and a penthouse sky lounge, their FFE by Dan Mazzarini and Caroline Fields, founder and creative director and senior designer, respectively, of

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Left: In the coworking amenity on floors four and five, Handel tucked a coffee bar under the brass-railed stair and installed IC pendant fixtures

by Michael Anastassiades, while Mazzarini selected the Tri table lamp and custom wall piece by BelarteStudio. Right, from top: The facade’s alumi­ num panels are painted to resemble masonry; photography: Lester Ali. A Toni Toscano photograph overlooks Gaston dining chairs in coworking.

Opposite: Sunbrella’s Sumi upholsters a custom banquette in coworking, under another BelarteStudio artwork. Photography: Adam Kane Macchia.

Mazzarini & Co., which also outfitted the Maybury’s three model units and initial leasing office.

Back in the lobby sitting area, for example, accompanying the stone floor and petal-like screen is Mazzarini’s custom curved sectional upholstered in a wool blend in an Isles of Pine colorway. In the resident lounge, Handel designed treelike millwork to surround columns and screened the ceiling in bronzed aluminum panels that evoke dappled light in a forest. Mazzarini’s furniture selections, meanwhile, complement this effect without taking it too literally. “Texturally, we didn’t do anything specifically leafy, but some pieces have more of a veining to them,” Mazzarini says, referencing seating that includes a 162-inch-long custom sofa alongside chairs by Jake Arnold for Crate and Barrel and a hefty, actually veined marble cocktail table. In addition to these more traditional gathering areas grounded by patterned wool rugs and other natural materials, the open plan includes a section of terrazzo-topped café tables tucked to one side for more quiet meetings and an oak communal table for group activities.

To assure the space’s longevity, even with daily use, “We played with scale and chose all hospitality-standard finishes, even though this is a residential project,” Mazzarini continues.

With more than 60 percent of Manhattan employers requiring a hybrid office schedule, the teams did plan for these common areas to be used daily. “Today’s urban renter is looking for more than a place to eat and sleep. They want a sense of community,” Handel states. “The amenities were conceptualized as a ‘secret garden,’ a hidden retreat in the fabric of Hudson Yards, where a mix of spaces allows residents to get to know each other but also work undisturbed.”

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They’re also meant to connect residents to the city itself, bringing the seasonal hues of its beloved parks skyward into the tower. “To keep the experience new and inspiring, each floor draws from a different New York season—soft greens and crisp whites evoking spring on one level, richer oranges, browns, and rust tones suggesting autumn on another— giving residents varied palettes and atmospheres so they can choose the mood that best suits them and never tire of where they work or unwind,” Fields explains. Sunlight is a major design element, shaped by dramatic drapery and screens, and casting new patterns across the interiors throughout the project.

In the studio, one-bedroom, and two-bedroom model units, Mazzarini, Fields, and their colleagues took the same color approach, pulling nature-inspired blues, greens, and terra-cottas into the apartments they conceptualized for potential occupants. “We created a strong persona for each one,” Mazzarini says, “but we also tried to show people that these spaces really work for city living” no matter their size.

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game night, or birthday celebration that requires a larger space, the building’s lounges offer an extension of these homes, just an elevator ride away.

Overall, the Maybury was conceived to support today’s version of 21st-century living. Because development began during the pandemic, when the uncertainty of urban lifestyles loomed large, the project also required some very intentional future-building. But Handel and Mazzarini seem to have gotten their predictions just right. “The past five years have been such a microcosm of then, now, and next,” notes Mazzarini, who’s familiar with such fluctuations from his earlier years working as a retail design director

Above: Mazzarini made the initial leasing office as residential and nature-inspired as the rest of the Maybury, including in its conference room, where Flock chairs by Noom face Wabi-Sabi wallpaper.

Opposite top: The firm also furnished the model units, including the living room of the one-bedroom, with a Belia sectional and wool Jenna rug. Opposite bottom, from left: Its bedroom’s color-matched wall paint and custom artwork. A vignette in the studio model. The office’s custom walnut tambour reception desk. Photography: Reid Rolls.

“Spaces are meant to connect residents to the city itself, bringing the seasonal hues of its beloved parks into the tower”

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for Ralph Lauren. “I think the ‘next’ is making sure there’s flexibility, so that if we need something different in five or 10 years, there’s a lighter redesign lift. But for the ‘now,’” he adds, “it’s responding to working from home, dining together, and egalitarian thinking, giving the best real estate to the most people.”

PROJECT TEAM AMAR SEN; JUHEE CHUNG; CAROLINA CLEMENTE: HANDEL ARCHITECTS. MATTIE OVERMYER; KIMMY JIN: MAZZARINI & CO. ONE LUX STUDIO: LIGHTING DESIGN. DESIMONE CONSULTING ENGINEERS: STRUCTURAL ENGINEER. COSENTINI AS­­ SOCIATES: MEP. LANGAN ENGINEERING: CIVIL ENGINEER. GER INDUSTRIES: MILLWORK, METALWORK. MONADNOCK CONSTRUCTION: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT ARKTURA: CEILING PANELS (LOUNGE). CRATE & BARREL: SOFA, CHAIRS (LOUNGE), WHITE AND WOOD SIDE CHAIRS (COWORKING). THROUGH 1STDIBS: OTTOMANS (LOUNGE), HEADBOARD (2-BEDROOM MODEL). MARBLE & HOME: CUSTOM COCKTAIL TABLE. CB2: TABLE LAMPS (LOUNGE), BISTRO TABLES (LOUNGE, COWORKING), DESK CHAIR (2-BEDROOM MODEL). PHILIP STEIN DE­S IGN COLLECTIVE: CUSTOM RUGS (LOUNGE, LOBBY). HAVWOODS: FLOORING (LOUNGE). PRESCOLITE: SCONCES. POTTERY BARN: COMMUNAL TABLE. MOOOI: PENDANT FIXTURE. LULU AND GEORGIA: COMMUNAL TABLE CHAIRS (LOUNGE), SAGE TABLE LAMP (1-BEDROOM MODEL). TRNK NYC: COMMUNAL TABLE LAMP (LOUNGE). SIMPLY TABLES: CUSTOM CAFÉ TABLES (LOUNGE, COWORKING).

FICARI: CAFÉ CHAIRS (LOUNGE). RIYA RUGS: CUSTOM RUG. THROUGH ETSY: WALL ART (LOUNGE, 1-BEDROOM MODEL, 2-BEDROOM MODEL), MIRROR TRIO (STUDIO MODEL), COFFEE TABLE (2-BEDROOM MODEL). VISUAL COMFORT: TABLE LAMP (LOUNGE), BEDSIDE LAMP (1-BEDROOM MODEL). WAYFAIR: WOOL RUG (LOUNGE), SWIVEL CHAIRS (LOBBY), SCONCE (2-BEDROOM MODEL). COMPOSITION: CUSTOM BANQUETTE, CUSTOM WHITE SOFA (LOUNGE), CUSTOM SECTIONAL (LOBBY).

CIOT: FLOOR TILE (LOBBY). RH: COCKTAIL TABLE (LOBBY). KATHY KUO HOME: WOOD-BACK CHAIR. DESIGN PUBLIC: SIDE TABLE. FLOS: PENDANT FIXTURES (COWORKING). VINTAGE HARDWOOD FLOORING: FLOORING. DUMAIS MADE: TABLE LAMP. BELARTESTUDIO: CUSTOM ARTWORKS. FOUR HANDS: PHOTOGRAPH. VERELLEN: DINING CHAIRS. CARNEGIE FABRICS: BLUE-WHITE BANQUETTE FABRIC. PPG INDUSTRIES: FACADE PANELS (EXTERIOR). SCHUMACHER: WALL­ PAPER (OFFICE). FOROM SHOP: WHITE CHAIRS. MAIDEN HOME: RED CHAIR. WEST ELM: RUG (OFFICE), DRESSER (2-BEDROOM MODEL). ROVE CONCEPTS: SECTIONAL (1-BEDROOM MODEL). UNION HOME: COCKTAIL TABLE. PERIGOLD: CHAIR, BED­ ROOM RUG. THROUGH CHAIRISH: CABINET. ALL MODERN: LIVING ROOM RUG. MESONART: FRAMED ART. BIRCH LANE: BED. 4SPACES: BED FABRIC. ZARA HOME:

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BEDSPREAD. ANTHROPOLOGIE: CHAIR (STUDIO MODEL). ETHNICRAFT: TABLE. SOCIETY SOCIAL: OTTOMAN. ARTSTAR: FRAMED ART. CUAN CONTRACTING CORP.: CUSTOM DESK (LEASING OFFICE). GLOBAL VIEWS: WHITE VASES. SIGN INNOVATIONS: CUSTOM SIGNAGE. ROOM & BOARD: DESK (2-BEDROOM MODEL).

NORDIC KNOTS: RUG. INTERIOR ICONS: BEDSIDE LAMP. POSTER CLUB: GREEN WALL ART. PB TEEN: SOFA. USM: MEDIA CABINET. DESIGN WITHIN REACH: EAMES CHAIR. ROUSE HOME: BLUE LAMP. HK LIVING: BLACK-WHITE LAMP. REVIVAL RUGS: RUG. THROUGHOUT ARC-COM; BURCH; MOKUM TEXTILES; PALLAS TEXTILES; POLLACK: UPHOL­S TERY FABRIC. CFD FLORAL: GREENERY. HF DESIGN: MODEL VINYL FLOORING. BENJAMIN MOORE & CO.; PORTOLA PAINTS: PAINT.

Top: Checkered motifs reappear in the two-bedroom model. Bottom: Its living room is a high-low mix, with a Haller media cabinet and Eames side chair facing a PB Teen Cushy sofa.

Opposite: Safavieh Couture’s Eduardo bouclé chair pairs with a Danish mid-century cabinet and a sculptural Élan Byrd Saguaro table lamp in the one-bedroom. Photography: Reid Rolls.

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text: michael snyder photography: fran parente

national treasure

Pascali Semerdjian Arquitetos constructs a prismatically oriented home in São Paulo that showcases Brazilian talent and tradition—with a global sensibility

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Previous spread: For a newly built home in São Paolo by Pascali Semerdjian Arquitetos, a custom concrete screen based on cobogó, or classic Brazilian breezeblock, offers privacy for the rooftop desert garden.

Top, from left: Under a sucupira pergola in the entry hall, basalt flooring forms the stair’s treads and risers. The cobogó is 8 feet high by 38 wide. Bottom: Also wide at 13 feet, a window overlooks the staircase connecting the ground floor to the four bedrooms upstairs and reveals the rotated volumes that allow natural light to reach an internal patio.

Opposite top: Gathered around the living room’s fireplace is an array of Brazilian talent: PL61 armchairs by Percival Lafer, Pascali Semerdjian’s Dé magazine stand, and a Sergio Romangolo painting (the rustic stool belonged to the client’s grandparents). Opposite bottom: Clad in aluminum-composite panels, the 7,800-square-foot house appears modest as seen from the street.

Before she met Domingos Pascali and Sarkis Semerdjian, the architects who would spend four years on her family’s recently completed São Paulo home, and even before she started her year-long search for the elusive piece of land on which to build it, the art educator and entrepreneur, Andrea Guerra, fell in love with a small table they’d designed. That piece, with its slender stone top and undulant, ribbed base in stainless steel, was part of a 2018 capsule collection by Pascali Semerdjian Arquitetos for the prominent São Paulo furniture gallery Etel. “I was the first person to have it,” Guerra recalls, still delighted by the coincidence. “Mine was number-one out of the factory.”

Guerra didn’t meet Pascali and Semerdjian until two years later, as she interviewed firms for the house project, but the rapport was immediate.

Guerra was as interested in the building itself as she was in the furnishings and objects that would fill it, equal components of Pascali and Semerdjian’s eponymous practice. “In those first meetings, we spoke about literature and art and music,” Pascali recalls. “When you have a greater affinity, a stronger connection, with a client, that translates to greater liberty and a more unified architecture.”

Guerra and her husband had been in their previous home in the leafy Jardim Europa neighborhood for 15 years and, when they realized they simply needed more space, they’d initially hoped to find a turnkey in the same neighborhood or, at worst, a house they could renovate. When nothing appeared, they settled for a level, well-proportioned lot with a neocolonial house they felt no qualms about demolishing. For the new project, Guerra sought spaces that would support, rather than distract from, her growing art collection and, though she knew she wanted to avoid replicating the suspended wooden boxes that have proliferated around São Paulo’s affluent areas, she also “didn’t want something that would stand out in the middle of the street.”

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rectangular lot, opening an L-shaped garden at street level. Upstairs, three bedrooms, each with its own bath, a small gym, and the main bedroom suite would occupy five interconnected volumes turned at 45-degree angles, like prisms, over the ground floor’s footprint in order to face due north, the sunniest exposure in the southern hemisphere. That gesture broke up the 7,800-square-foot house’s massing and created a natural setback from the road, which the architects emphasized with a freestanding breezeblock partition, or Brazilian cobogó, of prefabricated concrete capsules fit together like oversized chainmail. From the street, the residence would resolve as a horizontal band of aluminum, almost maritime in its streamlined simplicity, with the concrete screen rising above it like a widow’s walk, providing privacy for the bedrooms. The sawtooth upper level also opened apertures for skylights and interior gardens on the ground floor while generating “spaces that would reveal themselves as you move through the house,” Semerdjian says—an element of surprise that Guerra had requested from the beginning.

Turning to the interiors, she, Pascali, and Semerdjian drew inspiration from Japanese and Mexican architecture with their emphases on material simplicity, formal clarity, and blurred boundaries between nature and built space. Those references are visible in the foyer, where basalt flooring and the sucupira ceiling beams and door, almost squared in its proportions, recall the elegant rusticity of Mexican master Luis Barragán. The entry hall then opens into a broad corridor, conceived as an elongated white-cube gallery connecting Guerra’s office to the luminous living room, where the Pascali Semerdjian side table stands next to a rust-colored sofa by Italian architect Gianfranco Frattini, adding a global note. An open hearth separates the living room from the dining room, flanked by a terrace on one side—here, Pascali and Semerdjian conceived a custom bench that will enter their collection with Andrea’s name—and, on the other, an interior

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Opposite top: Pieces by more Brazilians—Sergio Rodrigues’s Cantú chairs and artwork by Luciana Kater—define the home office, with custom desk and cabinetry and a lacquered floor. Opposite bottom: Back in the living room, a custom coumarou bench presides over Baobab slipper chairs by Lievore Altherr Molina, Yuzu armchairs by Claesson Koivisto Rune, Gianfranco Frattini’s Grand Sesann sofa, and Leonardo Lague’s Solaris cocktail table.

Top, from left: The dining room’s Josefina chairs by Fernando Prado. A custom banquette and table with Quadros chairs and a vintage pendant fixture in the breakfast nook. A skylight’s shape echoing profiles of the house. Bottom: Off the dining room and from the swimming pool in the ground-floor garden, the jagged facade of the upper floor reveals itself.

“Inspiration came from Japanese and Mexican architecture with their emphases on material simplicity, formal clarity, and blurred boundaries between nature and built space”

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garden where parlor palms brush against a hanging stainless-steel work

by São Paulo sculptor Renata Padovan.

Though Guerra and her family brought a clutch of items from their previous home—a pair of high-backed Cantú chairs by another Brazilian talent, Sergio Rodrigues, for instance, and a wooden stool that belonged to her grandparents—they mostly started from scratch, allowing Pascali and Semerdjian to integrate architecture and interiors. As Semerdjian says, “Sometimes you can’t resolve a space through moveable pieces— the architecture and furniture have to go together.” Here, that meant emphasizing flexibility in the public spaces with stand-alone furnishings from such contemporary Brazilian designers as Leonardo Lague, Claudia Moreira Salles, and Fernando Prado, and crafting the private quarters around freijo built-ins.

Sliding panels in another wood, weather-resistant Accoya, shield the glass doors that open from the bedrooms onto a rooftop garden. Rather than the tropical proliferation of broad-leafed philodendrons and calatheas typical of São Paulo gardens, Guerra had the roof planted with native grasses, euphorbias, and mother-in-law’s tongue, an austere, slow-growing landscape inspired by Mexican garden design that connects Guerra and her family to distant worlds and experiences. “It is the first thing I see when I wake up each morning and always makes me happy,” she says: the surprise of an alien beauty, which is also, always, a quiet provocation to explore.

PROJECT TEAM FÁBIO RUDNIK; RODRIGO GUERRA; SUZANA KNOBEL; TALI LIBERMAN; INAÊ NEGRÃO; LEOPOLDO SCHETTINO; JOÃO PAULO MACHADO; GABRIELA MOURAD; AINE OLIVEIRA: PASCALI SEMERDJIAN ARQUITETOS. RENATA TILLI: LANDSCAPE ARCHITECT. CONSTRUMAR: CIVIL ENGINEER. D’FRANÇA MÓVEIS: WOODWORK. DIX METAIS: METALWORK. PRODUCT SOURCES

Top, from left: A custom bed and headboard in the main bedroom complement a Sopro bench from Pascali Semerdjian’s design brand, PSDS, and a Puffer armchair by Mula Preta. In her bathroom, the custom sink and vanity are composed of Tauari wood and Paraná White marble, both materials native to Brazil. Bottom: The basalt terrace off the living room centers on the Andrea bench, named after the client and now produced

by Brazilian gallery Etel, while the Sands and Lacuna chairs are by Fulvio Nanni (left) and Claudia Moreira Salles.

Opposite: Above Brazilian photographer Luiza L. Lavorato’s diptych in the powder room, with custom sink in Verde Guatemala marble, a ventilated skylight allows live sansevieria plants to thrive.

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FROM FRONT TRESUNO: CUSTOM SCREEN (ROOF GARDEN). BALI MADEIRAS: PERGOLA (ENTRY HALL). PHENICIA CONCEPT: RUG (LIVING ROOM). TOQUE FINAL CORTINAS: CUR­TAINS. TACCHINI: SLIPPER CHAIRS, SOFA. ARFLEX: ARMCHAIRS. SANTA & COLE: LAMP. TABLERIA: CUSTOM BENCH. MICASA: COCKTAIL TABLE (LIVING ROOM), TABLE (DINING ROOM). ETEL: MAGAZINE STAND (LIVING ROOM), BENCH (TERRACE). DPOT: CHAIRS (DINING ROOM, TER­ RACE). OVO: CHAIRS (BREAKFAST NOOK). MULA PRETA: CHAIR (BEDROOM). PSDS: BENCH. LABLUZ: SCONCES (BATHROOM). DECA: SINK FITTINGS, TUB FILLER. VALLVÉ: TUB. CASA ATICA: TABLE (TERRACE). PUNTO: SINK FITTINGS (POWDER ROOM). VIDROS QUEIROZ: CUSTOM MIRROR. THROUGHOUT EUROMARBLE: STONE FLOORING. LUMISYSTEM: CUSTOM WINDOWS. STO CORP.: PAINT.

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text: peter webster

the high life Seven residential towers across the Americas redefine the art of dwelling above it all

setting the scene Around the world, institutional projects from theaters and museums to offices and libraries are creating compelling drama text: edie cohen See page 152 for the Huron, a waterfront condominium development in Brooklyn, New York, by Morris Adjmi Architects. Photography: David Mitchell.

See page 186 for the Jirásek Theatre, a 14th-century building in Ceská Lípa, Czech Republic, artfully renovated by Adam Rujbr Architects. Photography: BoysPlayNice.

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“The two-tower massing increased the number of corner units, maximizing views through large, factory-inspired, divided light windows”

morris adjmi architects project The Huron, Brooklyn, New York. standout The Greenpoint neighborhood’s industrial waterfront heritage is reflected in the pair of 13-story steel-and-glass towers on a rough-brick podium that comprise this 171-apartment condominium development. Inside, the urban edge is tempered by a palette of natural colors and materials.

Blond wood paneling wraps the lobby, where the custom reception desk— faced in handwoven pink leather and topped with onyx—stands before a wall of glazed green tiles. It’s flanked by Elise Ferguson’s commissioned works on linen, a foretaste of the local art displayed throughout the comfortably furnished public spaces, which include an oak herringbone–floored lounge and dining room, a playroom, and spectacular 50-foot-long saltwater pool lined with teak-framed chaises. photography David Mitchell.

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studio arthur casas project Ibaté, São Paulo. standout The area’s transitional nature—urban verticality giving way to suburban expansiveness— is reflected in the 30-story building’s raw-concrete facade: a hanging garden of full-length terraces and carefully positioned planters draped with trailing vegetation. With one apartment per 4,800-square-foot floor, plus a penthouse duplex, the usual spatial constraints of metropolitan living feel relaxed. The transition between city and home is via an elevator lobby open to a cobblestone court with a Corten sculpture by Túlio Pinto and a lush garden. Glass walls enclose the adjacent lap pool, so that here, art, leisure, and nature all converge. By contrast, the adjoining party room is a cocoon of pale oak millwork, smooth acrylic-plaster finishes, sleek sintered-stone flooring, and comfortable contemporary Brazilian furniture. photography Fran Parente.

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“The building prioritizes spatial quality and integration with the urban environment, focusing on structural clarity, conscious use of materials, and enhancing common areas”

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atelier gulla; scb; works architecture project Alloy, Los Angeles. standout The Arts District’s first high-rise development comprises a podium and six-story commercial building by Works, along with SCB’s 35-story, 475-unit residential tower. For the public spaces, Gulla Jónsdóttir channeled the neighborhood’s layered, industrial past by drawing on kintsugi, the Japanese art of repairing broken pottery with precious metals so the cracks are highlighted. Hence the gold seams that run like jeweled fault lines across concrete walls in the lobby and third-floor lounge. The latter offers intimate booths moodily lit by Massimo Castagna’s brass sconces, convivial seating groups featuring Draga & Aurel’s swiveling chairs, and direct openness to the pool deck. High above, amid rooftop seating, a tree is growing through a massive concrete oculus. photography Yoshihiro Makino.

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“The numerous amenities help create community and prepare students for academic and professional success”

“Our inspiration began with the beauty of imperfection that we saw mirrored in the character of the Arts District”

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rhode partners project The Linden, Austin, Texas. standout A sculptural white-onyx reception desk and commissioned stainless-steel or plaster wall reliefs by Brandon Mike announce the contemporary museum– inflected ambience defining this 28-story, 117-apartment tower, which includes eight levels of parking.

Upstairs, the residences’ clean-lined custom millwork, flooring of oak herringbone or parquet, and marble counters continue the sophisticated urban vibe. But it’s the amenity spaces on 10—among them private dining, coworking, sauna, and colonnaded terrace with pool—that epitomize the art-world aura, not least the double-height lounge, where low-slung sectional sofas are overlooked by Patrick Puckett’s figurative painting from the Linden’s collection. photography Chase Daniel.

“Conceived as a response to the surrounding Museum District, the clarity of structure and use of refined materials are a backdrop for an extraordinary art collection” NOV.25

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anda andrei design; arquitectonica; gabellini sheppard associates project Five Park Miami Beach, Florida. standout Anda Andrei and Gabellini Sheppard have given the interiors of Arquitectonica’s 48-story, 280-unit elliptical tower a tropical vibrancy balanced by cool sophistication. The mix is especially evident across the 50,000 square feet of amenities, notably in the residents-only Canopy Club—a 26th-floor social hub that includes the aptly named Mint Lounge and Plum Bar, intimate spaces with hand-plastered walls in rich, evocative colors inspired by Moroccan hurricane lamps. The assured moodsetting continues on the third floor with the Cinema, a versatile events venue featuring Hans Hopfer’s hippie-de-luxe Mah Jong reconfigurable seating; the saturated pigments and crisp graphics enlivening the adjacent game room walls; and Hervé Descottes’s Breuer-esque overhead lighting grid in the airy coworking lounge. photography Michael Munty.

“Thoughtfully curated accessories, books, and art infuse each space with warmth, character, and timeless charm”

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“The amenities reflect a holistic approach to wellness—integrating sensory comfort, movement, and nature into every experience”

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clodagh design; hks; lake flato project 700 River Street, Austin, Texas. standout HKS and Lake Flato’s 43-story, 377-unit rental building features warmly biophilic common areas and model apartments courtesy of team Clodagh, guided by the five elements of Chinese cosmology—wood, fire, earth, metal, water—expressed through materials, textures, and tones. Hence the Eric Gushee biomorphic woven-wire sculpture on the clay-colored plaster wall above the lobby fireplace, bookended by illuminated oak-millwork niches punctuated with live plants. Flanking the reception desk, water streams from a lip nestled in a column of greenery, filling a pebble-lined pool and bringing the sound of nature indoors. That connection is exemplified on the 12th-floor amenities deck, where the infinity pool appears to merge seamlessly with Lady Bird Lake just across the street. photography Likeness Studio.

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“The diverse, refined materials palette creates a balanced composition of the elements, showcasing the harmony of rhythmic graphic symmetry and organic forms”

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scb; tihany design project Victoria Place, Honolulu. standout SCB’s 40-story, 350-unit condominium is the seventh residential tower at Ward Village, a 60-acre planned community, with immersive landscaping by Vita. Right from the open-air lobby— distinguished by giant lanterns, chiseled-coral walls, and walnut millwork—Tihany’s public spaces feel like a fluid extension of the serene setting. A retractable wall turns the ground-floor pool house into a single indoor-outdoor entertainment space, anchored by Jun Kaneko’s ceramic sculpture at the end of the enclosed garden. Art also graces the spa lobby on the fifth-floor amenities deck, where Pegge Hopper’s Gauguinesque diptych presides over Vincent van Duysen sofas and Christophe Pillet armchairs looking out on a lap pool—a match for the infinity pool on the building’s other side, backdropped by views of Diamond Head. photography Courtesy of Ward Village.

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c o n ta c t s DESIGNERS IN SPECIAL FEATURE Morris Adjmi Architects (“The High Life,” page 150), ma.com.

Anda Andrei Design (“The High Life,” page 150), anda.com.

Arquitectonica (“The High Life,” page 150), arquitectonica.com.

Atelier Gulla (“The High Life,” page 150), gullajonsdottir.com.

Clodagh Design (“The High Life,” page 150), clodagh.com.

Gabellini Sheppard Associates (“The High Life,” page 150), gabellinisheppard.com.

HKS (“The High Life,” page 150), hksinc.com.

Rhode Partners (“The High Life,” page 150), rhodepartners.com.

SCB (“The High Life,” page 150), scb.com.

Studio Arthur Casas (“The High Life,” page 150), arthurcasas.com.

Tihany Design (“The High Life,” page 150), tihanydesign.com.

Works Architecture (“The High Life, page 150), worksarchitecture.net.

PHOTOGRAPHERS IN FEATURES Eric Laignel Photography (“Queen of the Castle,” page 104; “Family Values,” page 124), ericlaignel.com.

Adam Kane Macchia (“Concrete Jungle,” page 132), adamkanemacchia.com.

Fran Parente (“National Treasure,” page 142), franparente.com.

Reid Rolls (“Concrete Jungle,” page 132), reidrolls.com.

Anson Smart (“Mise en Scène,” page 116), ansonsmart.com.

DESIGNER IN CREATIVE VOICES Formafantsma (“Mind Games,” page 41), formafantasma.com.

DESIGNER IN WALK-THROUGH Forma (“Friend Zone,” page 49), formany.net.

PHOTOGRAPHER IN WALK-THROUGH Devon Banks Photography (“Friend Zone,” page 49), devonbanksphotography.com.

DESIGNER IN CENTERFOLD

Interior Design (ISSN 0020-5508), November 2025, Vol. 96, No. 11, is published monthly with seasonal issues for Spring and Fall by the SANDOW Design Group, LLC, 3651 FAU Boulevard, Boca Raton, FL 33431. Periodicals postage paid at Boca Raton, FL, and additional mailing offices. POST­ MASTER: Send all UAA to CFS; NON-POSTAL AND MILITARY FACILITIES: send address corrections to Interior Design, PO Box 808, Lincolnshire, IL 60069-0808. Subscription department: (800) 900-0804 or email: interiordesign@omeda.com. Subscriptions: 1 year: $69.95 USA, $99.99 in Canada and Mexico, $199.99 in all other countries. Copyright © 2025 by SANDOW Design Group, LLC. All rights reserved. Printed in the USA. Material in this publication may not be reproduced in any form without permission from the publisher. Interior Design is not responsible for the return of any unsolicited manuscripts or photographs.

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ERIC LAIGNEL

Marina Tabassum Architects (“The Nature of Change,” page 99), marinatabassumarchitects.com.

Winners announced December 11 | NYC

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design annex THE spec

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3: YUDI ECHEVARRIA

Metals gleam and glow like fine jewelry

editors' picks

editors' picks

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1. Double Macaron chromed-steel side table (also on cover) by Fleur Delesalle. fleurdelesalle.com

2. Johan Lindau’s Blank chrome side tables for Blå Station through Scandinavian Spaces. scandinavianspaces.com

3. Landlord wall shelf of polished aluminum by Oforo. oforo.co 4. Julio Torres’s Landing sofa with stainless-steel legs and checkerboard bolster pillows (launching in January)

by Sabai. sabai.design 5. Mama cabinet knob in bronze

by Known Work through Petra. petrahardware.com

6. Iris aluminum lamp with polished shade and a roughly textured, sandcast base by Manuhita through Adorno. adorno.design

6: MANUHITA GUPTA

7. Lenny Kravitz’s Nagara table lamp with hand-welded polished stainlesssteel wire frame, rice-paper shade, and marble base by CB2. cb2.com 8. Sphere hooks in tumbled nickel, tumbled brass, and nickel by Lo & Co Interiors. loandcointeriors.com NOV.25

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THE spec

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2025 EVENTS, AWARDS & PROGRAMS Feb 19 Austin, Mar 6 Los Angeles, Mar 19 Atlanta, Apr 9 Minneapolis, Apr 23 Dallas*, May 14 D.C., Jun 25 Boston, Jul 16 Denver, Aug 6 Seattle, Sep 3 New York*, Oct 1 San Francisco, Oct 22 Miami. * Residential

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it all adds up Spanish architect Fran Silvestre is a master of geometry. At first, his minimalist white constructions appear to be abstract interlopers in the natural landscape. But there’s a rigorous, sensitive logic behind every plan. Such is the case at a 3,875-square-foot, three-bedroom house in Caldes de Malavella, just north of Barcelona.

Long and narrow, the 1/₄-acre plot within Camiral, a luxury golf resort, could have been limiting. But for Silvestre, CEO of Valenciabased Fran Silvestre Arquitectos, and Carlos Lucas, his director of architecture, it was an opportunity to create something different: two offset volumes poised amid lush rolling hills. “The house adapts precisely to the site, with each gesture conceived according to light, silence, and views,” Lucas says. “The geometry dialogues with the place in a quiet yet powerful way.”

The reinforced-concrete structure, coated in a white-finish external thermal insulation system, supports a cantilevering upper volume, which shades a pool and terrace below and allows residents to inhabit separate planes, their interiors collaborated on with designer Alfaro Hoffman. A skylit, white porcelain–floored staircase that Lucas calls the heart of the house links the three planes, which comprise a subterranean multipurpose area, ground-level social spaces, and the upper bedroom floor, its enclosed balcony framing views of the golf course and beyond through a dramatic 10-by-26-foot rectangle. Masterful geometry indeed. —Rebecca Dalzell

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