OBJEKT©International D10

INTERNATIONAL

INTERIOR DESIGN ART + MORE

OBJEKT© iNTERNATIONAL Living in Style no. D10, spring 2022 Published by Hans Fonk Publications bv.

Distripress member - issn 1574-8812 Copyright ©Hans Fonk

In a time of uncertainty and war, it is perhaps good to remember some of the wise words by Winston Churchill.

Founder and editor-in-chief: Hans Fonk Editor-in-chief: Izabel Fonk

“If the human race wishes to have a prolonged and indefinite period of material prosperity, they have only got to behave in a peaceful and helpful way toward one another.”

Honorary editor in chief USA and Canada: Alexander Sasha Josipovicz, Studio Pyramid Inc. 1232 Yonge Street, Toronto, ON, M4V 1E4 sasha@studiopyramid.com Head Office Berlin, Germany Rneé Wilms Unique Company Group Oberwallstraße 14 D-10117 Berlin, Germany OBJEKT International ASIA/CHINA Cora Feng Xi Tang Art Center. No 2. Xi Ba He Road, Chaoyang district, 100028 Beijing, China Contributing writers: Izabel Fonk, Sasha Josipovicz, Susan Grant Lewin, Milosh Pavlovic, Ruud van der Neut, Lorenza Dalla Pozza, Robyn Prince, Raphaëlle de Stanislas, Rene Wilms, Mercedez Zampoli.

Contributing photographers: Kaasam Aziz, Juan Benavides, Tor Ivan Boine, Gaber Border, Giovanni Corabi, Bruce Damonte, Suryan-Dang, Omar Victor Diop, Joe Fletcher, Amy Gwatkin, Alaia Fonk, Hans Fonk, Christopher Horwood, Dexter Lander, Masaki Komatsu, Javier Márquez, Takumi Ota, Pietro Savorelli, Nick Smith, Serena Eller Vainicher, Andrea Valcavi and David Whittaker.

Graphics: Hans Fonk Studio Art directors: Hans Fonk, Alaïa Fonk Video productions: Alaïa Fonk Illustrations: Eveline Lieuwma-Puijk

photo: Alaïa Fonk

This edition of OBJEKT International again is combining great art and new fashion ideas with the world of interior design.

From the installation ‘Fragrance with Lotus Flowers’ for Japanese dance to Alexander Calder casting his shadow ahead and from Chinese cultural re-interpretations to ‘Fashioning Masculinities: The Art of Menswear’ the first major V&A exhibition to celebrate the power, artistry and diversity of masculine attire and appearance.

Inspirational continuity is enlightened by the creative works from Giovanni Battista Tiepolo, Massimo Iosa Ghini to Marcel Wanders.

Corporate head office: Raadhuislaan 22-B NL-2451 AV Leimuiden - Netherlands t:+31 172 509 843 info@objekt-international.com www.objekt-international.com

H A N S FON K

FACEBOOK: @OBJEKT.INTERNATIONAL INSTAGRAM: @OBJEKTINTERNATIONAL YOUTUBE: @OBJEKTINTERNATIONAL TWITTER: @OBJEKT_INT VIMEO: @OBJEKTINTERNATIONAL PINTEREST: @OBJEKT Advertising and international sales: izabel@objekt-international.com

INTERIOR DESIGN ARCHITECTURE ARTS, ANTIQUES GARDENS, YACHTS

Honorary ambassadors OBJEKT International OBJEKT USA-CANADA George Beylerian Eric Booth Martyn Lawrence Bullard Tony Chi Massimo Iosa Ghini Jacopo Etro Marva Griffin Wilshire Ralf Ohletz von Plettenburg Glenn Pushelberg George Yabu Rene Wilms

INTERNATIONAL DIGITAL PUBLICATION BY HANS FONK PUBLICATIONS COVER : WALES BONNER , SPRING SUMMER

2015

AFRIQUE . V & A EXBITION : FASHIONING MASCULINITIES , THE ART OF MENSWEAR PHOTO : DEXTER DANDER

WHAT’S UP FOREWORD

ZANABONI

HENNING WAGENBRETH

FRAGRANCE WITH LOTUS FLOWERS

BASIC WHITE

SIMPLY ZEN SIMPLY CURVED SIMPLY RED

SHIROKANE, TOKYO

MARCEL WANDERS: V.I.P.

GIOVANNI BATTISTA TIEPOLO

MASSIMO IOSA GHINI

CLIFF HOUSE, CAPE TOWN

MOTOPANFILO REVIVED

COLLOSEUM VIEW, ROME

FASHIONING MASCULINITIES THE ART OF MENSWEAR AT THE V&A

BERGMAN DESIGN HOUSE

ANUBHUTI, GURGAON, HARYANA

THE FOREST HOUSE

CALDER CAST HIS SHADOW AHEAD

SHEEP UNDER THE FLOOR

BIG WOOD’S FINEST

ITALIAN HYPER DECORATION

2BY4 COLOR EXPLOSIONS OBJEKT INTERNATIONAL INFO PAGES

02 06 10 12 16 20 24 28 30 36 42 52 62 70 78 80 90 98 102 112 122 126 134 138 140

As a historical company in the furniture market since 1967, Zanaboni, Meda, Italy, has devoted itself to the revival of classical furniture, as well as contemporary furniture, characterized by a unique and recognizable style.

The creations are the result of the focus on the human element and manual workmanship, fruit of years of craftsmanship, a soulful dimension in which memory plays a decisive role and restoring a centuries-old tradition of shapes and decorations.

Zanaboni’s production process combines quality and precision of execution, a meticulous work closely linked to the tradition, but always open to innovation and experimentation.

The modern Zanaboni Edizione collection reinterpret the classic and contemporary style with an innovative and modern approach, still based on the secure background that is the company's history.

A strong international imprint and a solid artisan base, combined with cutting-edge techniques and innovative design, constitute the added value that gives importance and personality to the creations.

Each Zanaboni product is a unique and refined work, the result of the skillful work of master craftsmenand the contribution of some of the most brilliant nationally and internationally renowned architects, Mariko Reed including Studio Mamo, Marco Cocco, Stefano Bettio, Photos: Andrea Borgogni and Castello Lagravinese Studio. Art work on wall by Hans Fonk.

modern times classic values

PHOTO: RETO GUNTLI

UNIQUE EXPERIENCES Selected Retreats for Family & Friends

WWW.UNIQUE-EXPERIENCES.CH

Izabel Fonk on Kyrasinda D&E Everdale x Trento b - Mare, 2015

Fonk Sporthorses - Top Quality Horse Training and Breeding www.fonksporthorses.com

henning Wagenbreth juggler of ideas and illustrations

A UFO landed in Montréal, dropping off its cargo of highly unusual graphic objects at the UQAM Design Centre. Curated by Marc H. Choko the spaceship’s commander was the Berlin poster artist and illustrator Henning Wagenbreth.

His world is composed of comic-book characters that provide almost all of his works with a caricatured human presence, robots, rockets, and infernal machines.

Wagenbreth spreads his graphic design talent in all directions: illustrations, posters, books, stamps, record jackets, games, theatre costumes and sets, puppets. His colorful, teeming, deconstructed works may seem naïve, but they are perfectly thought out and masterful.

Easily identifiable, they have made their creator’s name internationally.

Raised in East Germany, Wagenbreth was involved in some anti-regime activities until the fall of the Berlin Wall. Since then, his critical gaze at society has been embodied in images that are intended to make us think.

His social and political commentary is usually leavened with a bit of sarcastic humor and perceptive satire. His playful approach to graphic design first draws his clients in and then, at second glance, leads them to reflect on questions that are serious, even dark. Ultimately, the idea is not to please but to send a message.

His graphic style evokes Art Brut.

Illustrations consist of cut-out pieces, almost like geometrical puzzles, to which are added the composite typography that Wagenbreth designs himself. All are arranged in a visual cacophony that may draw inspiration from the surrealists’ exquisite corpse technique.

“The legibility of my idea is important.

I grab people with an interesting image, and then they look at the rest.”

In Wagenbreth’s view, everything is worth a laugh.

Fragrance with Lotus Flowers

The installation Fragrance with Lotus Flowers for Japanese dance was based on the lotus, a sacred flower in Japan. It represented the beauty of Japanese space created by the shades of shadow of the fragile and weak light: a celebration to the main theme of Japanese spatial design. It is about designing a form itself, but to design the effect brought about by the manipulation of the form.

The installation designed by Nakamura Kazunobu Design won two awards: BoY Honoree and AMP Best of Best.

Nakamura Kazunobu: “In Japanese gardens, ponds with lotus flowers are usually shrouded in a light mist in the early morning when the flowers are in bloom. A fog seems to visualize the fragrance of lotus flowers. In Japan, fog represents profundity and has a sacred atmosphere. It is a mist formed by delicate light and water particles that catch the light. I tried to design a new space by objects that have such a vague appearance.”

Over a thousand ‘lines’ filled the space. The ‘line’ celebrated Japanese beauty, as if it softly absorbs light, rather than strongly repelling it.

By designing the sparseness of how the lines come together, a gradation with shades of transparency is drawn, spreading across the space.

The designer: “We created a space that seemed to be enveloped in a rising mist develops Japanese Dance. The more than 1,000 lines are made of very thin wooden squares of 4 mm square. The lines are attached to a delicate lattice, assembled with metal rods of about 1.0 mm in diameter, and are suspended from the ceiling.”

“The spatial points, such as the planar position and height of these square timbers, are calculated and placed, one by one, using 3D modeling design technology to create a fog-like gradation of light. It followed the way gardeners who maintain the beauty of Japanese gardens adjust the density of branches and leaves by pruning trees, creating gradations of sparseness, and denseness to design transparency and depth.

The material for the 4mm square ultra-fine square lumber is Japanese cypress. In Japan, the Japanese cypress is considered to be a tree in which the gods dwell.”

photos: Masaki Komatsu

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THE ABSTRACT WHITE

Located on the west side of Ibiza, the essence of the Spanish island has inspired the design of this small duplex, resulting in a serene and orderly identity.

The owners wanted to reduce the interior design to the essential without renouncing the spirit of a Mediterranean lifestyle. Therefore, Francesc Rifé Studio focused on whites and controlling the excess of light on an open-to-nature terrace.

Inside, the palette of whites extends to the lacquered walls and doors, as well as along the floors. Only oak wood is revealed behind a large sliding door that shows one space while hiding another. As a result, the main stage is quiet and comes to life through the contrasting undercover areas and shelves. In the living is an L-shaped shelf which functions as a long desk all the way to the window. The use of curtains creates calm and softens the natural light.

The interior is defined by the surfaces of elm wood that have been applied in the kitchen and a loungedining area to host family and friends gatherings.

Furniture by Fredericia, Arkoslight, HAY, and bespoke pieces designed by the studio.

Photos: Javier Márquez

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si m p ly ze n

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Surrounded by unfinished buildings, waste land and industrial sites, the project is definitely not blessed with beautiful surroundings.

This is the Sky Yards Hotel, located in Xiuwu County, Henan Province, China and designed by Domain Architects from Shanghai.

Despite the temporarily unfavorable conditions, Taihang Mountain is still visible.

By using a very simple and consistent method, the designers invented a ‘room + micro-yard’ model for their hotel design. Devoid of superficial visual elements of Chinese or local culture, Sky Yards evokes the traditional Chinese garden making methodology of concealing and revealing.

Xiaomeng Xu architect and founder of Domain Architects: “Usually a hotel room is designed as an outward box to maximize the view.

Consequently, a typical hotel building would be a collection of opened boxes.”

“We rejected this conventional model and went back to the starting point of design: the room experience. We reinvented the actual experience in a typical unit: first, the exterior view below eye-level is blocked, while the view above is left open. Then the opening is lifted or enlarged to invite more light and air. Finally full-size glass doors divided the unit into a combination of interior room and exterior micro courtyard, while the boundary in between is highly blurred. During different times in a day, the sunlight interacts with the curved wall of the opening in different ways, producing dramatic and moving atmosphere.”

Lead Architects: Xiaomeng Xu Design Team: Xiaomeng Xu, Chun Wang Interior Design: Xiaomeng Xu, Hannah Wang Landscape Design: Xiaomeng Xu Graphic Design: Xiaomeng Xu, Hannah Wang Photo credits: Chao Zhang

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Above: the Brilliant Prospect project in the city of Shijiazhuang, Hebei Province, China: the revamping of the famous Fifth Cotton Mill.

In the center of two sculptural curved stairs is an installation called the Time Shuttle. photos: BenMo Studio

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By naming the project in Chinese after ‘Nanjing Brocade’, a traditional textile famous for its cloudlike colors and intricate patterns, the project paid homage to the heritage of a city of Shijiazhuang, Hebei Province, China.

This is the property where the best fabrics in the country were produced: the ‘Fifth Cotton Mill’.

The mill has been a part of Chinese culture for generations.

China Overseas Land and Investment redeveloped former mill recently under the name ‘Brilliant Prospect’ into a multi purpose and cultural space.

The design team of GBD with lead designer Du Wenbiao (Bill Do) took on the challenge. The Interior design was done by Guangzhou GBD Design.

Du Wenbiao: “In this project we highlighted the cultural features of the cotton industry in China, using space as the carrier that connects the past and the future. We used a dynamic momentum that outlined the beauty of life in bloom with its unique elements from the past and the formidable sights of the future”.

photos: BenMo Studio

Sinuous curves now grow around the space, weaving segments of time into particular groups, orchestrating multiple ideas into one: an epic opera with its magnificent forms fascinating people with a distinctive charm.

The artistic staircase became the symbolic entrance to a time tunnel that distributes imaginative elements above and below ground.

At the center of two sculptural curved stairs is an installation called the Time Shuttle.

The main functional zone of the property is located in a sunken courtyard where mirrored areas provide depth, separating everything inside the property from the complexities of the outside world.

The salon area opposite to the book bar interprets the convergence of time with geometric shapes.

The whole space has a church-like sacredness and tranquility and cultivates a life of elegance with poetry, wine, flowers and tea. It is gathering the essence of life through elements such as rhythm, softness and comfortable surroundings to enjoy the company of old and new friends. The transformation of the place became a ‘dance frozen in time’.

“An artistic choreography between real and imaginary times, providing guests with endless possibilities from the future, in a banquet, meeting or party in modern times,” according to the designer.

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photos: Songkai and Lin Lifeng

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simply red wood #2 Wooden Pavilion #2 in Zhenjiang, Jiangsu, China, is a spatial experiment on using small-scaled temporary buildings to stimulate the site. It was designed by Lin Lifeng and Zongrui Chai, LIN Architects.

Wooden Pavilion #2 is a prototype based on the human scale, It can be adjusted from a primitive hut with the basic needs of human living to a church.

The architects developed a new architectural approach from detecting macroscopic urban problems and propose systems and correcting them by of architecture interventions.

On a small scale, it raised communication opportunities for people and further a ctivates the vitality of the community at a macro level.

Each section of the pavilion sets different guides for people and their interaction patterns.

In terms of the specific design process: the formation strategy started from the human scale, and then combined proxemics, behaviorology, and ergonomics to further set up the specific path and behaviour of visitors.

Wooden Pavilion #2 not only creates a dialogue with the traditional architectural forms of the village, but also serves the local residents who, in their leisure time, can communicate and enjoy the harmonious relationship between the architectural space and its surroundings.

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Shirokane

my darling

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The striking building is located in Shirokane, Minato ward in Tokyo, Jana, at a corner of a f our-way intersection on Gonohashidori street, a raod which extends to the south of Furukawa River.

The project has a triple role of residential, retail, and office space. At first glance the street seems to have an old-fashioned touch to it, but it is not as narrow as what the traditional Japanese streets look like.

Both facades of the building could be seen from a far distance and for this reason, it was important to design the project to portray the architectural structure as an iconic presence on the street. Ryuichi Sasaki/Sasaki Architecture won with this project the Best of Best in the Mixed-Use Architecture category at Architecture Master Prize 2021.

The architects Ryuichi Sasaki / Sasaki Architecture and Rieko Okumura/Ytro Design Institute came up with a simple design with a minimal amount of waste, and a high degree of spatial freedom within the architectural structure.

The five-story building’s exterior is composed of reinforced concrete bearing walls. The shimmering surface in the light was achieved through the shifting stainless-steel panels and concrete spirals design. This composition of the facade allowed the shadows falling on the street to shift depending on

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Escenario Shirokane Design Team: Ryuichi Sasaki, Gen Sakaguchi, Yuriko Ogura / Sasaki Architecture.

Light Design: Natsuha Kameoka/Lighting Sou. Photography: Takumi Ota Photography, Bauhaus Neo. Client: Nobumitsu Ohashi / Shukou Kensetsu Co., Ltd

the time of day and seasonal changes, allowing for a wide variety of expressions.

The design was inspired by the lively Shirokane town and allows residents, visitors, pedestrians, cyclists, and drivers to catch the reflections of its vitality. While the first floor of the building consists of restaurant units, accessed through a glass sliding door, the second to fourth floor each have two residential units. Finally, on the fourth floor, an entrance to a staircase leads up to the fifth-floor office space.

The residential units range from a one-person studio to one-bedroom apartments with living, dining, and kitchen spaces. They are designed with large square openings to recreate the effect of space, light, and wind.

Sliding walls enabled the bedroom and the living room to be used as one single unit. To emphasize the contrast of the materials, white and concrete walls are used. The spatial relationship between the room areas is designed to meet the individual needs of each resident, compromising a flexible structure.

Additionally, the maisonette designed as a two-story oft space, with 3.7 meter high ceilings, can be used not only as an office space, but also as a residential area.

The playful use of materials in the spatial flexibility was based on the idea of minimalism in relation to the building’s surrounding environment, providing a rich and unique experience.

The dialogue between the existing architecture and the surrounding environment was firmly established through the various use of materials and the architectural design of the structure .

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“Whe the main

thread throuo is our

D herage and

cture, we ose

individu concepts to

express the inspirion

th has come from

generions of designers

and owed us to

coinue giving creive

gifts to the world,”

Marc Wanders designed the ieriors of

the VIP ceer  Siphol Airport,

Amsterdam.

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Celebrating Dutch history with the world, the VIP center at Amsterdam Airport Schiphol, travellers experience a journey through time. They can experience the iconic, historic and contemporary pieces of Dutch art and design.

Created to offer a more exclusive and personal check-in experience, places to meet for business or just to relax, the space was recently comprised of several rooms that each offers a theme and mood, from Delft Blue Dining to XVII century knowledge: all motifs that capture a different facet of the creative Dutch culture.

The new interior design concept by Marcel Wanders studio focused on selected areas and works in balance with existing areas, designed by Concrete Architects in 2010 and which now also see an update by Marcel Wanders.

Upon entering, travellers are welcomed into a space that feels like walking into the Rijksmuseum Gallery with masterpieces of 17th Century Dutch painters. The modern digital gallery places the works on digital screens and carved wooden frames, allowing for interchanging content of different themes and images throughout the year.

From there, the journey continues to several distinctive spaces, such as a lounge with its digital art installations, such as the now famous Rijks Masters book by Marcel Wanders studio, as well as contemporary design pieces and custom printed carpet. The backlit curved glass walls have remained and were created 10 years earlier

by Concrete Architects.

The ‘Dutch Contemporary’ VIP Room is designed to fit Dutch design and contemporary art into a traditional setting with a modern twist.

It features furniture made out of white paper and cardboard. The 'Tromp l'oeil' walls in this space are photographs of Hendrik Kerstens that payhomage to the paintings of Old Dutch Masters like Vermeer, Frans Hals and Jan van Eyck.

A multi-functional pressroom and conference room have friendly design with smart features and Trompe l'Oeil Boiserie on the walls and decorative wallpaper above. A private library was designed with colors to relax the mind and allow for solitary reading or personal reflection. The Dutch Heritage & Portrait Gallery is a space celebrates Dutch culture’s innovative and entrepreneurial eras with digital screens and prints of historical key figures in Dutch history.

The Delft Blue Salon is a newly created private space solely focused on the Delft Blue technique. A smoking room captures the essence of the early Dutch explorers and the origins of tobacco, while its vintage furniture and elements.

The Oasis of Silence fulfills need for peace, silence and rest. Designed with soft materials to absorb the days long travel stress, these two rooms provide tranquility far away.

The VIP center at Amsterdam Airport Schiphol showcases sculptures and design accessories by Dutch Designers Maarten Baas, Studio Drift, Kiki van Eijk, Studio IJM, Pepe Heykoop, Floris Hovers, Peter van der Jagt, Daphna Laurens, Norman Trapman, Sjoerd Vroonland and Marcel Wanders. It further includes lighting design pieces by Ontwerp Duo, Kiki van Eijk, Studio Job, Atelier van Lieshout, Bertjan Pot, Rick Tegelaar and Marcel Wanders. Graphics and photographs by Irma Boom, Hendrik Kerstens and Marcel Wanders.

Project in cooperation with Lensvelt Amsterdam, preferred supplier of Amsterdam Airport Schiphol .

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“This whole

experience of

the Siphol VIP ceer is made to

ow people to

fe asthou they have

lived whin

D

cture.

Wh a bter

understanding

of D

cture’s love

of beay and our design

sensies,

visors leave

differe from when they

arrived.

It’s another souvenir on

their journey” Creive Direor

Grie Chiave.

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Villa Valmarana ‘ai Nani’, Vicenza

Giovanni Battista Tiepolo Italy is a country in which the culture of the past and present feature prominently.

The Renaissance was of particular significance in bringing forth artists who today are considered to be true geniuses.

Architecture and art also went hand in hand in days gone by.

Take, for instance, Villa Valmarana ‘ai Nani’, on the outskirts of Vicenza. The original building dates from 1669.

In 1720 it was purchased by count Giustino Valmarana, a true Maecenas of the arts.

He elevated the villa to its present grandeur and invited Giovanni Battista Tiepolo to enhance the rooms with colorful frescoes.

The artist addressed all the rooms in the Palazzina and son was responsible for painting the rooms in the Foresteria.

The frescoes created all those years ago have retained their original beauty, freshness and crispness. The villa is still owned by the Valmarana family.

Far left: Villa Valmarana ‘ai Nani’ in Vicenza was built in the mid-17th century.

Around 1720 it was acquired by Giustino Valmarana. He called in Francesco Muttoni to restore the property and enhance the formal entrance, the Foresteria, Barchessa and Scuderia with the grandeur they still possess today.

In the background, the Palazzina and left, the Foresteria. Every room in the villa is decorated with frescoes by Giovanni Battista (Giambattista) Tiepolo. The walls of the guest house were frescoed by his son, Giandomenico.

In that accommodation, father Giambattista painted only one room.

Left: detail of the painting in the Palazzina’s central hall with the sacrifice of Iphigenia: the priest Calcante is about to kill her. photos: Hans Fonk

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These pages: the villa’s entrance hall with, left, frescoes inspired by Virgil’s Aeneid. Right: the sacrifice of Iphigenia by Agamemnon – he is covering his face so as not to observe his daughter’s death. In the centre, the priest Calcante, who is about to kill Iphigenia. She is saved by Diana and her nymphs who send a deer to be sacrificed in Iphigenia’s stead.

On the other side, Aeolus, the god of wind, blows a favourable breeze to enable the fleet to sail away.

Let: detail of a fresco by Giovanni Battista from 1757 in the Palazzina entrance hall. It is based on Virgil’s epic relating to Aeneas.

Vicenza and its surroundings are ‘Palladio country’. That architect left a distinct architectural stamp on the area.

Villa Rotunda is one of the major works: a country house commissioned by the priest Paolo Almerico. The villa is just a stone’s throw from Villa Valmarana ‘ai Nani’: incidentally, the name ‘ai Nani’ derives from the statues of dwarfs on the garden wall.

Villa Valmarana ‘ai Nani’ was built in 1669 on a hillside, Colle di San Bastian, and overlooks Monte Berico on the outskirts of Vincenza in northern Italy.

It was commissioned by the Venetian lawyer, Giovanni Maria Bertolo. He had a ‘Palazzina alla moderna’ built, with Barchesse (annexes) and a Foresteria (guest house), accompanied by fitting gardens.

It is not entirely sure who the architect of Villa Valmarana was. Bertolo probably called in an architect from Venice – possibly Sardi. One thing is certain: in 1700 the patron Giovanni Maria Bertolo left the property to his daughter Giulia, a nun at the Padua Monastery of Ognissanti.

In 1715 count Giustino Valmarana embarked on negotiations with the convent in Padua for the purchase of the villa.

In 1720 the deeds of transfer could be signed. Valmarana proceeded to call in the architect Francesco Muttoni to restore the complex, develop the formal entrance, and enhance the status (which is still present) of the Foresteria (guest accommodation) and Scuderia (stables).

The distinctive frieze and architectural

ornaments were completed by Gerolamo Mengozzi Colonna during that restoration.

Giustino Valmarana was also the one who commissioned father and son Tiepolo to add frescoes in the rooms of the Palazzina (main residence) and the Foresteria.

They had just completed another masterpiece – the royal palace in Würzburg – where they had made, amongst others, frescoes celebrating the marriage of Frederick Barbarossa and Beatrix of Burgundy.

In Villa Valmarana ‘ai Nani’, Giovanni Battista (Giambattista) Tiepolo undertook the frescoes in the Palazzina plus one rooms in the Foresteria.

His son, Giandomenico painted the rooms in the guest house, leaving one room for his father to deal with.

Father Tiepolo primarily derived inspiration from mythology and the classics in his work in the Palazzina, whereas his son based his work mainly on everyday life, The artists chose a different theme for each room which meant that the visitor in fact moved from one story to another.

It is said that in 1757, when he heard his patron had died, Giambattista immediately departed for Venice, fearing he would not be paid. When the will was read, it turned out that Giustino had left sufficient ‘zecchini d’oro’ (gold ducats) for the artist to finish the work.

The Tiepolos worked at record speed and all was completed in four months.

Giovanni Battista Tiepolo (5 March 1696 – 27 March 1770) was born in Venice

These pages: the Sala dell’Eneide in the Palazzina. Venus, the goddess of love, appears to her son, Aeneas and his companion, Achates, who have just landed on the African coast. Venus disappears almost immediately with Aeneas’ son Ascanius.

Another fresco depicts Mercury, the envoy of the gods, appearing to Aeneas and telling him to leave Carthage for Latium. The ceiling in this room was partly damaged by bombs during the Second World War. The painting represents the triumph of Venus.

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and was already famous in his day, renowned for his lively, colourful compositions. His work was greatly influenced by that of Paolo Veronese.

His Rococo style is characterised by fresh, brightly-coloured scenes, to which he often added painted frames.

Remarkably, his frescoes at Villa Valmarana ‘ai Nani’ are still perfectly fresh.

They appear to have been painted recently, with their crispness and clarity.

The Valmarana family still owns the villa.

The complex is well maintained, and that includes the line of 17 dwarfs standing on the walls surrounding the villa. They were sculpted by Francesco Uliaco, based on Giandomenico Tiepolo’s drawings.

Legend has it that a dwarf-princess wandered about here, surrounded by dwarfs. Upon seeing a handsome prince, she became aware of her

handicap and threw herself from the tower.

The pain the dwarfs experienced turned them into stone.

The beauty of the frescoes did not go unheeded: the renowned poet, Goethe, was one of the first to recognise their brilliance. He immediately intuited that the works had been created by two different artists.

He described Giambattista’s style as ‘sublime’, while considering that of the son more ‘natural’.

The frescoes are timeless masterpieces that have been conserved in immaculate condition over the centuries. That is primarily thanks to the Valmaranas, an important Italian family of which mention was already made in 1174.

This page: the Foresteria in the garden of the Villa, transformed by Muttoni In the background the formal entrance.

Right-hand page: the Chinese room in the Foresteria. The frescoes were painted by Giandomenico, the son of Giambattista Tiepolo.

His style was considered to be more naturalistic.

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These pages: the Sala dell’Orlando Furioso. These frescoes tell the story of Angelica, princess of Cathay, who was tied to a cliff by pirates to be devoured by a sea monster. The knight Ruggero came on horseback to rescue her. The princess then fell in love with a Saracen soldier, Medoro. In one of the frescoes she carves his name in a tree. On the ceiling Tiepolo painted a blindfolded Cupid – an allegory of the blind passion of love that determines human actions.

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Massimo Iosa Ghini

The single-family villa was built in the sixties and is a trademark in Forte dei Marmi, a colorful village between Viareggio and Carrara on the West Coast of Italy. It is a rational structure with volumes defining the large external and internal openings, in balance with its surroundings.

Architect Massimo Iosa Ghini, Iosa Ghini Associati, was asked to renovate the entire house. He concentrated on finding a new meaning for the garden with the big maritime pines that surrounded the property in connection to the two levels and the basement of the villa.

Massimo Iosa Ghini (1959, Bologna) is one of the great architects and designers who understand how to incorporate Italian tradition into modern design.

A gentleman, graduated form the Milan Polytechnic, who saw his eccentric designs 1981 landed in the midst of the

Memphis Group with Ettore Sottsass. He is considered one of the founders of Bolidism in the 1980’s, described as a way of narrating the transition from materiality to drawing things in which the visual and media aspects prevail with respect to the object’s functional purpose.

Massimo and his studio were involved in planning of commercial and museum architecture, public transportation, the design of chain stores and developing projects for the likes as Ferrari.

For his creations he received numerous award as the Compasso D’Oro Award.

In 2013 the Milan Triennale dedicated an entire exhibition about his works and in 2017 he was selected as ‘Ambassador

Above: renovating the villa in Forte del Marmi on the West Coast of Italy, Massimo Iosa Ghini, concentrated on finding a new meaning for the garden surrounding the property in connection with the living spaces.

The sun loungers are by Roda, de parasol is by Laola Lenti. The outdoor kitchen is designed by Iosa Ghini and produced by Sachi. The red and blue chairs are by Edra as is the matching coffee table. The bleu pool wall tiles are by Florim and the flooring is by Floorgres.

Photos: Pietro Savorelli.

of Italian Design’ to promote Italian Design around the world.

Iosa Ghini Associati, founded in 1990, has offices in Bologna and Milan and collaborations around the globe. Massimo’s wife, Milena Mussi, is the driving force behind the organization. As Managing Director, she is in charge with business agreements, contact with the the clients, marketing and communication and the coordination of the team.

Villa in Forte dei Marm The villa in Forte dei Marmi, with an outer portico and a covered terrace, is inserted in the Mediterranean context of the pinewood in Versilia.

Massimo: “The project was a matter of cleaning things up, bringing a sense of lightness, in line with the desires of the owners. I was inspired by a project by Adalberto Libera, another house designed for the Tyrrhenian seaside and I found input for the passage volumes of the fireplace, enabling me to

Left: the living with a table by Rimadesio, chair by Poliform and lamps by Henge and Flos.

Rugs are by Verolino Contemporary and the bespoke fireplace is

by Iosa Ghini, made by Grilli Caminetti.

Flooring is by Floorgres produced by Florim.

The artwork is by Giovanni Manfredini.

exploit a load-bearing pillar to underscore the visual relationship between various spaces.”

The layout of the villa was directed by its original structure.

Respecting the existing situation, Iosa Ghini revised the volumes, creating large openings between inside and outside in a geometric balance. He decided to reorganize the ground floor plan and make the spaces more livable, transparent and rational.

On the ground floor, he created a large living area with dining zone, kitchen and a large fireplace. Part of the space with three rooms with private bathrooms is dedicated to guests.

A small and separate lodging is for the household staff.

The already large kitchen became even larger during the

These pages: the living with sofa by Edra, table by Rimadesio and armchairs

by Poliforn.Table light and pendant light are by Henge and floor lamp is

by Flos. Rugs are by Verolino Contemporary.

Flooring by Floorgres.

Artwork ‘Estasi’ is by Giovanni Manfredini.

project. It now overlooks the living area through a glass wall in line with the fireplace, allowing a visual connection between entrance, garden and swimming pool. The use of large windows creating an open relationship between inside and outside, accentuated by the continuity of the flooring.

A large window overlooks directly the vegetable gardens contained in large raised corten tanks.

In the basement Massimo designed a space for the wines.

“This was a request of the owners, true wine connoisseurs.

They wanted a space that created a narrative of bottles and vintages, to welcome guests for tastings.”

From the main floor, a staircase with crystal balustrade, leads to the upper level where the private spaces for the family are located. The floor consists of two bedrooms for the children and a large master bedroom with living room and a private bathroom. This opens onto a covered outdoor terrace with fitness gear and a view of the sea through the foliage of pine trees.

The architect: “I am always curious about the design work of others. I like to choose interior pieces that are not necessarily my own creations. When the job is almost finished, I may add at most a pair of my designs. The only things that are mine in this décor are the Cannettata lamp designed for De Majo Illuminazione and the Leva lamps by Leucos: an extraordinary project, in beech wood, with very thin parts.”

A large outdoor hydro massage swimming pool and connected dressing rooms completed the project. The use of solar and photovoltaic panels allowed an almost total autonomy of the house also for the heating of the pool water equipped with a treatment system for salt purification.

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Right: bedroom wall covering

by Inkiostro Bianco and floor lamp by Leucos.The bed is by Dorelan Leva, the table lamp

by Leucos and the Poltroncina Eames Fiberglass Armchair is

by Vitra. Side table, wardrobe and chest of drawers are by Poliform.

Below: bedroom with coffee table by Edra, Cannettata suspension lamp, designed by Massimo Iosa Ghini for De Majo Illuminazione and wall covering by Inkiostro Bianco The bathroom furniture system is by Antonio Lupi.

Floortiles and wall times are

by Florim.

Bottom right: the new wine cellar designed by Iosa Ghini and beside that the stairs with wall mirror by Edra and flooring by Floorgres produced by Florim.

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Transparency is queen in the new design for Villa Forte dei Marmi, built in the sixties and recently reworked by architect and designer Massimo Iosa Ghini.

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Left: artist impression of the entrance of the Cliff House designed by Sergio Chinelli Architects.

The statue by artist Anton Smit was commissioned by the owners.

Production: OBJEKT International / South Africa.

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The clients approached Sergio Chinelli Architects to build their family home on a cliff face in the Garden Route, near Cape Town South Africa, with a reason.

Sergio has a reputation for designing bespoke residences and getting his design inspiration from his love of nature.

He is particularly fond of the Garden Route’s landscape and diversity of fauna and flora and believed that this house needed to represent its relationship with the environment rather than be a monument. Beside of that, he is renowned for their work in remote areas, championing breathtaking views and linking homes to the surrounding nature.

Cliff House project was the second house Chinelli designed for the clients, who had chosen to move to the Garden Route.

The brief was to create a home for a young family but also to engage with the untouched view. An open plan living area and outdoor entertainment area were needed, including four bedrooms and a cottage.

Many challenges faced the project, situated in a protected forest. The homeowners in the surrounding community were passionate about safeguarding their environment, and Chinelli had to alter his design to work around the protected trees.

The building height needed to be within the zoning laws. Sticking to the maximum height was not easy with what the brief involved.

Chinelli upturned the design of a two-story build.

He placed the living area on the first story at street level and the bedrooms on the second lower level.

The building itself was sunk into the cliff face to

meet all requirements. The house’s concrete construction is anchored into the cliff face providing structural integrity.

To face the Southern sea view the house would not get any direct sun. Chinelli came up with an ingenious solution: as they were already sinking the building into the cliff face, they would cut back into

Top left: the Cliff House at the Garden Route outside of Cape Town South Africa designed

by Sergio Chinelli Architects. They have a name for designing bespoke residences in remote areas, championing breathtaking views and linking homes to the surrounding nature.

Below that: each bedroom features 180°views of the forest and sea.

The large sliding doors open to a frameless glass balustrade, which gives the effect of a balcony but without the impracticalities of cleaning and maintenance.

Below: The large covered terrace provides unobstructed views of the ocean while still integrated into the formal living space.

Next pages: the entirely open main level, housing the kitchen, dining room and lounge. Looking out onto the sea and measuring almost ten meters, the glass wall slides open into a pocket in the wall.

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the cliff face on the Northern façade and place an open courtyard here.

The finished project is a spectacular vision of glass, concrete, and wood as a nod to the forest.

At he entrance is a statue created by artist Anton Smit and commissioned by the owners.

The front door reveals an entirely open level, housing the kitchen, dining room and lounge.

Looking out onto the sea and measuring almost ten meters, the glass wall slides open into a pocket in the wall, allowing uninterrupted access to the covered terrace entertainment area.

Stairs lead down to a lounge which opens onto the courtyard. A walkway running parallel to the yard’s length takes you to the two children’s bedrooms and the main bedroom.

Off the main bedroom is a sitting area, enabling the owners to watch their children playing or swimming.

There are no balconies in the house as they would be impractically difficult to clean considering the environment. Instead, each room features large sliding doors, which open to a frameless piece of glass mimicking a balcony.

This lower floor is forest facing, with undulating bedrooms cantilevered over the retaining wall.

Each room has two or more windows allowing 180-degree views of the forest and sea.

The house was designed as efficient as possible.

The lower level uses the forest as a shield from any potential overheating.

The windows are double glazed, featuring U-PVC and a thermally broken frame, which prevents any heat that builds up on the window frame from being transferred onto the glass.

Above: one of the bedrooms at the lower level of the Cliff house. Beside that: the sheltered pool area, with adjacent lounge, is perfect for escaping the windy days of the Wilderness coast.

The staircase connects the living area with the bedrooms and bathrooms below. Beside that and right-hand page: the upper level of the house was created as a free-flowing living space, with the kitchen, dining room and lounge opening to the large, covered terrace. The large glass partition packs away into a recess revealing sea views.

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Given that the house has a flat roof and consists mainly of concrete, it was necessary to ensure thermal insulation was used to prevent the house from overheating in the evenings.

Any rain that falls onto the flat-roofed house is channeled into storm water downpipes and into a large tank that forms part of the house’s structure. The tank is connected to a pressurized pump, so this harvested storm water can then be used for outdoor watering when needed.

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Benetti’s Viareggio shipyard launched in 2021 the first unit of itas Motopanfilo 37M, a fiberglass and composite yacht designed by Lazzarini Pickering Architects for the interiors and Francesco Struglia in collaboration with Benetti for the exterior. To suspend the model in time, inspiration was drawn from the 60s ‘navette’ and the stylistic notes of that successful era. the yacht accommodates 10 guests across 4 cabins and 7 crew members, including the captain. The yacht accommodates 10 guests across 4 cabins and 7 crew members, including the captain.

classic Motopanfilo rEvived

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These pages: the interiors of the new Motopanfilo 37M by Italian yacht builder Benetti, have the Iconic elements of a classic Sixties heritage yacht combined with decidedly twenty-first century thinking. They were designed by Francesco Struglia.

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At Benetti in Viareggio they felt the need for a yacht with elegant lines to evoke memories of the finest nautical traditions with a contemporary twist to meet the needs of modern owners. Inspired by the Benetti ‘navette’ from the ‘60s, the Motopanfilo 37M was conceived as a shell, reinterpreting those iconic, glamorous features and incorporating them into a timeless design across the yacht’s four decks.

On the Main Deck, the tradition of wood and its enduring links with the sea have not been overlooked. In the saloon, modern-style glazed surfaces and gently curved ceilings amplify natural light thanks to the extensive use of warm wood and light colors for the floors.

Towards the stern, the ceilings take on a doublecurved effect, a testament to the shipyard’s know how in craftsmanship. The owner’s suite is located toward the bow of the main deck, carrying the captivating design forward.

On the Lower Deck, the innate character the designers choose no to straighten the cabin walls, allowing them to follow the gentle of the hull.

The ubiquitous rib structure appears here with an inversion of colors and materials compared to the Main Deck. From the lobby, a spiral staircase winds around the central mast that rises through two decks as it accompanies guests to the sky lounge on the upper deck.

The aft part of the Upper Deck is designed for convivial moments in the open air, with areas for relaxation, conversation and sunbathing.

The captain's cabin is next to the wheelhouse.

Towards the bow, there are a Jacuzzi and sunbeds.

Down by the sea, the transom nods to the iconic models of the Sixties in the form of a beach club allowing easy access to the water.

The displacement hull, designed by P.L.A.N.A. (PierLuigi Ausonio Naval Architecture), ensures smooth navigation and maximum comfort while onboard. The engine room houses a pair of MAN V12s of 1029 kW (upgradeable to 1213 kW) each, which guarantee the yacht a maximum speed of 16 or 18 knots depending on the engines chosen, with a range of 3,800 nautical miles at the 10-knot cruising speed.

Motopanfilo Motopanfilo is the Italian word for the early Sixties large motor yachts that very quickly became synonymous with glamour and the jet set lifestyle, and much-coveted objects of desire among socialites, royalty and prominent personalities from the worlds of business and entertainment.

Clients ranged from traditional royalty such as Prince Rainier of Monaco to pop royalty David Bowie.

The design of these boats was extremely clean and linear, with very little in the way of embellishment or decoration. The hull and superstructure were designed as a single volume, connected to each other by one or, in some cases, two perfectly coplanar surfaces, creating an elongated profile that ended in a classic rounded stern.

The interiors were typically warm, featuring an abundance of wood in the structure and furniture, together with white sofas and touches of blue, a combination that became something of a hallmark style.

Above and right: the master suite.

Next pages: The fusion of classic and modern-day influences determine the upper deck lounge areas.

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OVERLOOKING THE ROME COLOSSEUM

In a secluded street in the heart of Rome, Italy, architects Massimo Alvisi and Junko Kirimoto of studio Alvisi Kirimoto, recently completed the house-atelier of an Italian artist on the top two floors of a bijou building between the slopes of Colle Oppio and the Colosseum.

The owner's request was to change the general image of the apartment and improve its lay out, freeing up the view of the Colosseum and keeping the number of rooms unchanged in order to accommodate the many friends who regularly visit her.

The attic and penthouse were characterized by a labyrinthine circulation, that was limited by the absence of an internal staircases, by the continuous height differences and by spaces fragmented by an invasive load-bearing structure, all signs of the architecture of the 1960s.

To make the organization of the spaces more fluid, the architects introduced an entrance hall, with semi-transparent custom-made glass doors.

A new naval-inspired staircase was created from a single block of Wengé wood, lightened by a crystal handrail.

It now leads from the dressing room with custom-made wardrobes to the artist's bedroom, featuring the original fireplace with a marble profile.

A corridor parallel to the side balcony overlooking the Colosseum leads to the dressing table and bathroom, where the powder pink shades evoke the elegance of the 1930s colors.

The opposite wing of the house hosts the studio-atelier, which opens onto a second side balcony and an external access to the upper floor. The studio features a custom designed wall bookcase with a metal structure and Wengé wood veneer, which frames a second original bronze fireplace.

A major structural intervention allowed the total refurbishment of the roof, now in white painted wooden trusses, in order not to distract attention from the panorama.

The floor plan was completed by separate space for guests, separated by a door in Wengé wood slats, in harmony with the stairwell. A sky-blue bathroom and a double-height double bedroom feature another tailor-made wall bookcase.

Everything is custom designed by the studio Alvisi Kirimoto.

Furniture and complements are by Galleria MIA. Photos by Serena Eller Vainicher

Fashioning Masculinities: The Art of Menswear Victoria and Albert Museum In partnership with Gucci

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Fashioning Masculinities: The Art of Menswear is the first major V&A exhibition to celebrate the power, artistry and diversity of masculine attire and appearance. The show traces how menswear has been fashioned and refashioned over the centuries, and how designers, tailors and artists, and their clients and sitters, have constructed and performed masculinity, and unpicked it at the seams.

Fashioning Masculinities presents around 100 looks and 100 artworks, displayed thematically across three galleries.

Contemporary looks by legendary designers and rising stars will be displayed alongside historical treasures from the V&A’s collections and landmark loans: classical sculptures, Renaissance paintings, iconic photographs, and powerful film and performance.

Fashioning Masculinities opens with a Craig Green SS2021 outfit of a deconstructed suit, alluding to the construction and deconstruction of both the masculine body and conventions of masculinity, a theme that will be central throughout the show.

The three main themes Undressed, Overdressed, and Redressed are on display in the three main galleries with the exhibition design by JA Projects.

From looks by Harris Reed, Gucci, Grace Wales Bonner and Raf Simons, to paintings by Sofonisba Anguissola and Joshua Reynolds, contemporary artworks by Robert Longo and Omar Victor Diop, to an extract from an all-male dance performance

by Matthew Bourne’s New Adventures, the exhibition will showcase the variety of possible masculinities across the centuries from the Renaissance to the global contemporary.

Outfits worn by familiar faces will be interspersed throughout, from Harry Styles, Billy Porter and Sam Smith, to David Bowie and Marlene Dietrich. Innovative creations and diverse representations highlight and celebrate the multiplicities of masculine sartorial self-expression, dressing beyond the binary.

Claire Wilcox and Rosalind McKever, co-curators of Fashioning Masculinities: The Art of Menswear, said: “Masculine fashion is enjoying a period of unprecedented creativity. It has long been a powerful mechanism for encouraging conformity or expressing individuality. Rather than a linear or definitive history, this is a journey across time and gender. The exhibition will bring together historical and contemporary looks with art that reveals how masculinity has been performed. This will be a celebration of the masculine wardrobe, and everyone is invited to join in.”

Undressed explores the male body and underwear, looking at how classical European ideals of masculinity have been perpetuated and challenged over the centuries.

Previous pages: Wales Bonner Spring Summer 2015 Afrique.

Photo: Dexter Lander.

This pages Left: Alessandro Michele for Gucci.

Look 7 FW 2015.

Courtesy of Gucci. Above: Joshua Reynolds. Portrait of Charles Coote, 1st Earl of Bellamont (1738-1800), in Robes of the Order of the Bath, 1773-1774. Photo: © National Gallery of Ireland.

All images: Fashioning Masculinities: The Art of Menswear at the Victoria and Albert Museum, London, 19 March – 6 November 2022. In partnership with Gucci.

Gucci Pre-Fall 2019 Men’s Tailoring Campaign. Courtesy of Gucci .

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Overdressed shows how historic ideas begin to shift, with a full rainbow of masculine outfits on display. It explores the elite masculine wardrobe, epitomized by oversized silhouettes, lavish materials like silks and velvet in daring colors, and symbolic patterns to express status, wealth and individuality.

Redressed, will piece together the modern masculine uniform of the suit, from Beau Brummell to the contemporary runway. Redressed will open with a reflection on English country tailoring and the origins of

the suit. It explores how military attire influenced civilian dress.

A section on leather demonstrates how designers like Tom Ford for Gucci and Donatella Versace took their interest in leather to a new place, whilst a series of frock coats from the mid-nineteenth century to the present day will include examples by Prada, Alexander McQueen and Raf Simons. Redressed will also include paintings as well as extensive photography showing changing styles and attitudes, from Oscar Wilde, Claude Cahun and Cecil Beaton to The Beatles and Sam Smith.

Left-hand page: Omar Victor Diop, Jean-Baptiste Belley, 2014, Pigment inkjet print on Harman

by Hahnemuehle paper. Courtesy MAGNIN-A Gallery, Paris © Omar Victor Diop.

Above: New Adventures, Spitfire, an advertisement divertissement. Director & Choreographer Matthew Bourne. Costume Designer Lez Brotherston. Associate Artistic Director Etta Murfitt. Dancers Will Bozier, Harrison Dowzell, Glenn Graham, Andrew Monaghan, Liam Mower, Dominic North Featured in Dancing Nation by Sadler’s Wells & BBC Arts, January 2021. Photo: Kaasam Aziz.

This page: Craig Green SS21. Photo: Amy Gwatkin.

Right-hand page: Harris Reed, Fluid Romanticism 001. Courtesy Harris Reed. Photo: Giovanni Corabi.

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on Top of her Game “I le to cre a struure’s herage and preserve s araer who sacrificing moderny or innovion” Marie Soliman

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Bergman Design House, co-founded by Marie Soliman and Albin Berglund, London England, recently completed an 18-month renovation of a historical Upper Book Street, Mayfair London residence. The project reflects high quality contemporary craftsmanship, honoring original grandeur whilst embracing a modern sense of rarefied luxury.

Marie Soliman, in her trademark approach, combined the property’s extraordinary heritage with an innovative eye and modern concepts to reimagine the five-floor 1,300 square meter project.

The property was swept off the market within two weeks of completion at nearly 150 per cent the initial rental price, once again proving that the duo does have the ‘Midas touch’.

The renovation saw period details restored and the expansive space made homely with a contemporary and decadent selection of furniture from Bergman Design House’s own collection and London’s The House of Luxury.

Imaginative touches can be seen throughout the property’s interior design, from the wild jungle wallpapers to the gentleman’s study that resembles something out of a James Bond movie – including secret doors and passageways.

All the way upstairs, keeping the 007 theme going, there is an artful fully equipped bar, featuring a French agate stone top. Back down on the first floor the opulent Parisian-styled living room showcases a classicmodern design with complementary tones reflected into the ethereal 3.25-meter, 24 carat gold, gilded mirror by The House of Luxury.

Throughout the property, an array of modern and traditional chandeliers add to the home’s awe, using marble and mica to reflect light in interesting and unique ways. The interior design at Upper Book Street became an experience unto itself.

Above: Marie Soliman and Albin Berglund, founders of Bergman Design Studio in Londen. Right: the imposing central hall and staircase of the Maylair London residence they designed. photos: Nick Smith,Christopher Horwood. Contractor: Culena.

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Bergman Studio was founded in 2017. With over 25 years of combined experience, the dynamic husband and wife duo, have created a luxury design studio that specializes in hotels, commercial and residential projects and super yachts.

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Above: the large living of the residence in Upper Book Street, Mayfair London England, recently completed by Bergman Design House.

The renovation saw period details restored and the expansive space made homely with a contemporary selection of furniture from Bergman Design House’s own collection and London’s The House of Luxury.

Right: details of the bathrooms and the master bedroom. All spaces reflect high quality contemporary craftsmanship, honoring original grandeur whilst embracing a modern sense of rarefied luxury. Below: the gentleman’s study that resembles something out of a James Bond movie, including secret doors and passageways.

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“The idea bind

Bergman Design

House was to bre the mod. We are doing

th across our portfolio.

When you eer one of our ierior projes, you

are eering a magic world. There is an

eme of faasy there and you can be whoever you wi to be”

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Anubhuti “Often when individuals see the contemporary homes of today, homeowners are mesmerized by the aesthetic, functional designs of the residence, and the latest trends. Yet, there is an inkling that something that isn’t whole deal. Designers and their clientele often glance over the importance of staying grounded and being touch with one’s roots. Traditional methods, materials, and design elements are often ignored to achieve a modern look,” accoording to the designers from Envisage from New Delhi.

They created Anubhuti, a residence in Gurgaon, Haryana India, taking the traditional designs, elements, textures and ed them in a modern residence for a South Indian family.

The brief of this residence was to design a residence for a family from Kerala, and to create a space which would be a place of fun, comfort and most of all, had the essence of South India.

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The house is a south-facing property and hence, is optimally to let in natural light, with glazing running across an entire side of the house. Designed to create a warm, modern and chic abode, the design palette is inspired by soft earthen and neutral hues.

Designed in an Indian Bohemian style, this residence has an ambience that accepts an individual as it is.

Opening into a hallway with the living room, the viewer is greeted by an explosion of ochre, with bright Athangudi tiles, native to Tamil Nadu to honor the essence of the south Indian heritage.

A mural of an ancient Tamil scripture “Kandar

Design Team Envisage: Meena, Vishal, Akanksha and Payal.

Photos: Suryan-Dang.

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Anubhuti” about Lord Kartikeya adds to the celebration of this family’s heritage.

Created with an open layout, the walls of the living room are draped in an earthen color, with a corner containing a white Kolam pattern, which traditionally adorns houses across India during the festivities.

The most striking object is the Attukattil Jhula, crafted in wood with traditional oonjal with supports done in brass.

The choice of furniture is modern and eccentrically, with dining chairs and sofa with a trellis back, inspired

by Nalukettu style of architecture native to Kerala.

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Forest House Martis Valley North Shore Lake Tahoe

A luxuriant forest of Jeffrey, Truckee, CA, and sugar pine mixed with white and red fir covers the two acre site at roughly 6,300 feet above sea level in the Martis Valley near the north shore of Lake Tahoe.

Gently sloped, the site falls toward the south with views to the Northstar California ski resort.

Here, Faulkner Architects designed a residence with a simple rectangular plan to minimize impact on the site.

They left a three-dimensional screen of 115 trees 60 to 90 feet tall surrounding it.

Above: the forest house in Martis Valley near the north shore of Lake Tahoe, California, designed by Faulkner Architects with Gregory Faulkner as principal and Breanne Penrod as project manager.

Photos: Joe Fletcher.

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These pages: the main living space at ground level. Materiality and fenestration in the interior repeat the behavior of the forest. Translucent green glass screens bathe the entrance in color that associates with the tone of the surrounding evergreen forest.

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Forest House by Faulkner Architects is a new 4,500-square-foot, four-bedroom residence. On the ground level, all living spaces are located while the smaller second level contains sleeping rooms.

An ebonized steel rain screen built of three inch by three inch angles, spaced one inch apart repeats the texture and function of the bark of the adjacent trees, protecting the vulnerable wood-framed portions of the house from wildfire like a large spark arrestor.

The elongated south-facing rectangle collects solar energy in winter.

The 4,500-square-foot, four-bedroom house is fitted with radiant heat as well as enhanced glazing, mechanical electrical equipment, and insulation. Low maintenance contributes to sustainability.

Materiality and fenestration are ordered as dark light reversals that repeat the behavior of the forest. A concealed, directional entry builds time into the arrival sequence, extending and connecting the experience to the environment.

The interiors of the Forest House were designed by Rory Torrigiani and Natalie Zirbel.

The lighting was designed by Faulkner Architects.

Contractor was Glennwood Mountain Homes, the civil engineer was Shaw Engineering, the structural engineer was CFBR Structural Group and the mechanical and electrical engineer was Sugarpine Engineering.The geotechnical engineering was by NV5.

Movement in route to the entry point, parallel with the form, allows association with the dwelling prior to entering. Translucent green glass screens bathe the entrance in color that associates with the tone of the surrounding evergreen forest.

Inside, continuous south-facing sliding glass opens the living area to a covered deck that floats just above the ground, sans railing.

Materials that are consistent throughout the house include cut basalt stone floors, unfinished reclaimed teak ceilings and floors, board-formed concrete, and white gypsum.

Continuous recesses in the ceilings conceal light fixtures and fire sprinklers. Three-dimensional skylights wrap from the roof down the wall, allowing light to pour in and offering views to the stars at night. Polished galvanized steel panels at the fireplaces reflect images and movement of the inhabitants throughout the day.

These pages: one of the skylights of the Forest House in a perfect winter symphony.

Previous pages: Alexander Calder, the shadow of Clangors (1942) and Tamanoir (maquette) (c. 1963).

These pages: ‘Untitled’, Maquette for 1939 New York World’s Fair, 1938.

Photos: Hans Fonk

Autumn 2022, Kunsthal Rotterdam presented ‘Calder Now’, an exhibition held first time in Europe, reflected Alexander Calder’s enduring and unmistakable influence on contemporary art.

The show presented twenty sculptures by Alexander Calder, alongside works by ten prominent contemporary artists: Olafur Eliasson, Žilvinas Kempinas, Simone Leigh, Ernesto Neto, Carsten Nicolai, Roman Signer, Aki Sasamoto, Monika Sosnowska, Sarah Sze, and Rirkrit Tiravanija.

The American artist Alexander Calder (1898-1976) was one of the great innovators in modern art and a pioneer of kinetic art. He instigated many revolutionary artistic innovations. In his quest to move beyond the three spatial dimensions, making the fourth dimension of time a prominent and indispensable element of his work, Calder succeeded in transforming the dominant understanding of sculpture. He was the first to remove sculpture from its pedestal, suspending it in mid-air.

The exhibition showed how, even fifty years after his death, the legacy of Calder is still a source of inspiration for contemporary artistic practices.

Enigmatic, gravity-defying installations, sculptures that induce extraordinary optical experiences, and art that appeals to all the senses revealed new connections with Calder and brought into focus the countless extensions of his legacy.

The Kunsthal production was conceived as a multisensory experience and was realized in close collaboration with guest curators Dieter Buchhart, Anna Karina Hofbauer and the Calder Foundation.

Many of the sculptures and installations were shown in the Netherlands for the first time.

In the exhibition, Calder’s works, a career-spanning selection that included his iconic mobiles and stabiles, alternated with the installations and sculptures of the contemporary artists.

The works by artists from this era resonated with important themes in Calder’s oeuvre: light and reflection, humble materials, the senses, sound, activation, architecture, ephemera, gravity, performance, and positive and negative space.

The ten international artists in ‘Calder Now’ are showed works that wouldn’t exist without the precedence of these themes in Calder’s visionary body of art.

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Above: in forefront Alexander Calder, Mobile sur deux plans, 1962. Behind that Ernesto Neto’s It Happens When the Body is Anatomy of Time (2000).

Right clockwise: Flaming Tape (2021) by Žilvinas Kempinas, Olafur Eliasson’s The lost compass (2013) and behind that Aki Sasamoto Squirrel Ways (2021), Roman Signer’s Hemd (1995) and Orgelpfeife (2020)

by Roman Signer.

Right-hand page: Pionier I (2011) by Carsten Nicolai and Alexander Calder’s Black Petals (1939).

Alexander Calder Untitled (c. 1947)

Above: Alexander Calder, Birthday Cake (1956).

Right: Alexander Calder, Red is Dominant (1947) and in the background Alexander Calder, Untitled (1937).

Casper and Lexie Mork-Ulnes (Mork-Ulnes Architects) have recently completed Skigard Hytte, a mountain cabin for themselves and their children in Kvitfjell, a ski resort in Norway.

Perched upon the ledge of a steep mountain and framing panoramic views of the valley and river below, the cabin is hovering above the ground, protecting both the natural terrain and the occasional sheep taking refuge from the weather underneath the house.

The architecture references elements of the local tradition and reinterpreting them in a rational and inventive project.

“The land had a pathway

that the animals used to cross and access the steep hillside below,

which is still the path to the house.

Now the sheep stand

under the house in the summer months to

protect themselves from the weather.”

Lexie Mork-Ulnes

SHEEP

UNDER THE

FLOOR

Skigard Hytte is the first ground-up project that Casper and Lexie Mork-Ulnes have built for their own family.

They met 20 years ago on a ski trip and have always shared a love for the mountains, snow, and skiing.

The architects lived in San Francisco and relocated to Oslo in 2011. They decided to build themselves a cabin in the mountains where they can fully embrace the outdoors-lifestyle of Norway.

After securing a 2,000-square meter site in Kvitfjell ski resort, with sweeping views of the valley, Casper and Lexie began to give shape to the project.

The architects decided to give the house an unusual but straightforward configuration; by lifting it on thin

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Below: the Skigard Hytte in the Norwegian countryside, designed and built by the architects Casper and Lexie Mork-Ulnes for themself and their family.

Right: the interior follows the traditional regular plan with an enfilade sequence of rooms in a row, following a central corridor, called Trønderlån in the Trøndelag region of Norway where Casper’s mother was born. photos: Bruce Damonte, Juan Benavides, Tor Ivan Boine.

CLT legs and allowing the grass and sheep to remain below, they also created a raised viewing platform above the nature.

The cabin has a regular plan with an enfilade sequence of rooms in a row, following a central corridor, called Trønderlån in the Trøndelag region of Norway where Casper’s mother was born.

The exterior cladding of the cabin is made of skigard, a 3 meter long quarter cut log. The rough facade makes the cabin fit in within the rugged landscape and forested vegetation.

The grass top of the cabin also recalls the traditional sod roofs, common on rural log houses in Scandinavia until the late 19th century.

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Local vernacular and a minimalist concept drove the design of the Big Wood Residence by de Reus Architects.

Situated just south of Sun Valley, Idaho, this is the home of Mark de Reus and his family and a celebration of his the career as an architect.

He incorporated the lessons from thirty-five years of practice into this, his most personal work.“ The architect: “The project features themes that our firm is known for: inserting asymmetry into a symmetrical plan, attentively selecting and crafting natural materials, and incorporating ancient aesthetics into a-contemporary design.

Most significantly, this design has a simplicity that belies its complexity.”

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The Big Wood Residence consists of the simple shapes of two practical building forms: a two-story barn form for the living areas, and a flat-roofed structure harkening low-slung ranch outbuildings for the garage, storage, and terrace.

The barn form runs north–south on a long, thin, east–west site. Its two floors contain 3,760 square feet of space: living room, kitchen, and master suite on the ground floor, and recreation room and two bedrooms on the second.

A two-story window lights the eastern entrance and stairway; it is designed to appear like a warm welcoming lantern on a dark night. Large windows on the western wall offer sunset views toward the Big Wood River at the rear of the lot.

The project’s gray-black stained wood exterior and dark-gray metal roof harmonizes with the color of the aspen trees that dominate its eight-acre site.

To play off of the aspens, de Reus chose dark colors for the building’s exterior: onyx stained vertical spruce siding, graphite gray standing seam metal roof, black aluminum-clad windows, and a dark anodized aluminum garage door.

The interior is dominated by eastern white pine with a light finish that shows the grain but protects the wood from ultraviolet light.

A blackened steel fireplace commands the living room.

Some of Big Wood Residence’s details came as special requests from his family. De Reus’s wife wanted a barn door, which he included in the garage, and his daughter asked for a window seat in her bedroom. Others were inspired by the site.

A light gray granite for the kitchen counter was chosen to work well with the aspens; a cast-glass light fixture reflects the site’s history as a place where block ice was cut from the river.

One prominent detail is a shelf projecting from the fireplace mantel, designed for a sculpture of Garuda that de Reus acquired in Bali.

Project Team Architecture: de Reus Architects Contractor: Young Construcción Civil Engineer: Galena Engineers Structural Engineer: Maxwell Structural Design Studio Mechanical Engineer: Mark Morrison, P.E., Inc. Geotechnical Engineer: Butler Engineering Landscape: NS Consulting, PLLC de Reus Design Team Mark de Reus – Project Architect John Rowland – Project Manager Lindsey Akiona - Designer Photos: Gaber Border

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italian hyper decoration The Matilde apartment in Reggio Emilia, in the city center, is an exclusive space, transformed by ovre.design studio.

The 65 square meters apartment has become a exhibition of design culture and aesthetics, following the concept of hyper decoration.

Above: architect Giulia Delpiano, owner of ovre.design studio with the designer Corrado Conti.

Left-hand page: detail of the open space living area with the kitchen, lounge and dining room. The marble table is realized by FMG Shapes.

Photos: Andrea Valcavi .

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The name of the house refers to the great Lady of the Emilian Middle Ages, Matilde di Canossa.

The building itself was constructed in 1700 and has undergone various adaptations over the centuries.

The recent intervention of ovre.design studio included a drastic demolition of a load-bearing wall to realize an open space living area including a kitchen, lounge and dining room. In this way, it was possible to give priority to the convivial space.

“Designing these intense 65 square meters was a real challenge, even more than a thousand-squaremeter villa. We tried to create a focus in each space around which the decor in each room revolves. It was fundamental to aim at the exaltation of the idea of beauty." Architect Giulia Delpiano, owner of ovre.design studio.

The master bedroom with the large velvet bed, was inspired by a luxurious hotel bedroom. The bathroom is a real environment where aention to detail is reflected in the choice of exclusive products, from Gessi taps to third-firing tiles with a particular effect of open pores.

Despite its compact dimensions, the effect is significant and prestigious. The shower area deserves a special mention due to its width and its original and creative position.

All products used to furnish this treasure chest are prestigious and qualitative, from the Pivato doors to the Binova kitchen base, embellished with many variants. The used brands are all high-end and the furniture is all tailor made and customized.

The use of mirrors, crystal surfaces and distinctive lighting techniques enlightened the spaces, by the play of transparency and reflections.

Throughout the project, the use of color played a key role in giving vigor and vibrancy to the walls, with striking wallpaper.

The passion for vintage of both designers has succeeded in furnishing this space with elegant objects and furnishing accessories, full of charm giving the depth of the environment of that time.

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Right: the open living area of the apartment. Below: the velvet master suite and beside that part of the Binova kitchen and the bathroom with Gessi taps.

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color explosions

Aquabella is the third phase of the condominium community project at Bayside in Toronto, Canada, designed

by Danish architect 3XN. It is North America’s largest waterfront redevelopment.

Canada’s leading condominium developer Tridel and tinternational real estate firm Hines worked on it for over 12 years.

The designers of II BY IV Design were responsible for all interior creations and the art installation ‘Refection’.

They orchestrated for Aquabella a restrained material palette accentuated by exquisite detailing and a thoughtfully curated art program that exemplifies classic luxury while complimenting the overall open nature of the architecture. This focus especially shines through in the lobby with the art installation ‘Refraction’.

“Since Aquabella adjacent to the waterfront we wanted an artwork to reflect this, but not in a literal sense.

'Refraction' is all about how the sun reflects through the water to create a prismatic kaleidoscope of color” according to Dan Menchions and Keith Rushbrook, who founded the design studio in 1990.

It is the world’s largest acrylic structure, standing at 40-foot tall and displaying a variance of color combinations.

The art installation was designed by II

BY IV Design, commissioned in Toronto and manufactured in Germany and Portugal.

photos: David Whittaker

Innovative engineering and cutting-edge fabrication techniques were used by Viso Inc. to make the sixteen multicolor, 40-foot acrylic pillars, infused with different colored film and secured by a 4” thick Nero Marquina stone.

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OBJEKT I NTER NATIONA L the world standard for style www.objekt-international.com

One of Hans Fonk’s main achievements is OBJEKT©International, the authoritative and bespoke title for the upscale urban modernist with a passion for interiors, art & antiques, modern design and outstanding architecture.

Thanks to the general concept, unexpected topics, the selection of designers, and quality of the photos, OBJEKT©International has gained the highest authority in its field.

The magazine was first published end of 1991.

OBJEKT INTERNATIONAL