The Complicated Love Story of Modernist Design Duo Aino and Alvar Aalto

This article features an interview with Cristiano Gatto, the interior designer for Heesen Yachts' Project Altea, a 50-meter all-aluminium superyacht priced at nearly €36 million, with delivery scheduled for May 2021. Gatto, who trained as a sculptor, approaches yacht design with a focus on blending aesthetics and function, viewing each project as a sculpture refined to the smallest detail, incorporating curves, lines, lighting, and patterns to achieve the final result. The process of styling a yacht's interior varies depending on whether it's a fully custom or semi-custom project. For fully custom projects, Gatto collaborates closely with the owner, translating their ideas and emotions into a feasible design over many months. For semi-custom projects like Project Altea, the approach involves anticipating future clients' desires and creating a versatile design that allows for customization without significantly impacting the advanced construction stage. A 50-meter project, from concept to delivery, typically involves approximately 50 to 60 people. The primary brief for Project Altea was to create a yacht with a distinct personality, catering to the lifestyle expectations of 2021, while building upon the experiences gained from its sister ships, “Home” and “Electra.” The goal was to develop a warm and welcoming ambiance, a cocoon where occupants feel pampered and protected. This was achieved through interior design choices such as soft, curvy lines for furnishings and surfaces, a palette of soft colors, and a meticulous selection of materials like wood, various textures, fabrics, and upholsteries to foster a calm and relaxing atmosphere throughout the vessel. One of the main challenges for Project Altea was to imbue it with a new soul and unique interior approach, despite sharing a similar exterior design with its predecessors. Gatto emphasized the importance of ensuring Altea was not a mere replication but a distinct entity. During construction, Gatto maintains a close collaboration with Heesen's team, relying on their organizational structure for quality control and adherence to a tight schedule. This involves numerous meetings to meticulously select materials such as marble and wood, ensuring high-spec, long-lasting quality and a balance between cost and premium standards. Reflecting on his career, Gatto states that his favorite projects are always the next ones, as each vessel holds a unique place in his heart. Currently, he has seven vessels on the design board. Regarding potential future adjustments to yacht design due to social distancing, Gatto believes yachts are inherently ideal for maintaining a healthy and protected environment. He notes that challenges would arise from space limitations, particularly for crew areas, necessitating independent air conditioning systems and dedicated outdoor spaces for the crew. He is also currently restoring a castle in the UK, aiming to return it to its original grandiose state, drawing inspiration from his Venetian heritage. If he were to own a yacht, Gatto indicates it would likely be one he is currently deeply involved with, such as the Aquamarine Project for Heesen, which incorporates Japanese influences and philosophies, focusing on achieving perfect harmony through a "Mushin"-inspired design process. Looking ahead, Gatto expresses a desire for continued travel, viewing it as essential for his creativity and ability to avoid repetitive designs. He maintains a highly personal approach to his work, overseeing each project closely rather than managing a large team or quantity of projects. #CristianoGatto #HeesenYachts #ProjectAltea #YachtDesign #InteriorDesign #LuxuryYachts #Superyacht #NavalArchitecture

This article features an interview with Mary Graham and Nicole Salvesen, co-founders of the interior design firm Salvesen Graham, renowned for their classic-meets-contemporary aesthetic. The discussion centers around the launch of their debut book, ‘A New English Style: Timeless Interiors by Salvesen Graham,’ offering insights into their design philosophy, sources of inspiration, and fundamental style principles. The designers reflect on the book's creation process, noting that it prompted a deeper consideration of their client work, their evolution as a practice, and their aspirations for growth. They emphasize that English style is inherently dynamic, characterized by ongoing change and the layering of new elements onto existing structures. The process also allowed them to revisit earlier projects, confirming the enduring quality of their initial designs even after a decade. Addressing the balance between English style's rich legacy and contemporary relevance, Salvesen and Graham explain that they always begin by examining the building itself. This approach helps identify traditional elements to be preserved, restored, and celebrated, guiding the overall design direction. They stress that homes should be vibrant and lived-in, not static museums. To inject modernity, particularly in traditional settings, they prioritize personal belongings such as artwork, books, and object collections. They highlight the impact of combining a formal drawing room with a striking piece of contemporary art as a central feature. Regarding the influence of location and setting, the designers assert that the essence of English style is not geographically confined. It can be successfully applied globally, adapting its unique character to each new environment. They liken this adaptability to how each project differs based on individual client preferences. The core of their approach lies in the 'spirit of decorating,' which encompasses layering, incorporating antiques, and prioritizing comfort, rather than being dictated by a specific setting. Layering is a fundamental aspect of their style, and they advise confidence in its execution, suggesting that more layering often leads to better results. They advocate for a mix of patterns and plains, alongside a variety of textures, to achieve depth in a room. For instance, the light-absorbing quality of thick cotton velvet can effectively contrast with a light-reflecting chintz. They clarify that layering extends beyond fabrics to include all elements of a room: flooring, lighting, art, books, and the tones and finishes of paintwork. The aim is a considered, not necessarily fussy, aesthetic. The designers emphasize the critical role of antiques in grounding a room and imparting authenticity, advocating for pieces with clean lines and excellent proportions, whether a 1970s glass lamp or a Georgian center table paired with a modern pendant light. They advise a gradual approach to incorporating antiques, adding pieces over time until a personal balance is achieved. Their approach to color involves strategic splashes in unexpected places within traditional spaces, such as inside a larder cupboard or at the end of a corridor. They acknowledge a contemporary conservatism regarding color in homes, contrasting it with historical periods that embraced more vibrant palettes. Often, they derive color inspiration from a favorite patterned fabric, extracting various hues and applying them with differing intensities to establish a room's identity. The designers confess to occasionally bending conventional design rules in their own homes, particularly regarding pragmatic considerations like heating requirements, prioritizing aesthetics over strict guidelines. They also take a relaxed stance on rules concerning wall light height or furniture spacing, believing that comfort and intuition are paramount. Living with their own interiors has reinforced the importance of quality design and craftsmanship. They note that well-made, classic pieces provide a stable foundation around which styles can evolve, allowing accessories, artwork, and furniture coverings to change while the room's essential structure remains. This concept of 'getting the bones right' applies to architectural details, room layouts, and investment pieces. They draw a parallel to fashion, where a timeless core allows for subsequent embellishment. The concept of 'Future Heritage' means creating interiors that honor and draw inspiration from the past while integrating modern aesthetics, technologies, and lifestyles. Their designs aim to bridge historical elements with contemporary innovations, yielding interiors that are both timeless and forward-looking. Ultimately, they hope their book offers readers a versatile, approachable, and accessible guide, encouraging them to celebrate heritage without being constrained by tradition, and to confidently infuse their homes with personal expression. #InteriorDesign #SalvesenGraham #EnglishStyle #FutureHeritage #TimelessInteriors #DesignInspiration #HomeDecor #Layering #Antiques

This article highlights 25 influential power duos comprising high-end clientele and their style gurus who collaborate to curate spectacular interiors, ranging from private homes and palaces to public monuments and retail spaces. These partnerships are notable for their impact on the design world, setting high standards for aesthetics and functionality. The article details various collaborations, showcasing the diverse styles and approaches employed by these design teams. One prominent duo features hip-hop superstar Kanye West and Belgian designer Axel Vervoordt. Vervoordt, known for his tasteful minimalism and admiration for the Japanese aesthetic concept of wabi (exalting simplicity), was enlisted by West to perfect his Los Angeles crib's look. Vervoordt's client list also includes Bill Gates, Sting, and Calvin Klein, underscoring his reputation in high-end design. Actress Gwyneth Paltrow partnered with Robin Standefer and Stephen Alesch of Roman and Williams for the Goop Lab in Brentwood, her first permanent store. Roman and Williams, named for their grandfathers, also opened the Guild, a showroom and café in Soho, indicating their expanding influence in the design and lifestyle sectors. Fashion mogul Tom Ford and William Sofield, an inseparable pair for 25 years, have redefined luxury retail spaces. Their collaborations on stores in Madison Avenue and Rodeo Drive are renowned for their opulent design, challenging conventional retail aesthetics. Sarah Jessica Parker initially sought decorating tips from movie executive Eric Hughes in the '90s. His design career officially launched in 2002 after Parker commissioned him to design her Bridgehampton home. Hughes is currently working with architect Morris Adjmi to merge Parker's two West Village townhouses, demonstrating a long-standing and evolving client-designer relationship. The Beckhams, Victoria and David, chose antiques dealer Rose Uniacke to decorate their $44 million Holland Park palace in London. Uniacke is celebrated for her ability to modernize historical settings, creating a unique blend of classic and contemporary design. Lauren Santo Domingo, co-founder of Moda Operandi, continued a family tradition by enlisting French designer Francois Catroux to work on her 18th-century Paris apartment. Catroux has a history with the Santo Domingo family, having worked with them since the early '90s. LVMH CEO Bernard Arnault consistently collaborates with architect Peter Marino, who has designed numerous Louis Vuitton stores, including the flagship on Place Vendôme, showcasing Marino's significant role in shaping the luxury brand's physical presence. Actor Brad Pitt engaged starchitect David Adjaye for sustainable housing projects in New Orleans following Hurricane Katrina. Pitt's Make It Right Foundation, with Adjaye's involvement, constructed over 100 homes in the Lower 9th Ward, highlighting a commitment to socially conscious design. Adjaye later gained acclaim for his work on the National Museum of African American History and Culture. Raf Simons, during his tenure at Calvin Klein, relied on artist Sterling Ruby to infuse the brand's shows, headquarters, and flagship store with distinctive, vibrant energy. This partnership highlights the intersection of art and fashion in design. Collectors Edythe and Eli Broad have a long-standing relationship with Pritzker Prize winner Frank Gehry, commissioning him for their Brentwood manor and the Walt Disney Concert Hall in Los Angeles. Their collaborations underscore their patronage of groundbreaking architecture. French luxury boss Francois-Henry Pinault entrusted Parisian designer Pierre Yovanovitch with his personal office and the Hôtel de Clermont-Tonnerre, the headquarters of his Artémis conglomerate. Yovanovitch is known for incorporating vintage touches into contemporary settings. Former Vice President Joe Biden and his wife Jill selected Victoria Hagan, known as the “queen of restrained elegance,” to design their official private residence. Hagan's clean, timeless interiors aligned with the Bidens' aesthetic preferences. Designer Robert Couturier, celebrated for French-inspired exuberance, is collaborating with artist Jeff Koons to combine two Upper East Side townhouses. This partnership merges Couturier's classic style with Koons's grand artistic vision. John Pawson and Ian Schrager have a two-decade-long friendship and professional collaboration, extending from apartments at the Gramercy Park Hotel to Schrager's penthouse at 40 Bond, and now the West Hollywood Edition hotel. Their work emphasizes minimalist yet luxurious design. Tory Burch first met designer Daniel Romualdez in the late '90s and subsequently hired him for her apartment at the Pierre, followed by numerous homes and over 100 stores, including her Long Island location, showcasing a long and fruitful design partnership. Fashion designer Alexander Wang and Ryan Korban are close friends who collaborate on various projects, including Wang's flagship store and private residences, highlighting a youthful and contemporary approach to design. Ken Fulk, known for his flamboyant designs, is the trusted designer for Silicon Valley's elite, including Instagram's Kevin Systrom. Fulk designed Systrom's home and his wedding, demonstrating his versatility in creating bespoke experiences. Jamie Drake, known for his crisp and colorful rooms, has designed multiple properties for Michael Bloomberg, including his Upper East Side townhouse and his Georgian estate in Southampton, and also restored Gracie Mansion during Bloomberg's mayoral term. Michael Smith decorated the private residence of the Obamas in the White House, earning praise from former First Lady Michelle Obama for upholding the building's history. Smith also designed their 8,200-square-foot Kalorama home after their departure from office. The bond between decorator Stephen Shadley and Oscar winner Diane Keaton spans over 30 years and four homes. Keaton even documented their creation of her 8,000-square-foot Brentwood compound in her book, "The House that Pinterest Built," illustrating a deep, enduring creative partnership. #DesignDuos #InteriorDesign #LuxuryHomes #ArchitecturalPartnerships #CelebrityDesign #HomeDecor #HighEndClientele #ResidentialDesign #CommercialDesign

An exhibition titled 'Lightings' at the Grand-Hornu in Belgium showcases a comprehensive collection of 100 lamps by Alvar Aalto, a significant figure in organic design and Scandinavian architecture. Aalto's work, which spans architecture, furniture, and lighting, emphasizes natural forms, materials, and a free approach to space, aiming to enhance everyday life within the home. His lighting designs, often developed as integral components of broader architectural projects, highlight his dedication to creating a more humane built environment and promoting the social and therapeutic benefits of light. The exhibition, which commenced on February 9th, 2014, covers Aalto's lighting creations from the late 1920s to the 1950s and is structured into two main sections. The initial section features an immersive installation where visitors cross a wooden bridge over water. This setup allows Aalto's luminaires to cast their light and reflections onto the water below, creating a chiaroscuro effect that underscores the importance of nature in his design philosophy. This sensory experience is designed to remind viewers of the natural elements that often inspired Aalto's artistic and architectural endeavors. The second part of the exhibition delves into the developmental process of Aalto's lighting designs. It presents reproductions of archival documents, including photographs, drawings, and other materials, which detail the genesis, mechanical aspects, and intrinsic architectural connections of his lights. This section offers insights into the intricate relationship between Aalto's lighting and his overall architectural vision, demonstrating how each piece was conceived as part of a larger, cohesive design. The article highlights several notable lighting designs featured in the exhibition. The A805 'enkelinsiipi' or 'angel wing' lamp, originally designed in 1955 for the National Pensions Institute in Helsinki, exemplifies Aalto's architectural approach to lighting. Its hand-riveted steel shade slats filter light to create distinctive shadows, which influenced its name. A variation, the A809, designed in 1950 with three shades, was created for the living room of Maison Louis Carré in France, showcasing Aalto's ongoing experimentation with light reflection through fanned-out slats. Another iconic piece is the 'beehive' lamp (A331/A332), designed in 1953 for the University in Jyväskylä. Inspired by Danish architect Poul Henningsen's research into perfect lighting, this sculptural luminaire features five or six reflecting metal slats, available in black or white variations. The 'hand grenade' light, available in variations A110 and A111, derives its name from its resemblance to a German weapon. Conceived in 1952 for the Finnish Association of Engineers building and the council chamber of Saynatsalo Town Hall, its lacquered metal dual cylindrical form is noted for its texture and technicality, with an additional non-mass-produced variation featuring an organic opening for light. These examples illustrate Aalto's ability to blend practicality with aesthetic value, creating objects that are both functional and artistic. The exhibition also explores Aalto's collaboration with his wife Aino and partners Maire Gullichsen and Nils-Gustav Hahl in establishing Artek in 1935. This company was founded to promote and sell Aalto's furniture and lighting designs, aiming to foster a modern culture of habitation through exhibitions and educational initiatives. Artek's core philosophy centered on the combination of aesthetics, functionality, and series production to make everyday environments more beautiful. Beyond individual pieces, the second half of the exhibition uses deep viewing boxes to present glimpses into Aalto's broader architectural and industrial projects, such as the Savoy Restaurant (1936) and the Paimio Sanatorium (1933). Each viewing box encapsulates a different project, revealing the meticulous attention to detail and conceptual genesis behind Aalto's compositions. This approach provides context for his lighting designs, demonstrating how they are integral to his overarching vision for harmonious and human-centric spaces. #AlvarAalto #LightingDesign #Exhibition #GrandHornu #ScandinavianDesign #OrganicDesign #ArchitecturalLighting #FinnishDesign #ModernistDesign

This article explores the concept of 'iconic' homes and interiors, drawing insights from Dominic Bradbury's book 'The Iconic Interior' and the Vitra Design Museum's exhibition 'Home Stories: 100 Years, 20 Visionary Interiors.' The discussion begins by questioning the definition of 'iconic' in design, noting that true iconic status is often achieved organically over time, influencing design beyond a project's initial ambition. The book and exhibition collectively span 20th and 21st-century domestic interiors, featuring approximately 600 images of remarkable houses. The article highlights various notable designers and architectural styles. It introduces Brazilian architect Lina Bo Bardi's 1951 Casa de Vidro and Danish architect Finn Juhl's 1941 interior, both celebrated for their modern aesthetics. A significant aspect explored is the historical gender bias in design, where interior decoration was often relegated to women as an amateur pursuit, contrasting with architecture as a male-dominated profession. Figures like US interior designer Elsie de Wolfe, known for her uncluttered style, and British cousins Rhoda and Agnes Garrett, recognized for their elegant and utilitarian interiors, are presented as examples of influential women in the field. Beyond individual homes, the article examines the impact of social and technological changes on interior design. It discusses the 'New Frankfurt' social housing project from 1926, which addressed housing shortages through efficient design principles. Austrian architect Margarete Schütte-Lihotsky's contribution of the prototype for a built-in kitchen, based on Taylorist principles for labor efficiency, is particularly emphasized. This innovative design led to the installation of around 10,000 'Frankfurt kitchens' in working-class apartments. In parallel to functional and affordable designs, the article also delves into flamboyant and fantastical interiors. Cecil Beaton's Georgian manor house, Ashcombe, and Tony Duquette's Dawnridge in Los Angeles are cited as examples of highly individualistic spaces that blurred the lines between living areas and theatrical sets. The discussion extends to the rebellious spirit of the 1960s, exemplified by Andy Warhol's Silver Factory, a pioneer of loft-living that profoundly influenced industrial aesthetics. French architect Claude Parent's 'anti-rationalist' apartment, with its eccentric sloping floors challenging traditional Modernist cube-like interiors, is also featured. The role of publicity in achieving iconic status is noted, with examples such as Lina Bo Bardi's Casa de Vidro, Cecil Beaton's Ashcombe, and Alison and Peter Smithson's House of the Future benefiting from media exposure. The article also touches upon homes designed by high-profile architects for themselves or adventurous clients, and those inhabited by artists who treated their spaces as canvases for creative expression, such as the Bloomsbury Group's Charleston farmhouse. Early examples like Henry van de Velde's Art Nouveau Villa Esche and Adolf Loos's Modernist Steiner House illustrate interiors that were radically unorthodox and ahead of their time, challenging conventional ornamentation. The evolution of Modernism into a softer, more organic approach in the 1930s is represented by Berthold Lubetkin’s penthouse and Russell Wright's proto-eco house, Dragon Rock, which harmonized with its natural surroundings. The article concludes by discussing the emergence of Postmodernism in the 1960s and 1970s, spearheaded by architects Roberto Venturi and Denise Scott Brown, who questioned Modernist principles and embraced historicism and ornamentation. Their Venturi House exemplifies an eclectic, kitsch, and ironic interior that combined diverse artistic elements, contrasting with earlier minimalist trends. The ultimate impact of books like 'The Iconic Interior' in conferring and solidifying the iconic status of these homes is acknowledged, highlighting how even private spaces can attain mythical recognition through documentation and imagery. #InteriorDesign #Architecture #IconicHomes #Modernism #Postmodernism #DesignHistory #SocialHousing #ArtNouveau #GenderInDesign

The article delves into the iconic Tulip table, a seminal piece of mid-century modern design by Finnish-American designer and architect Eero Saarinen. Saarinen’s primary motivation behind the creation of the Tulip collection, which included a stool and a chair, was his strong aversion to the visual clutter caused by numerous table legs in typical interiors. He famously sought to "clear up the slum of legs," a vision he realized in 1957 with the Pedestal Group, more commonly known as the Tulip collection. The table, in particular, gained significant influence and remains one of the most recognizable and successful furniture pieces of the mid-century period, as noted by Dominic Bradbury in his book "Mid-Century Modern Design: A Complete Sourcebook." Manufactured continuously by American furniture brand Knoll since its inception, the Tulip table is characterized by its sculptural single leg, or pedestal, crafted from enamelled aluminum. This pedestal resembles a wine glass stem, flaring gracefully as it connects to the floor and the underside of the round tabletop. Saarinen’s patent filing for the table emphasized the absence of angles, which he believed created a "restful and pleasing effect" for the observer, especially when paired with complementary chairs. However, Donald Albrecht, an architecture and design curator and author of a book on Saarinen, offers a differing perspective. Albrecht, who owns a white marble-topped Tulip table, finds that the table pairs better with other furniture pieces, such as Bertoia chairs, believing that a full set of Tulip tables and chairs can be "too much curving, too much sculpture." He attributes the table’s enduring success to its unique form combined with its versatility to integrate with diverse design elements. Saarinen’s work on the Tulip table coincided with his architectural projects, including the renowned TWA Flight Center at New York’s Idlewild Airport and the David S. Ingalls Rink at Yale University. Design historians frequently observe stylistic parallels between the sculptural curves of these architectural marvels and the fluid forms of the Tulip collection. The Tulip table was not only an aesthetic triumph but also a significant engineering challenge, embodying the era's futuristic outlook and ambitious approach to furniture design. The 1950s and '60s saw a revolution in table design, fueled by advancements in material and manufacturing technology, leading to the emergence of more single-legged tables post-Tulip. Despite its apparent simplicity, the Tulip table required extensive prototyping due to the difficulty of balancing visual lightness with structural sturdiness using the materials available at the time. Saarinen noted in his patent filing that the pedestal contours were not easily manufacturable by conventional methods, and traditional structures would render the table unstable and top-heavy. This engineering hurdle led to a notable design compromise: the inclusion of a round piece of white-painted plywood supporting the tabletop, a detail hidden on the underside. Albrecht humorously refers to this as a "kind of dishonesty," highlighting that Saarinen prioritized the visual effect over material purity, a trait the Eameses, for instance, might have avoided. Albrecht speculates that Saarinen’s designs, particularly the Tulip, might have influenced Danish designer Verner Panton's iconic chair, which became the first single-piece plastic chair in 1967. Saarinen, who died six years before the Panton chair’s production, would likely have explored all-plastic furniture had he lived longer. The article concludes as part of Dezeen’s mid-century modern design series, examining the style's ongoing relevance, key figures, and contemporary evolution. #EeroSaarinen #TulipTable #MidCenturyModern #FurnitureDesign #Knoll #DesignHistory #ArchitecturalInfluence #DonaldAlbrecht #Innovation

Professional skateboarder Lizzie Armanto's Los Angeles home in Highland Park is a unique blend of mid-century architecture and skate culture, designed in collaboration with interior designer Hannah Go of Studio Hanego. Armanto, who outbid 28 other offers for the 2021 property, was initially drawn to the home's kidney-shaped pool, a Blue Haven design known for its skateable qualities. Although the pool required reconstruction, Armanto and her friends enjoyed a session in it before the work began. A distinctive feature of the home is the flooring, made from Richlite, a material commonly used for skate ramp surfaces. This choice, a subtle nod to her profession, often surprises and delights fellow skateboarders who visit. Armanto's design influences extend to Finnish design, particularly the works of Alvar Aalto. Her home draws inspiration from Aalto’s Villa Mairea, which features a similarly shaped free-form pool, and his Paimio Sanatorium, known for its calming color palettes. This inspiration is evident in the color-blocked kitchen cabinets, where specific hues were chosen to evoke a sense of tranquility. Armanto further integrated her passion by collaborating with Artek to create limited-edition stools that incorporate pieces from her old skate decks. The kitchen's dining nook is designed for both style and practicality, featuring a side bench with under-cushion storage and a detachable design for flexibility. While custom cabinet fronts were crafted by a local carpenter, the framing utilizes IKEA components, a cost-effective and adaptable approach also seen in the floating bathroom vanity. Armanto's relaxed approach to her home is exemplified by her willingness to let guests sit on the kitchen counter, a playful rebellion against childhood rules. The living room showcases personalized touches, including a quilted piece by artist Ben Venom, commissioned in memory of her mentor Jeff Grosso and featuring a Mothra illustration as a tribute to his Godzilla-inspired nickname. The space also includes a rice paper lamp shade by Jeff Cheung, creator of Unity, and a coffee table encasing a miniature skate pool replica by skateboarding legend Lance Mountain. The guest bathroom stands out with a bubblegum pink and pistachio green color scheme, directly inspired by her dog Alma's favorite caterpillar toy. In an effort to preserve the home's original character, the pink sink and built-in cabinets were retained, and a matching tub and mosaic tile were sourced. The primary bedroom offers abundant storage with tall cabinets doubling as a room divider. Armanto's bed frame is a unique interpretation of the cardboard beds she experienced at the Tokyo Olympics, chosen for its innovative design. During the renovation, Armanto temporarily resided in the pool house, which also serves as an office. Her green thumb is evident in the thriving L.A. yard, which was brought to life with the assistance of Dune Gardens. The landscape, initially requiring hand-watering, is now self-sustaining. Armanto views her home as a personal achievement, symbolizing her willingness to embrace new challenges and experiences. #HomeTour #MidCenturyDesign #SkateCulture #LizzieArmanto #InteriorDesign #FinnishDesign #AlvarAalto #CustomFurniture #LosAngeles

Zoie Aliado, founder of Zoie Brook Designs, discusses the motivations behind establishing her own interior design business. Her decision stemmed from a desire to combine her passion for design with extensive experience gained from working at established architecture and interior design firms. Aliado aimed to create a practice that offered a more personalized client experience, addressing what she perceived as gaps in the industry, such as a need for greater attention to detail, stronger client relationships, and a seamless integration of design and execution. Her vision for Zoie Brook Designs was to embody values of high-quality work, transparency, collaboration, and the creation of elevated yet livable spaces. Zoie Brook Designs specializes in high-end residential interior design, encompassing new builds, renovations, and curated furnishings. The studio distinguishes itself through its unique blend of architectural expertise and a refined, livable aesthetic, focusing on crafting homes that are not only beautiful but also highly functional and deeply personal to each client. Aliado expresses pride in the relationships fostered with clients and the trust they place in her firm. She recounts that starting her own company presented challenges, including risk-taking, managing multiple roles, and balancing creative endeavors with business operations. These obstacles were overcome through adaptability, reliance on a strong support network, and viewing every challenge as an integral part of the entrepreneurial process. A key lesson learned was the importance of authenticity, as clients are more responsive to work driven by passion and integrity. The article also provides a glimpse into Aliado's personal recommendations for experiencing Los Angeles, specifically the Westside, if a friend were visiting. The suggested itinerary includes coastal activities, starting with breakfast at Gjusta in Venice, followed by exploring Abbot Kinney for shopping and street art. Another day would feature a hike at Solstice Canyon in Malibu, lunch at Malibu Farm, and relaxation at El Matador Beach. A Santa Monica day would involve breakfast at Huckleberry, a visit to the Santa Monica Farmers Market, and a bike ride along the beach path to the Venice Pier. Evening plans include sunset cocktails at The Proper Hotel’s Calabra rooftop, dinner at Elephante, and a possible nightcap at Walley’s, with an alternative low-key evening at Hatchet Hall in Culver City. The Getty Villa is also recommended for its history, architecture, and ocean views, complemented by oysters and wine at Dudley’s Market. Aliado extends gratitude to various individuals who contributed to her journey. She acknowledges the mentors and colleagues who shared their expertise and encouraged her to trust her instincts. Special appreciation is given to early clients whose belief in her vision provided the confidence to launch her business. Finally, she credits her family and friends for their unwavering love, encouragement, and for serving as a constant source of grounding and inspiration. Contact information for Zoie Brook Designs, including their website, Instagram, LinkedIn, TikTok, and Pinterest, is also provided. #InteriorDesign #Entrepreneurship #SmallBusiness #ResidentialDesign #HighEndDesign #ClientRelationships #LosAngeles #WestsideLA #TravelRecommendations

Australian industrial designers Daniel To and Emma Aiston have curated a cheerful and whimsical home in Adelaide, transforming a circa-1910 cottage into a vibrant space filled with personal touches and thoughtful design choices. The couple, known for creating objects that evoke joy, applied the same philosophy to their living environment over nearly 14 years. Their home prominently features a sunny yellow kitchen, complete with a Smeg oven and range hood, complemented by buttery yellow cabinets and subtle lavender accents. The two-bedroom house, originally built for rail yard and port workers from pressed tin and corrugated iron, was not always so bright. Upon purchasing the property in 2009 after living in London, their initial renovations included asbestos removal and fixing poor bathroom drainage. A key focus for them was integrating storage solutions that were both practical and playful, reflecting their desire to display belongings without clutter. In the guest room, two tall, poppy-red cabinets serve as a striking feature, housing their extensive book collection and framing a fireplace. The fireplace, believed to be added in the 1950s, is made entirely of plaster painted to mimic stone, a detail To describes as having a "Disneyland feel." The recent kitchen renovation, tackling a 30-year-old space, maintained the original layout but relocated the range for more counter space. The color palette was directly inspired by a friend's kitchen in London, with yellow chosen for its happy association. To and Aiston deliberately chose a softer, buttery yellow for the cabinets to avoid an overly garish look with the brighter Smeg appliances. Lavender accents were incorporated to break up the dominant yellow, a last-minute decision that ultimately added character. The home also showcases other unique elements, such as a pink shower curtain with blue flowers, and a light purple nook that highlights their treasured Dieter Rams Braun SK-61 record player. A pink Moccamaster coffee maker adds another pop of color, serving as a daily ritual for the couple. Their two dogs, Max and Paul, are often found surveying the backyard from a large sliding window, adding to the home's lively atmosphere. A separate studio in their garden provides a distinct workspace, fostering a healthy work-life balance. Their creative endeavors extend beyond their home, with an upcoming kids-focused exhibition at the National Gallery of Victoria, where children will engage in creating funny faces with colorful, sparkly shapes, demonstrating their continued commitment to design that brings happiness. #HomeTour #InteriorDesign #IndustrialDesigners #YellowKitchen #ColorfulDecor #AdelaideHome #CreativeLiving #WhimsicalDesign

The article addresses the common challenge faced by couples with differing interior design tastes, often leading to a phenomenon dubbed the 'boyfriend corner'—a space within a shared home dedicated solely to one partner's distinct, sometimes clashing, style. It emphasizes that accommodating a 'man cave' is not the optimal solution for a harmoniously designed home and seeks expert advice from married interior designers on how to blend competing styles cohesively. Brittney Hart and Justin Capuco of Husband Wife Studio, along with Bob and Cortney Novogratz, provide three key tips for couples navigating this design dilemma. The first tip focuses on finding common ground. Hart and Capuco suggest that couples individually gather images reflecting their personal styles and then identify aesthetic overlaps to form a foundational framework for their design choices. The Novogratz duo advises couples to draw inspiration from shared positive experiences, such as design hotels or restaurants they both enjoyed, and integrate colors, furnishings, and design elements from those memories into their home. The second tip highlights the importance of embracing contrast. Once initial furnishings and decorations are selected, the designers recommend leaning into the differences between partners' design styles rather than trying to hide them. Bob and Cortney Novogratz assert that 'contrast in design is where the magic happens,' while Hart and Capuco agree that a 'sense of duality throughout a home is a beautiful thing.' This approach suggests that the unique aspects of each partner's taste, much like their individual personalities, can make the shared space more interesting. The goal is to achieve a balanced mix of both styles, ensuring that neither partner's aesthetic is confined to a small, isolated area. They suggest incorporating bold colors, vintage pieces, and personal art to represent both individuals evenly. Finally, the article stresses the necessity of compromise. While often perceived as a sacrifice, compromise is reframed as a strength that can enhance the final design outcome. Hart and Capuco note that in the subjective and emotional realm of design, exact opinions will rarely mirror each other, making compromise an advantageous process. Another practical approach involves assigning design leadership for specific areas based on who uses the space more, such as a home office. However, for significant shared spaces like living rooms or kitchens, compromise is crucial, unless one partner has a particularly strong and clear vision. The article concludes by reinforcing that blending diverse tastes and mixing interior design styles is essential for a house to truly feel like a shared home, honoring the life a couple is building together, while also cautioning against certain DIY home renovation projects that might strain relationships. #InteriorDesign #CoupleDecorating #HomeDesign #DesignCompromise #HusbandWifeStudio #TheNovogratz #SharedSpaces #DecoratingTips

A-List designer David Netto embarked on a design project for a New York apartment, facing an initial challenge in defining a strong conceptual direction. The clients, who had combined two apartments in a 1929 Greenwich Village building, trusted Netto’s vision, allowing him to propose unconventional room-to-room connections for a more open, loft-like layout. The turning point arrived during a meeting when the client’s Italian name inspired Netto to create an "Italian New York apartment," not necessarily for the famous Agnelli family, but infused with their sophisticated spirit. The core concept involved radical combinations of old and new, emphasizing quality above all. This approach integrated traditional architecture with modern art, juxtaposing 18th-century antiques and silver with contemporary furniture. The client’s preference for a joyful color palette further guided the aesthetic. The project involved carefully curated objects and their unexpected pairings. For instance, the gallery features Louis XV blue and white ormolu-mounted cachepots from Emilio Terry and a cabinet from Henri Samuel, alongside chairs by Carlo Scarpa. The living room showcases a Noa mosaic coffee table by Elisabeth Garouste complementing a George III armchair from Gerald Bland. The library is anchored by an iron and leather desk inspired by Jean Michel Frank, an antique Louis XVI Fauteuil de Bureau, custom rift oak paneling, an antique rug by Katie Leede, and a sectional sofa upholstered in cinnamon-hued Claremont linen velvet. Throughout the apartment, contemporary Bonacina pieces are prominent. The finishes contribute significantly to the apartment's unique character, such as faux Iznik tiles in the kitchen backsplash, inspired by museum patterns, and a zigzag brown and white Parish Hadley floor in the music room. The dining room makes a bold statement with Zuber’s Combats des Grecs wallpaper, providing a vivid and sensual backdrop, subtly contrasted by contemporary rattan chairs by India Mahdavi. A more subtle Italian influence is observed in the higher mounting of door hardware, reminiscent of Venetian palazzos, an effect Netto previously witnessed in a theatrical New York apartment designed by Renzo Mongiardino. This detail aims to create a sensual rather than purely visual experience, encouraging an unfamiliar interaction with the space. The design process also involved defending choices, such as the use of architectural mirrors to enhance light and add glamour, which Netto argued would ultimately make walls “invisible.” The successful execution of the design is encapsulated as a recipe: a mix of art, boldness, and quality; a blend of 21st and 18th-century elements; a strong point of view; and, most importantly, a space meant for enjoyment and entertaining. This design philosophy emphasizes that successful decorating engages multiple senses beyond sight, contributing to a truly immersive and personal living environment. The article highlights the importance of client trust and a clear design concept in transforming an ordinary space into an extraordinary one, reflecting a unique blend of cultures and eras through thoughtful curation and audacious choices. #ItalianChic #NewYorkApartment #DavidNetto #InteriorDesign #EclecticStyle #LuxuryInteriors #HomeDecor #DesignProcess #ArtAndAntiques

Designers Ashley Walsh and Maddy DeVries of Morgan Design Studio, operating remotely from Arizona and North Carolina, successfully executed a full-scale kitchen and primary bathroom renovation for clients in Salt Lake City, Utah. The project aimed to blend mid-century modern aesthetics with Scandinavian design principles, creating an elevated yet durable living space for a young family with two small children. The clients, medical professionals, sought a home that could withstand daily use while reflecting a sophisticated style. The kitchen renovation involved a significant layout overhaul. The designers expanded the kitchen by incorporating the former eat-in area, eliminated an existing pantry, and opened up the adjacent staircase, living room, and dining room. This transformation converted a small, closed-off kitchen into an open, interconnected space conducive to entertaining. The original kitchen, built in the early 1970s, suffered from poor lighting and limited storage, issues that were directly addressed in the new design. The expanded footprint provided ample cabinet space, exceeding the clients' initial storage needs. Continuity across the open living areas was achieved by using clear-finished, knot-free oak for both the custom kitchen cabinetry and the built-in storage in the living room. This storage unit seamlessly wraps around and transitions into bench seating under a window, linking the spaces visually. The oak cabinetry is complemented by sleek Honey Bronze bar-style hardware from Top Knobs and a Brizo Luxe Gold faucet, echoing the golden tones throughout. The choice of oak and a thin shaker detail for the cabinetry served to merge the desired mid-century nod with Scandinavian simplicity, offering a modern yet sophisticated look. A key element of the design was the selection of Bedrosians Magnifica Encore Calacatta Macchia Vecchia porcelain for the countertops and backsplash. This material was chosen for its resemblance to marble, satisfying the clients' aesthetic preference, while providing the necessary durability for a family with young children. The porcelain's heavy veining and honed finish offered an elevated touch with a casual, lived-in feel. The material was prominently featured on the island with waterfall edges, creating a striking focal point visible immediately upon entering the home. The repeated use of porcelain as a backsplash and a narrow shelf above the cooktop further enhanced the visual impact and material consistency. Beyond aesthetics, the project also involved practical problem-solving. An initial plan for a coffee station had to be adjusted due to an incorrect measurement, leading to its relocation to an area between the kitchen and dining room. This change ultimately worked out well, extending the kitchen's cabinetry into the dining space. The original spot designated for the coffee station was repurposed into a built-in planter, accommodating the husband's passion for plants. In the primary bathroom, the designers addressed functional deficiencies, transforming a cramped space with a single sink and small shower into a more functional area featuring a dual-sink oak vanity with Kohler sinks and Brizo faucets, Taj Mahal quartzite countertops, and a significantly larger shower clad with Bedrosians’ Makoto matte ceramic tile. The flooring, Tilebar’s True Terrazzo Sonora Beige tile, paid homage to the home’s mid-century origins, illustrating how the designers combined aesthetic preferences with functional solutions to create spaces that better suited the clients' lifestyle. #KitchenRenovation #BathroomRenovation #MidCenturyModern #ScandinavianDesign #RemoteDesign #InteriorDesign #OpenConceptLiving #PorcelainCountertops #OakCabinetry

Karee and Loren, a couple residing in Austin’s Allandale neighborhood, tasked interior designer Annie Downing with creating a home that harmonized their differing aesthetic preferences. Karee favored a warm, homey ambiance, while Loren leaned towards clean and modern designs. A key directive from Karee was to avoid a predominantly white house, a request that aligned well with Downing's design philosophy. Downing, described by Karee as a kindred spirit with an eclectic style, was chosen from seven interviewed designers due to her unique approach. Downing embarked on a design journey that dared Karee to embrace bolder color choices, moving beyond her previous inclination for subtle accents like yellow pillows or blue vases. The designer crafted a vibrant palette, assigning a distinct jewel tone to each room and incorporating unexpected design elements. For instance, the home's exterior was transformed with green stucco, complemented by terracotta tiles on the front and rear porches, evoking the spirit of Karee's hometown. This terracotta tile was also utilized in the powder room, creating a cohesive design narrative. A central challenge was to bridge the couple's divergent tastes. Downing achieved this by selecting elements that blended classic and contemporary styles, leading to near-immediate approval from both Karee and Loren on most design decisions. A notable example of this successful integration is the kitchen island, which features a waterfall design clad in green concrete and brass tile, aligning with Karee's favorite color while maintaining a modern edge. The only instances where the couple requested changes were for the fabrics of the headboard and dining chairs, which Downing promptly updated with whimsical, painterly prints. Functionality and durability were also paramount, particularly given the presence of two children. Downing designed the kitchen island to be kick-proof, ideal for busy breakfast times. A kid-friendly banquette in the kitchen corner, complete with a channel-tufted back and grape-colored seat cushions, became the family's preferred dining spot. The poolside powder room further exemplifies the blend of form and function, featuring hard-wearing teal hexagonal tiles that mimic wallpaper and a matching poured-concrete sink, creating a resilient and visually appealing space that connects with the outdoor oasis. Each bathroom within the home was designed with a unique character. The primary en suite showcases an intricate floor tile pattern of circles, wedges, and hexagons, a high-maintenance installation that required significant effort from the design team to perfect. In contrast, Millie's bathroom adopted a simpler yet equally charming design, using square tiles in lavender and mint, arranged in a random pattern, alongside sage millwork. This design approach transformed the house into a welcoming and lived-in space. Karee noted a significant shift in their lifestyle, reporting that they now frequently host guests, a stark change from their previous homes. The newly designed home fosters an inviting atmosphere, encouraging relaxation and social interaction, ultimately surpassing Karee's initial expectations. #InteriorDesign #HomeTour #ColorfulHome #ModernDesign #EclecticStyle #FamilyHome #DesignSolutions #AustinHomes #AnnieDowning

French design duo Olivier Garcé and Clio Dimofski have transformed their 2,300-square-foot apartment in Lisbon, Portugal, into a living gallery that showcases their multidisciplinary practice. Both designers honed their skills at Paris’s École Carmondo and École d’Architecture de Paris-La Villette, followed by a year in Beijing, where they explored the impact of cultural interplay on contemporary design. Their professional journey continued with stints at renowned firms like Shigeru Ban Architects and Hamonic + Masson & Associés in Paris, and a significant role in establishing Pierre Yovanovitch Architecture d’Interieur’s New York office. In 2021, they returned to Europe, specifically Lisbon, to launch their own studio, drawn by Garcé’s Portuguese heritage and the city's vibrant artisan community. The apartment, located on the second floor of a late 19th-century Pombaline-style building, features a distinctive solid-color exterior tilework. Inside, the duo meticulously preserved the elaborate plasterwork and moldings during renovation, aiming to maintain the historical essence of the space. This approach allowed them to seamlessly integrate modern design elements with the building’s original character. The interior is furnished with a thoughtful blend of new and vintage pieces, contemporary art, and the designers’ own handcrafted furniture and products, all reflecting their unique aesthetic and philosophy. A central theme in their design is the emphasis on materiality, with a particular focus on natural elements such as marble, stone, wood, and ceramics. Ceramics, in particular, play a prominent role, appearing in various forms throughout the apartment. Examples include the sculptural legs of the Mimi coffee table and the wall tiles in the kitchen, which feature a painterly glaze developed in collaboration with artist-potter Lígia Guedes. Similar large-format tiles are also used as baseboards in the dining room, creating a cohesive and tactile experience. The designers prioritize local sourcing, utilizing clay from the region and chestnut wood for pieces like the coffee table top, the chunky Hélios sofa, and the study’s wall paneling. Their collection extends to other local and international talent, featuring a Studio Haos aluminum dining table and several paintings by Pedro Batista. Korean American designer Minjae Kim, a frequent collaborator, contributes characterful chairs, tables, and lighting, which exemplify the apartment-gallery’s eclectic and creative spirit. The main bedroom includes a bamboo pendant by Studio Haos and a vintage Italian bench, leading to a bathroom adorned with ceramic tile-clad custom tub and a Rosa Estremoz marble dado. The living room showcases the original plasterwork, a Batista canvas, Garcé & Dimofski’s chestnut-and-ceramic Mimi coffee table, and Colin King’s handwoven Taglio rug for Beni Rugs. Each element contributes to a space that is both a functional home and a dynamic showcase of design and craftsmanship, deeply rooted in both local traditions and global influences. #LisbonDesign #CeramicArt #InteriorDesign #OlivierGarce #ClioDimofski #PortugueseCraftsmanship #MultidisciplinaryDesign #ApartmentGallery #MaterialityInDesign

The article presents a detailed tour of the Milan apartment belonging to Jay Vosoghi and Sara Mostofi, the creative duo behind the design studio R+D Lab. Located on Via Andrea Verga, the 1960s building, designed by Asnago Vender, was chosen by Vosoghi for its architectural integrity, a reflection of Milan's post-World War II architectural boom. The apartment, largely preserved in its original form, showcases a thoughtful blend of classic Italian design and Japanese influences, mirroring the city's dichotomy of old and new. The exterior of Via Andrea Verga 4, along with a rare red travertine path leading to a light-filled lobby, sets the stage for the unique living space. The entrance features a glass-enclosed vestibule, which separates the day and night areas of the home, a common architectural approach in Italy during that period. This vestibule is adorned with midcentury Italian teak shelving holding a vintage collection of Kokeshi Japanese wood dolls, Japanese lacquerware and ceramics, and a Vico Magistretti table lamp, immediately establishing the couple's eclectic taste. The living room, or 'salotto,' and dining area are designed to create a cohesive yet distinct space, avoiding the need for physical walls to separate functions. Here, two Sesann sofas by Gianfranco Frattini are bathed in natural light, complemented by Japanese Meiji period hand-embroidered cloth. The furniture arrangement encourages a natural flow for social gatherings, starting with dinner at a Tin-K by Kristalia dining table surrounded by 1960s Cesca chairs, and then transitioning to the sitting area for after-dinner conversations and drinks like amaro or Japanese whiskey. Throughout the apartment, the original wood floors, light fixtures, and windows have been maintained, highlighting the architects' comprehensive design approach that extended to the interiors. The kitchen and service quarters lead to two bedrooms and two bathrooms, with one bedroom serving as the couple’s dedicated workspace. This studio features a vintage Gian N. Gigante light, an Achille Castiglioni-designed Leonardo table as a desk, and DSC chairs by Giancarlo Piretti. The studio walls are decorated with inspiring artwork, and a 19th-century kilim grounds the space. The home acts as a living embodiment of R+D Lab's aesthetic ethos, which Vosoghi describes as highly architectonic. Their glassware collections, such as 'Luisa' and 'Helga,' are named after significant architectural figures, demonstrating the deep connection between their personal environment and their professional work. The apartment is filled with pieces by modern Italian designers like Frattini, Gae Aulenti, and Tobia Scarpa, alongside Japanese lacquerware, antique rugs, and a diverse art collection. The bedroom features a Tobia Scarpa-designed Vanessa Bed dressed in R+D Lab bedding, a Toio lamp, and a 1960s Osvaldo Borsani console, all set against a 1920s Art Deco antique Chinese rug. Vosoghi and Mostofi's daily routine includes visits to local Milanese establishments like Pasticceria Marchesi and strolls through Parco Sempione, emphasizing how the city itself serves as a constant source of inspiration. The objects within their home reflect their travels and experiences, but the overarching influence of Milan's beauty and architectural heritage is paramount to their creative process, illustrating how their environment deeply infuses their artistic endeavors. #MilanHome #DesignStudio #ItalianArchitecture #MidcenturyModern #RDLabs #InteriorDesign #HomeTour #GianfrancoFrattini #JapaneseInfluence