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DECEMBER + JANUARY 2016
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New York
Paris
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 FROM THE EDITOR
T he notion that lighting is like jewelry for the home has become
a kind of poetic mantra within the design community. In this
issue, we celebrate the idea that a residence is not complete
until it is awash in the glow of perfect light and—as in high fashion—
one show-stopping statement piece.
We begin with a visit to the San Francisco studio of designer Larissa
Sand, whose Alcyone line is defined by bold gestures, muted tones
and architectural sensibilities. In our continuing Icons series, we profile
the venerable British designer Tom Dixon, whose lighting has become
synonymous with modern, timeless elegance. In Covet, we feature
designs from known talents like Antonio Citterio, Kelly Hoppen, Inga
Sempé and Michael Anastassiades, mixed with under-the-radar and
far-flung talents alike.
If lighting is the jewelry, then the kitchen is the heart and the bath
the soul of the home. We took care to focus our design lens on those
elements in our international features, from an Art Deco apartment
in Toronto designed by Jeffrey Douglas to designer Kara Molinari’s
own home in Paris, outfitted in soothing tones of blue topped off with
designs from Enrico Franzolini, Patricia Urquiola and Ross Lovegrove.
We visit an art-filled Naples apartment overlooking the bay, and a
designer couple’s resurrected Gothic house in Belgium, whose main
room is presided over by a dazzling modern chandelier by Piet Boon.
In New York, the architecture firm Platt Dana and Katherine Carroll of
Northbrook Design brought a California sensibility to an apartment
with amazing city and river views.
In our interview with Sand, she told us, “Design should take one’s
breath away.” We couldn’t agree more. May this issue help brighten
the season and leave you just the right amount of breathless.
Erika Heet
Editor-in-Chief
erika@interiorsmagazine.com
14 DEC + JAN 2016
C O N T R I B U T O R S
JORGE S. ARANGO is a writer, stylist and author whose work has appeared in
many national and international publications, including Metropolitan Home,
House & Garden, Luxe, 1stdibs.com and Robb Report. He is co-author, with
various designers, of seven books.
SONIA COCOZZA is an architecture and design journalist who has contributed
to various magazines, such as AD Italia, Elle Décor and Io Donna. Her books
include Abitare nel Mediterraneo and Case Contemporanee.
GIANNI FRANCHELLUCCI has photographed for Architectural Digest, Elle Decor
and Interior Design, among others. He is based in Rome.
TINA HØM is half Dutch and half Danish and was raised in France. She
abandoned her career as a lawyer to travel around the world and write design
features, and collaborates with Jean-Marc Wullschleger at Living Agency.
CHARLES KAY JR. is an artist and photographer based in Omaha, Nebraska,
who has worked and traveled throughout North America, Southeast Asia and
Europe. He and his wife, artist and photographer Laurie Victor Kay, make up
Laurie and Charles Photographs.
AARON LEITZ is a Seattle-based photographer who shoots architecture and
interior design for the West Coast’s leading design firms, and his work has been
published in The New York Times and The Wall Street Journal.
PENELOPE ROWLANDS has written about travel and culture for numerous
publications. The author of Paris Was Ours and other books, she is currently
working on a biography set in 19th-century Europe.
ZAHID SARDAR’s books include West Coast Modern and In & Out of Paris:
Gardens of Secret Delights; he is working on a design book about India.
ZOE SETTLE, a frequent contributor to interiors, served as design editor for Town
& Country and is now a freelance writer and stylist. She was born and raised in
New York, where she lives today.
CAROL TISCH is a contributing editor (rugs) for interiors, and the founding editor
of shelter interiors. She is the editor and publisher of RugNews.com.
DAVID WHITTAKER is a Toronto-based photographer specializing in architecture
and design. His work has earned many awards over the years, spanning the
interior, architecture and graphics fields.
JEAN-MARC WULLSCHLEGER is a professional editorial photographer whose
portraits appear regularly in magazines and books worldwide. He collaborates
with Tina Høm at Living Agency.
VLADIMIR KAGAN AVAILABLE EXCLUSIVELY THROUGH RALPH PUCCI INTERNATIONAL
NEW YORK MIAMI LOS ANGELES
WWW.RALPHPUCCI.NET
 Torsion >> Bright Nickel with Maple Blades

modernfan.com
Celebrating the modern idiom
Cool by Design
 Contents | Departments
DECEMBER + JANUARY 2016

 23 COVET
Bath and lighting designs from Antonio Citterio,
Kelly Hoppen, Inga Sempé and more

 32 ICONS
How influential British designer Tom Dixon spins
raw materials into gold

 36 STUDIO
San Francisco designer Larissa Sand on the
architecture of precision

 43 CAROLINA COUTURE

A legacy of craftsmanship and high design
defines the U.S. furniture hub

 56 DETAIL
The latest offerings from the industry’s
top brands

 134 NOTEBOOK
International design resources
from this issue

17
The New Carat Pendant
WWW.HAMMERTON.COM
 Contents | Features
DECEMBER + JANUARY 2016

  68 NORTHERN GRANDEUR
Architecture: Sol Wassermuhl
Interior Design: Jeffrey Douglas

Text: Jorge S. Arango

Photography: David Whittaker

  82 RHAPSODY IN BLEU
Interior Design: Kara Molinari

Text: Penelope Rowlands

Photography: Gianni Franchellucci

  96 WEST MEETS EAST

Interior Architecture: Platt Dana Architects
Interior Design: Katherine North Carroll

Text: Erika Heet

Photography: Aaron Leitz

 108 NAPOLI IN HARMONY

Interior Architecture and Design:
Alberto Sifola and Vincenzo Sposato
Text: Sonia Cocozza
Photography: Gianni Franchellucci

 120 DIVINE INTERVENTION

Architectural and
Interior Design: Pas-Partoe

Text: Tina Høm

Photography: Jean-Marc Wullschleger

19
 I N S I D E R

The Bright Group and interiors hosted a panel on modern

art and design during What’s New What’s Next at 200
Lexington in New York. Panelists included photographer
Charles Kay Jr. and Shaune Arp from Gagosian Gallery;
among those in attendance was Eric Chang of Hellman-
Chang, far left.

Photograph: Laurie Victor Kay

interiors contributing editor Carol Tisch is flanked

by Silvana Harty, left, and Rosie Byford of The Rug
Company at the brand’s launch of exclusive
Paul Smith designs at their Miami showroom. Tisch will
report on the line in the February+March issue.

At the Pacific Design Center’s 2015 Fall Market in Los

Angeles, Ralph Pucci’s evening reception included a
dance performance amid sculptures by John Koga.

20 DEC + JAN 2016

 interiors attended the Fall 2015 High Point Market, where
Baker |Milling Road debuted a line from Kara Mann (above left),
Bernhardt debuted a silver-leafed teak console (above), and where
Editor-in-Chief Erika Heet and Thom Filicia—who designs for Kravet,
among others—celebrated his new designs at Vanguard Furniture (right).

Newell Turner of Hearst Design Group joined Caterina and

Raffaele Fabrizio of Dedar Milano and Florence Lafarge
of Hermès in a conversation on excellence in home
fabrics at the Jerry Pair & Associates showroom during the
Decoration & Design Building’s Fall Market in New York.

Mimi Zeiger of The Architect’s Newspaper and interiors

Editor-in-Chief Erika Heet presented the Next LA awards
at the AIA|LA annual Design Awards in Los Angeles.

Photograph: David Lena

21
john pomp

j o h n p o m p. c o m
 C OVET

I
’m obsessed with the sphere,” says Michael Anastassiades of the shape that regularly appears
in his work. “I like that tension right before contact is made between the large and small sphere,
almost as in a ball game, with the metal one just kissing the glass,” the London-based designer
says of his Copycat light for Flos. The smaller aluminum sphere, available in four finishes, holds
the LED light source that radiates into the larger blown glass one, for a uniform glow. “The design
actually lends itself perfectly to the LED technology, which uses the metal to generate the light
and dissipate the heat.” flos.com

23
 COVET
“I went to architecture school, where it’s all about rectilinear lines,”
says Nick Sheridan, director of design for Cerno, of his guiding
aesthetic philosophy. “But we wanted to branch out from right
angles, only not just for the sake of making a swoop.” The ends of this
Camur pendant are only three inches apart, but viewed from the
ends or side, the angle appears more drastic. “From some angles
it looks like a straight line, but it’s the moments in between the two
that are really intriguing.” Camur is made of walnut, with an LED light
source, in Southern California. cernogroup.com

Serip, a lighting company based in Amadora, Portugal, just

outside of Lisbon, has made chandeliers by hand there since
1961. This Path Leaf wall sculpture showcases the ability of CEO
and designer Ilda Pires and her team to capture the beauty of
a natural element in a precious material, here, bronze and glass.
“The challenge with organic shapes and their inherent random forms is
to unify that with the technical components to make it functional,” Pires
says. The LED Path Leaf is available in 10 finishes, as well as in a sconce
and ceiling fixture, and custom sizes. seripamerica.com 

24 DEC + JAN 2016

 COVET
“The challenge is that it’s completely symmetrical, but each cube is made by hand-
folding steel,” says Adam Blackman, a founder of Los Angeles–based Blackman
Cruz, of the 3-Squared chandelier. “We designed a sconce several years ago and a
client asked if we could do it as a chandelier, and we started to play around with just
stacking the sconce element and creating a chandelier with an indirect light source.
It speaks to a lot of different interiors, depending on the finish.” Made in L.A. of steel
plated in black acid, nickel or brass. blackmancruz.com

“How many times do you get into a shower, particularly when traveling, and not know
how it works?” asks Antonio Citterio. For his third collaboration with Axor, spanning
15 years, the Italian architect wanted simplicity, “but with plumbing there’s a lot
behind the walls,” he explains. “As an architect, I work on a solution to a problem. You
design something because you need it, and I wanted to combine classic elements
with contemporary ones,” he says of the collection, two years in the making. Named
Citterio E—as in “essence”—the collection is comprised of 28 products and available
in 13 finishes. hansgrohe-usa.com

26 DEC + JAN 2016

V I T R A F O R M

Eolienne hand engraved design with

translucent silver finish between two layers of
Starphire laminated glass. Visit our website for
options and colors on the complete line
of Vitraform products.

Fa u c e t b y Fa ntini

3500 Blake St Denver, CO 80205 888.338.5725 www.vitraform.com THE ORIGINAL GLASS SINK
 COVET

French designer Inga Sempé has worked with major

brands—among them Cappellini, Edra, Alessi and
Ligne Roset—since she opened her own firm, in
Paris, in 2000. Now she has added Ann Sacks to the
illustrious list, for her first foray into tiles. The Dessiner
(to draw in French) collection encompasses three
different styles of porcelain tiles that reproduce
hand-drawn artwork. Each four-inch-square tile has
a matte finish with design in gloss in a neutral palette.
annsacks.com

Venerable French crystal house Saint-Louis, which dates back to 1586,

turned to industrial designers Etienne Gounot and Eric Jähnke of the
firm Ozone for its latest lighting collection. “The inspiration for the Quartz
came from rock crystal, known for its reflective qualities,” says Saint-Louis
CEO Jérôme de Lavergnolle. Embedding an LED light source in the top
of the three pieces—sconce and two sizes of table lamps—magnifies the
diffraction with both bevel cuts and sandblasting of the light, though it’s
impossible to tell where the light is coming from. “It was a challenge to
find a light that didn’t cause too much dazzle or discomfort to the eye,”
de Lavergnolle says of the elegant glow. saint-louis.com

28 DEC + JAN 2016

 COVET

Melbourne-based Apaiser, a 15-year-old company known for hand-finished composite stone

bathware, turned to Kelly Hoppen for its latest collection. “I was inspired by the lotus flower,
wooden and ceramic bowls, and I wanted to portray both purity and strength in the soft lines
and strong structure,” the London-based designer says of her Harmony tub and basin, two of
three designs, each available in three pieces, in a collection that “celebrates the East, where
the act of bathing is a ceremony.” With its reclaimed sustainable stone content, the Apaiser line
is eco-friendly, and available in four neutral shades. apaiser.com

30 DEC + JAN 2016

ICONS

TOM DIXON
MIX MASTER
TEXT: ZAHID SARDAR

32 DEC + JAN 2016

 ICONS

I
never had a career plan,” says Tom Dixon, one of Britain’s most widely
influential designers of furniture and lighting. That’s because, he says,
“you can apply design to any field.”

His own trajectory is proof. After studying pottery and drawing

at Holland Park School, he dropped out and dabbled with playing
bass guitar in a band. He is now a 56-year old design trailblazer
obsessed with materiality, form and the manufacturing of
everything. His geometric, curvaceous and reflective objects
are internationally recognizable.

Dixon is essentially interested in “transforming raw material

into gold,” he says. “Design is alchemy for me and it started
with clay. Luckily, I had a good ceramics teacher in my state
school, which was just large enough to have a kiln.”

There, the act of transforming mud into a useful pot for his
mother “was what marked me. Mud has no form, no mutable
characteristic until you shape and fire it into something beautiful.”

Stamped with this thinking—that all materials and systems,

including the furniture industry, can be transformed—his multi-pronged
career included a stint at a London auto repair shop, where he
learned to weld scrap metal together. Old scaffolding, hubcaps and
grates became signature “salvage” furniture and a 1987 rattan and
steel S-chair, inspired by a doodle of a rubber chicken, unexpectedly
catapulted him into the Museum of Modern Art’s permanent collection.
Luxury Italian goods makers such as Cappellini took note of Dixon’s
steampunk aesthetic.

His genius in repurposing materials and manufacturing methods

to make new things and in marketing them effectively were honed in
1992, when he set up Spaces, a retail and mail order shop in London’s
Notting Hill. There, he promoted the work of others, including designers
from Dutch collective Droog, and the irrepressible Hong Kong–based
Briton Michael Young, who shared his iconoclastic vision. The experiment
blossomed two years later into Eurolounge, a manufacturing company
created for the mass production of Dixon’s air rotational–molded Jack
Light, billed as the versatile “sitting, stacking, lighting thing.”

Hands-on form making took a back seat while he led Habitat as

creative director. During that decade, dispensation to design silverware
for the Queen in 2000 brought an odd respectability to the renegade
designer. It proved useful. Within two years his eponymous brand,
launched in partnership with David Begg, was born. They produced
a line of extruded plastic products, formed a design studio that did
product research and created interiors for hotels, retail, restaurants and
corporate headquarters. There was no looking back, even when the
pressure of being a self-generating mono-brand became intense.

33
ICONS

34 DEC + JAN 2016


I
chose to design for my own label, because when I do that I feel
like I have more control over my output, and am able to make a
more cohesive body of work,” Dixon says.  at Sea Containers House, and in 2014, a concession store at
In 2004, Sweden’s Proventus investment company and Artek,
the legendary Finnish furniture company, added their muscle to
form Dixon’s Design Research Ltd Company, where traditions
could be tweaked. He introduced innovative upcycling strategies
that included retrieving old Artek classics and reselling them with
a label recounting their histories. In that “disruptive” creative vein,
Dixon challenged traditional furniture distributors with his Great
Chair Grab in 2006, which involved giving away 1,000 polystyrene
chairs to the public in Trafalgar Square for free. A small edition
of limited-edition versions of the chair funded the democratic
enterprise. In New York, where he had opened a new office, the
exclusive chairs were shown at Moss in SoHo.
Since 2009, Dixon’s new North Kensington, London hub—
appropriately in a Victorian industrial building—has a restaurant,
retail shop and contract showroom, supplemented by an office
and distribution center in Hong Kong.
In 2012, Dixon introduced a range of affordable gifts and
accessories, from fragrance to watches. The design research
ICONS
studio garnered the commission to design interiors of hotel
rooms, the bar, lobby and restaurant at the Mondrian London
Harrods, London—and internet sales—continued Dixon’s thrust into
new terrain.
Last autumn at Selfridges, Dixon presented Multiplex, an
immersive, futuristic, multisensory department store with live design
and manufacturing teams and instant sales, all under one roof.
He integrated sound, smell, taste and feel, with new products
including Ink notebooks and stationery, Brew stainless steel coffee-
making vessels with vaporized copper skins, and London Scent, a
fragrant candle with its marble snuffer.
“Having done a lot of hard, masculine objects for a long time, I
am looking at softer materials,” Dixon says. “Textiles are great from
a manufacturing point of view. You can go from sewing machine
into mass production quickly.”
With his new perspective on softer materials, “If I am stuck on
my island, I would seek out mud again,” he says. “People are still
making bricks for London houses and using local wood to fire kilns.
I would dig straight into the massive bed of clay that London sits on
and make something.” Tom Dixon, 212 228 7337, tomdixon.net
35
36 DEC + JAN 2016
 STUDIO

LARISSA SAND
INDUSTRIAL CHIC
TEXT: ERIKA HEET

PHOTOGRAPHY: CHARLES KAY JR.

37
STUDIO

COURTESY: SAND STUDIOS

38 DEC + JAN 2016

 STUDIO

W
ithin a humble building in San Francisco’s industrial South of Market
neighborhood, distinguished by a geometric steel door, is the world of Larissa
Sand, a designer, metalworker and artisan who runs her eponymously named
studio over several floors. The bold, understated exterior is a fitting introduction
to her designs, which range from commercial and residential projects to architectural elements
like doors, windows and lighting. “Doors and windows are the components of architecture
people interact with most,” Sand says. “A door should be more sculptural, because it’s the first
entry point, the trumpet that lets you know you’re coming in.”

Another highly interactive core component in Sand’s design milieu is lighting. “From early
on in my design projects, I was looking for lighting that was architectural and not blingy,” Sand
says. “I was not finding it, so I started to develop my own. I made lights out of found objects:
mechanical, technical fixtures that came to be part of our projects.” Those morphed into her
current line, Alcyone Lighting, including simple, opaque globe and cylinder pendants and
the stunning Rain chandelier, measuring five feet long with glass rods showering down from a
rectangular glass enclosure. “I fell in love with lighting,” Sand says. “It has become a big part of
our architectural focus.”

Though each project has a different set of needs, “They all inspire each other,” Sand
explains. Whether commercial or residential, her initial approach is the same. “No matter what,
a design still has to fit people,” she says. “A lot of our work deals with architectural perception,
feeling, human scale and texture—there are still the same users in the end, but with different
personalities. Residential designs are more timeless. In commercial designs, you want to create
an emotional architectural impact in a shorter amount of time—a little more wow to inspire
people immediately.” Among Sand’s residential designs are sleek houses and apartments in
Miami and San Francisco, while her commercial projects include offices and galleries in San
Francisco, and the Golden State Warriors lounge in Oakland.

At her studio, the transition between commercial and residential is a seamless one. Near her
office, behind another steel-and-glass door with Mondrian-esque geometries, is her own home
above the treetops. A light-filled space with board-formed concrete walls, a kitchen dominated
by stainless steel and a bathroom sheathed in white marble, the residence feels like a modern
urban tree house beneath a lofty beamed ceiling. Sand welcomes friends, family, colleagues
and clients alike into her home as a sort of extension of her studio.

39
STUDIO

40 DEC + JAN 2016

 STUDIO

S
and and her team—which includes seven employees
between the street-level fabrication shop and the design
office—divide and conquer as each project dictates.
“We’re like a band, with different talents,” Sand says. “We’re
a team, and we all go downstairs and build together.”

“Our pieces evolve from the needs of our projects,” continues

Sand. “Different needs keep a designer more inspired and more
inventive when you’re not solving the same problems and doing the
same thing over and over again.” Among her greatest inspirations are
the materials she selects. “The materials inform the design,” she notes.
COURTESY: INTERIORS

“Working with stone or metal, you design for what the properties
are, because what it already has in it is so amazing. Materials make
the ordinary more extraordinary.” Sand Studios, 415 974 6622,
sandstudios.com

41
CAROLINA COUTURE
CAROLINA COUTURE

WITHIN THE ANCIENT HILLS AND VALLEYS OF

the Blue Ridge Mountains in western North Carolina lies a pocket
of sweet serendipity in which a unique mélange of ideal materials,
excellent geographic locations and, above all, generations of
highly skilled craftspeople creates exquisite high-end furniture.

In the way that soil, climate, heritage and skill perfectly

blend to produce outstanding wines in the Sonoma Valley
of California, this area of North Carolina boasts the finest of
home furnishings manufacturers, nurtured by nature’s gifts of
timber, cotton and rivers, blessed by the arrival of railroads in
the 1800s, enhanced by the latest technology and located in
comfortable proximity to the very heart of the furniture industry
in nearby High Point, N.C.

The dominance of the furniture industry in this area was no

accident. Native stands of walnut, oak, cherry, pine, poplar
and more made it a natural draw for lumber men since
before the Civil War. Over generations a fraternity of family-
owned companies have become famous for fine furnishings
highly favored by designers for their tailoring, woodworking,
blacksmithing and finishes that can require more than a dozen
individual steps to achieve.

For more than 125 years, Bernhardt Furniture has been a

genuinely venerable manufacturer of high-end furniture. The
company, now in its fourth generation, was founded in 1889 by
John Mathias Bernhardt, who as a logger once built a 20-mile log
flume to move lumber down the mountainside for local furniture
manufacturing or to be shipped by rail throughout the country.
That flume is historically believed to be the longest such structure
ever built. Currently at the helm is the founder’s great-grandson,
Alex Bernhardt, Jr., president and CEO, whose fellow executives
are also family members.

“The two main raw materials for the making of furniture—

timber and cotton—were available here,” Bernhardt says,
“and the railroad’s arrival in 1885 made it possible to ship
goods much farther. In addition, the manufacture of furniture
attracted a pool of workers who learned the skills needed, then
passed those skills down through the generations. We have
craftspeople whose children and grandchildren have followed
in their footsteps.”

46 DEC + JAN 2016

CAROLINA COUTURE
THE SHUFORD FAMILY, who owns Century
Furniture in Hickory, has been in western North Carolina
for nearly 200 years, with a long tradition in manufacturing
from yarn mills to fabric to furniture.
Current president Alex Shuford III represents the
third generation of the family operating the high-end
company and has a clear vision of the roots of the fine-
quality furniture produced by his and other companies
that thrive in the area. “For us,” Shuford says, “the area
and its people are the very foundation of what we do.
The access to materials such as Appalachian hardwoods
is important, but the relationship with the western North
Carolina craftsmen and women is vital. We derive our
culture from the area’s hardworking, determined people
who believe in treating others with Southern hospitality
regardless of whether they are family or new customers.”
48 DEC + JAN 2016
Producing everything from classic traditional designs
to the edgiest of contemporary and stunning hand-
forged steel pieces, these companies marry Old
World craftsmanship with cutting-edge high-tech
manufacturing to create freshly updated silhouettes,
finishes and surprisingly customizable furniture. Indeed,
nowhere else in the world but in this pocket of North
Carolina can discerning retailers and designers
find this level of quality combined with the luxury of
personalization, and with such competitive delivery
times and price points.
Shuford points out that technology provides these
companies with the ability to offer almost infinite
possibilities for customization. “Twenty years ago the
U.S. furniture industry was based on large production
runs driven in part by the high cost of machinery set-up
times,” he says. “Essentially, the only way to justify the
hours it took to set up a single machine to do a single
operation was to enable long runs of a particular part,
such as a leg or table top.”
Today, Shuford notes, “with computer-controlled
equipment, set up times are lightning quick and that
has opened up a world of affordable custom furniture.
Of course, the level of craftsperson you need also
increases because a modern custom factory is literally
creating new products every day.”
Century believes that style and service are personal and best provided by passionate local businesses.
We are proud to be family owned and operated in Hickory, North Carolina since 1947.
centuryfurniture.com/buylocal
CAROLINA COUTURE

AT CHADDOCK HOME in Morganton, North Carolina,

president and CEO Dan Bradley points out that the use of
computerized drafting allows a quick sketch to become a
detailed drawing the same day, and a precision-cut prototype
can be produced within days instead of weeks.

Chaddock, which is represented in 25 retail operations around

the world, including 13 retail stores in China, takes customer
choice to another level, Bradley explains. Beyond choices of
finishes, fabric and hardware, he says Chaddock’s philosophy
on customization means being able to say to a customer, “The
answer is yes, now what is the question?”

Consequently, one might see a seven-foot table being

produced and behind that a 14-foot version. “Our customer can
even choose the number of drawers or the number of doors on
the piece they love because the craftspeople we employ have
adapted to this unique level of customization,” Bradley says.
“Depending, of course, on our backlog, these custom pieces
can be created in as little as four weeks.”

“Many of our craftspeople have been with us since the

company started 19 years ago,” Bradley says, “and we are
proud when their children and grandchildren come into the
company to join us as well. I believe that is a testament to our
determination to provide an environment where people want to
come to work and hold a heartfelt pride in their work.”

50 DEC + JAN 2016

 Finished to Perfection

FROM NORTH CAROLINA TO THE WORLD

The New Guy Caddock Collection www.chaddockhome.com 1.855.535.6992
CAROLINA COUTURE

AT CHARLESTON FORGE IN BOONE, North Carolina,

the factory floor vibrates with the concussion of hammers against
anvils as skilled artists create stunning, solid metal furniture amid the
unearthly glow of molten steel and the fierce blue of welding torches.

A remarkable company that grew organically from a retail

origin, Charleston Forge and its founders, Art and Susan Barber, have
benefited for more than 31 years from a location within the realm of
Carolina Couture country, and celebrate what they call “the creative
spirit” that exists among the local craftspeople and the community of
artists who draw inspiration from the panoramic mountain views and
cool summers.

No high-speed production lines operate at this 100,000-square-

foot factory, as every item is hand-wrought to order and retains what
the Barbers call a “sense of hand.” Customization is key to Charleston
Forge, and like others, the Barbers have craftspeople who have been
with the company since the beginning, and spend time and energy
seeking out new artisans who are carefully trained to achieve the
unique needs of their product.

“I’m constantly fascinated, after all these years,” Art Barber says.
“Every time I walk through the shop and see what these people can
accomplish, I want to celebrate them.”

52 DEC + JAN 2016

 CAROLINA COUTURE

TO ENSURE A TALENT POOL CAPABLE OF

the exquisite tailoring that has marked Lee Industries since
its founding in 1946 by Bill and Dottie Coley, the Conover,
North Carolina, company has developed and invested in
“training pods” that span three months dedicated to training
associates in the traditional skills of upholstery and sewing
required to produce its high-end bench-made seating.

This family-owned company remains committed to

manufacturing in North Carolina, employing about 700
associates and “sourcing a large percentage of our supplies
from a 100-mile radius,” says Bondi Coley, marketing
manager. “More than 95 percent of the components used
to make our furniture are made in the U.S. We pride ourselves
on sourcing locally and helping to promote economic
growth within our communities.”

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CAROLINA COUTURE

TECHNOLOGY HAS BEEN PARAMOUNT,

Coley says, in maintaining Lee Industries’ immense
reputation for customization. “All of our files for frames
are sent to vendors using a CAD system and they are all
sent electronically. We have taken the guesswork out of
development by educating our development team on
the newest technologies in pattern making. Our cutting
systems are all automated and require highly skilled
operators. Our system navigates patterns in fabrics to
produce the best yields and conserve the fabric yardage.
The sewing systems that are in place haven’t varied much
over the years, although the techniques have become
much more complicated—topstitching, zigzag stitching
and whipstitching.” Lee’s customers can select anything
and everything—from thread colors, stitching and button
options, to what type of cushioning is used—and choose
from 1,000 fabrics and 100 leathers.

54 DEC + JAN 2016


WHETHER IT’S A VENERATED FAMILY BUSINESS
operating since the 1800s or the dream of forward-thinking
entrepreneurs, these upscale sources benefit from their location
near the center of the home furnishings business. High Point, North
Carolina, is known universally as the Furniture Capital of the World,
bringing together hundreds of other global industry leaders to meet
twice a year to buy and sell at a trade show that draws 75,000
people from around the world to explore 12 million square feet of
home furnishings on display.
Century’s Shuford calls the High Point market “the next best thing
to the old days of buyers visiting our factories in Hickory. Beyond the
obvious value of the show being close to us and our craftspeople, High
Point itself is steeped in furniture heritage. Many of the buildings are
monuments to the fine brands the industry has created over the years.”
Chaddock’s Bradley says the High Point market “gives us a chance
twice a year to invite our customers into our own house and to show our
product in the way we believe it is best showcased.”
Pure & SimPle
Hand Forged in North Carolina
Charleston Forge
www.charlestonforge.com
CAROLINA COUTURE
Bernhardt agrees that proximity to High Point is “crucial. We have
an 80,000-square-foot showroom that we change out completely
every six months. We start months ahead. Being able to drive
between the factory and the showroom is far more cost-efficient for
us than showing at market centers in other parts of the country. We
aren’t selling furniture, we’re selling environments,” he says.
All of these western North Carolina companies thrum with
dynamic energy. Here, artisans know that “business as usual” will
never happen and that every day is a new exercise in excellence.
Family-run and committed to their roots in America in the face
of an industry where many have taken production offshore to
save costs, these manufacturers share an underlying and ever-
present respect as friendly competitors that share resources and
applaud one another’s successes. They are all part of a fraternity
of furniture manufacturers who recognize their place in creating
Carolina couture. Bernhardt, bernhardt.com; Century Furniture,
centuryfurniture.com; Chaddock Home, chaddockhome.com;
Charleston Forge, charlestonforge.com; Lee Industries, leeindustries
.com; High Point Market, highpointmarket.org
55
D E TA I L

The Stella fan from The Modern Fan Co.—available in white, maple or
mahogany—incorporates a series of stacked wood rings around the motor
and diffuser, simultaneously providing a cooling breeze and soft, glowing
illumination. www.modernfan.com

56 DEC + JAN 2016

 D E TA I L

Cosmopolitan by Dakota Jackson at Bolier/Decca Home includes the Tristan

Club Swivel chair and sofa, both with stainless-steel bases, the Eliot Oval
Coffee Table, the Tristan Square side table in bronzed stainless steel, and the
Frost three-tier end table. www.cosmopolitanbydakota.com, bolierco.com

57
D E TA I L

California Closets creates customized solutions for every room of the home
to match the personal style of each individual. The combination reach-in
closet/wardrobe with built-in credenza is crafted in a rich midcentury color
palette, with sliding doors, oil-rubbed bronze accents and interior lighting.
californiaclosets.com

58 DEC + JAN 2016

 D E TA I L

The Ember Hanging Light from Holly Hunt Studio is constructed with
two concentric rings. Each ring is made of solid aluminum, with
facets to create a stunning effect when lit. The LED lights located
between the rings are toned for an inviting glow. hollyhunt.com

59
D E TA I L

Designed by Douglas Levine, Bright’s Sylvester sofa draws on classic 1980

forms. Shown in a 138-inch two-piece version, it is also available in a 180-
inch three-piece unit. Custom sizing available. 888 524 5997. brightchair.com

60 DEC + JAN 2016

 D E TA I L

The luxurious, masterfully crafted Infinity Cluster chandelier

from John Pomp features hand-blown, sculpted smoke glass
clusters suspended by black cordage on an oil-rubbed
blackened steel canopy. 215 426 7667, www.johnpomp.com

61
D E TA I L

Phoenix, a project designed by CR&S Varenna, is distinguished by subtle and pure

geometric lines, giving life to a contemporary kitchen. The thoughtfully engineered
system is available in a wide variety of quality materials, finishes and colors. Evolved
modular solutions are highly functional and allow the freedom to create a personalized
space that reflects an individual’s tastes and needs in the kitchen. poliformusa.com

62 DEC + JAN 2016

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D E TA I L

The Crin Dining Arm Chair is the highlight of the debut collection by Steven
Volpe for McGuire Furniture. Using the same materials as the Antalya
predecessors, Volpe reduced the scale of the rattan and contrasted it
with rawhide weaving and graphic brass nailheads. mcguirefurniture.com

64 DEC + JAN 2016

 D E TA I L

Showcasing Hammerton’s artisan capabilities in both metal and glass, the

Bezel 8 chandelier features eight LED-illuminated “gems” of clear blown
glass set in a translucent satin nickel-finished ring of polished steel. It is
also available in linear suspension and pendant fixtures with a choice of
finishes. 100-percent USA handcrafted. 801 973 8095, hammertonstudio.com

65
D E TA I L

Kallista offers faucets and fixtures artfully crafted for discerning tastes,
and whole-bath solutions. From the modern lines of the Taper collection
by Bjarke Ingels to pieces that incorporate transitional and traditional
aesthetics, Kallista offers design solutions for every style. www.kallista.com

66 DEC + JAN 2016

 D E TA I L

Distinct, contemporary styling and virtually limitless application are

hallmarks of the new Made by Ann Sacks collection, Modern Ribbed.
Crafted by in-house artisans in Portland, Oregon, the tile features a raised
edge detail ribbed in an etched design to add depth and definition
with a tactile quality that is visually captivating. annsacks.com

67
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N O RTH ERN

Grandeur
ARCHITECTURE: SOL WASSERMUHL

INTERIOR DESIGN: JEFFREY DOUGLAS

TEXT: JORGE S. ARANGO

PHOTOGRAPHY: DAVID WHITTAKER

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S OME PREFER SAVING THE BEST FOR LAST. Contrary to many empty nesters
trading large suburban homes for smaller city condominiums, the owners of this
elegant three-bedroom, two-bath Toronto apartment defied their demographic, eschewing
the “simplify and downsize” philosophy. “We upsized from a 4,000-square-foot Georgian
house with eight-and-a-half-foot ceilings to 4,300 square feet with 11-foot ceilings,” says the
wife unapologetically.

And why not? “We didn’t set out to create something grand,” she explains. “But we wanted
to enjoy the fruits of my husband’s labors and do something we’d probably never have the
opportunity to do again—to indulge our fantasies.”

Translating those fantasies into three dimensions fell to Toronto-based designer Jeffrey
Douglas, who spent three years planning a highly bespoke cosmopolitan residence in the
cultural heart of the city. “They are very well-traveled people and very knowledgeable,” notes
Douglas of his clients. “But they’re not stiff.” It was essential that taste never trump comfort.

The husband had purchased this land with architect Sol Wassermuhl (who designed the
building) and other partners, so that every aspect could be tailored from the ground up. The
foyer immediately sets a highly polished tone. “It’s a very elegant and serene space,” Douglas
says of the architectural envelope, which features travertine floors and pilasters, the latter with
fluted details. Local leather artisan Kai Kruger—whose clients include Carolina Herrera, Tiffany’s
and Bergdorf Goodman—swathed the walls entirely in mottled goatskin panels resembling
stone blocks.

The art glimpsed down the hall from here introduces the couple’s impressive collection,
which features modern Canadian painters, but also includes a Degas Danceur sculpture and
contemporary European works. Austrian Robert Schaberl’s yellow disc painting hangs above a
1930s console acquired from Palm Beach–based Deco dealer John Prinster, while a Union Jack
painting by the Brit David Mach dominates another wall.

During previous winters spent at their Florida home, the couple had begun collecting French
Art Deco furniture from Prinster even before buying the land this building now occupies. “I’ve
seen many modern spaces awkwardly incorporate a collection of antiques,” says Douglas. “It
kills me.” But because designer and clients could stipulate the shape and size of every room,
each finish and detail, collections integrate seamlessly. Douglas supplemented these antiques,
as well as a few pieces that journeyed from the suburban home, with customized showroom
pieces and furniture he designed to reflect the period but with a more contemporary flair.
Consequently, Douglas says, “It doesn’t look like it was designed in the 1920s and ’30s; it feels
like it was done today with a deep respect for the era’s history, craftsmanship and quality.”

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77
 A LIVING ROOM SEATING AREA FACING a swanky polished-nickel
fireplace surround by Ontario metalworker David Reale is emblematic
of this mix. A Michael Berman sofa in Schumacher silk velvet complements two
Irish Regency chairs from the couple’s Georgian manse, various 1930s pieces
from Prinster—Edouard Schenk silvered-bronze side tables, a white-gold gilt
mirror, a pair of silvered-bronze torchères on goatskin pedestals—and slipper
chairs of Douglas’s own design. The latter are unmistakably contemporary, but
would have been just as at home in a 1930s French salon. Above the fireplace
is one of several works by famed Canadian painter Jean-Paul Riopelle.

Nearby, Douglas gathered four custom-designed club chairs around a Holly

Hunt Ocular table. A painting by Caziel—a one-name Polish artist who worked
alongside Picasso between the wars—presides over this vignette, flanked by
sconces produced by innovative Deco lighting company Maison Desny.

Identical Maison Desny sconces and another especially vivid Riopelle hang
in the dining room over a metal console by William Switzer, a reproduction of
an original Lucien Rollin design. Here, Reale contributed metal doors inspired
by those at Claridge’s in London, and Douglas designed the sycamore table
and dining chairs, which display tapered legs that make these, as well as those
of other furnishings, feel chicly svelte and animated. Panels of Jim Thompson
silk envelop the room—another French salon touch that also conceals felt-
lined cupboards for silver and china.

Douglas relaxed the Deco inflections in the den. While Edmond Etling
dolphin lamps and circa 1925 Haentges Frères consoles evoke the era in
this room, Douglas suffused the space with the contemporary comfort of
custom chaises and a rug from Weavers Art’s New Traditionals collection.
“The iron coffee table is in the style of Diego Giacometti,” he notes, an artist
whose signature works were produced just after the Art Deco years. Finally an
etched aluminum triptych by English artist Mark Firth ushers the room into the
here and now.

78 DEC + JAN 2016

79
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 S O IT GOES THROUGHOUT. Prinster’s 1930s chandelier and side table
in the master bedroom play off Douglas’s custom bed (set into a niche
upholstered in Stroheim damask); in a guest room wrapped in an embroidered Phillip
Jeffries grass cloth, another custom bed and nightstands by Douglas are juxtaposed
against a 19th-century chinoiserie screen from the couple’s previous home; and in the
powder room, antique Lalique sconces and a 1930s mirror hang above a custom vanity
with Sherle Wagner hardware.

This olio of period pieces and rich materials is everywhere tempered by supple textures
and upholstered ease, agilely sidestepping stiff, museum-like interiors. “People ask us
how we can live in such a high level of sophistication,” says the wife. “But we’re very
comfortable here. We walk around in our house coats and slippers.” Douglas Design
Studio, 416 538 4692, www.douglasdesignstudio.com

81
 R H A P S O DY I N BLEU
INTERIOR DESIGN: KARA MOLINARI

TEXT: PENELOPE ROWLANDS

PHOTOGRAPHY: GIANNI FRANCHELLUCCI

82 DEC + JAN 2016

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I
WORK IN A DIFFERENT WAY THAN MOST DESIGNERS,”
the Parisian decorator Kara Molinari explains. She hardly needs
to say it: It’s obvious from the moment you arrive at her sprawling
apartment in a landmark Art Nouveau building in Paris—that
there are surprises ahead.
Entering the foyer is like stepping into a blue haze. The long,
window-lined entry hall is painted a deep, calming shade that
reminds Molinari of the blue found at the Majorelle Garden in
Marrakech, where flower pots, and even building facades, seem
saturated in the same rich color.
With its subtle textures—from nubbly wallpaper to shiny lacquer
paint—and gold accents, the foyer is a fitting introduction to this
3,000-square-foot space, which she shares with her husband and
their children. This is a nuanced, at times even mystical-seeming
interior, where almost everything has a meaning. Symbols and
cross-cultural references abound, and warmth is very much the
order of the day.
“The idea is to reinvent classicism,” Molinari says. “I wanted to
keep all the classic Parisian touches while also bringing the original
into the 21st century.”
Which, certainly, she has done. The living room offers a prime
example: She hewed to tradition here by highlighting its classic
boiserie trim in gold; even so, this space, with its spare, uncluttered
look and clean-lined, modern furnishings (including Gae Aulenti’s
iconic glass low table with its outsize wheels), speaks more of the
future than the past.
The room’s serene palette and spare aesthetic reflect “a
Zen side” to her work, Molinari says. “An interior can inform your
feelings—and even your destiny,” she notes. “It should impart a
sense of beauty. It should give peace. It should be light and well
organized with enough empty space.”
The living room’s strongest color emanates from its carpet,
of Molinari’s own design, with its distinctive swirling pattern in
royal blue, beige, white and black. But it just may be a framed
photograph, Lake Tahoe Couple, by the American photographer
Slim Aarons of two people relaxing in and around a swimming pool,
that best encapsulates this designer’s ideas. “What you see each
day influences who you are,” she says. Positive images—ones of joy
and nature—such as this photograph, abound in her projects.
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I
N HER DESIGN PRACTICE, MOLINARI, who’s also a life coach,
takes an intensely personal approach: “I ask my clients, ‘What makes
you happy? What are your deepest values?’ ” She then incorporates
their answers—in this case, an emphasis on family and calm for her
own space—into their interiors.

Molinari believes passionately in feng shui. She’s convinced that when

you make transitions between rooms easier, relationships among people
improve. In this project, she opened up the living room, removing a wall,
to incorporate a dining area. This space, too, looks spare, containing such
modernist classics as a table by Jean Prouvé for Vitra, with its aerodynamic
lines, and black chairs by Philippe Starck that, from a distance, resemble
bats with folded wings. Another showstopper lies above, where Molinari
had a mysterious symbol—a gold circle and black lines—painted on the
ceiling. In the sleek, nearby kitchen, a Big Bang lamp from Foscarini hangs
above a blue-accented vase by Gaetano Pesce.

She doesn’t believe in dining rooms (“These days people eat in the
kitchen with their children,” she says) but creates family rooms instead,
“places where all is permitted, where there’s a television, an office,
bookshelves and a pouf instead of a dining table.” All such elements
can be found in the one here, from the Philippe Starck sofa for Cassina,
upholstered in a plush, geometrically patterned Christian Lacroix fabric—
once again, in a rich blue—to another striking Molinari-designed carpet,
this one with long loops of color.

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91
 A
S A DESIGNER, SHE MAKES HER OWN RULES,
and they tend toward a certain exuberance. A French
phrase that translates into “You are free to become
whatever you want,” on a child’s bedroom wall, is just
one of several mottos—affirmations, really—stenciled on walls.
Similarly, outsize photographs of humanitarian figures, from Nelson
Mandela to John and Yoko, recur. “They inspire us to think of their
causes, and to think of others,” she says.

The quietest room, design-wise, has to be the master bedroom.

Such a room should be a sanctuary, Molinari believes. “It should be an
intimate place,” she says. With its soft colorations and textiles, this one
fits the bill. And while it contains photographs of the couple, looking
radiant, images of their children are not allowed. Molinari says, simply:
“It’s not their place.”

As everywhere here, a lack of clutter imparts a sense of calm.

Molinari always urges her clients to divest, encouraging them to
get rid of as much as they can—books, clothes, anything else. “It’s
important for the mind,” she says, adding, “It’s extraordinary, the
influence of design. There is a connection between the interior of an
apartment and that of ourselves. When you rework a space, adding
fluidity and coherence, harmony results.

“A lot of apartments don’t give people room to be themselves.

I try to create spaces that do,” Molinari notes. When she succeeds,
she says, “everything changes. It improves daily life.” Kara Molinari
Interior Design, +33 1 06 76 72 45 83, karamolinari.fr

92 DEC + JAN 2016

93
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95
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WEST Meets E AST
INTERIOR ARCHITECTURE: PLATT DANA ARCHITECTS

INTERIOR DESIGN: KATHERINE NORTH CARROLL

TEXT: ERIKA HEET

PHOTOGRAPHY: AARON LEITZ

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IF THERE EXISTS ANYTHING MORE DESIRABLE than grand
city views in New York, it’s unobstructed water views. It is a rarity, if not nearly
impossible, for an apartment to possess both. So when designer Katherine
North Carroll, principal of Northbrook Design in California, was asked by
a longstanding client to update her West Village apartment—boasting
perfect cityscapes on one side and dizzying vistas of the Hudson River on
the other—she knew immediately that “the furnishings, artwork and layout
would all be a backdrop for the views.”

The clients, a couple with three children, were seeking a permanent

home in New York after spending years in a traditional house in the Pacific
Heights neighborhood of San Francisco. They found two side-by-side
apartments in a prominent building by Robert A. M. Stern with interiors by
Yabu Pushelberg, and called upon Hope Dana of New York–based Platt
Dana Architects to combine the two apartments into one, doubling the size
but keeping a flow that matches the rhythms of family life as well as those
of the city outside.

As for the interiors, the client’s directive was simple: “I wanted it to be a

warm, happy, comfortable place,” she says. “She loves color,” Carroll says
of the client, who, to Carroll’s delight, was deeply involved in the home’s
design choices. During the design process, Carroll traveled to New York
often to keep the project on track and to collaborate with the homeowner.
“We spent hours shopping in New York together,” she says.

Carroll introduced a sense of calm for the entrance hall, sheathed in a

warm elm veneer and grounded by an elegant, amber-hued Lucite console
from A. Rudin. “After racing around Manhattan, the residents need a quiet
and serene entrance, with no visual overload,” Carroll notes. “It’s like a
little break.” The hall leads to the apartment’s great reveal: the open living
room, with floor-to-ceiling windows overlooking the water and the Hudson
River Park. Here, a custom sofa and settee wrap around a kinetic glass Self-
Winding cocktail table designed in 1978, all from Dakota Jackson. Nearby,
a Poltrona Frau Mamy Blue armchair by Roberto Lazzeroni joins the room’s
showpiece: a curvy La Mamma chair designed by Gaetano Pesce, its vibrant
stripes echoing those of the carpet from The Rug Company. John Boone
floor lamps and smaller tables from Sandback for Dennis Miller Associates,
Troscan for Holly Hunt, Thomas Sellars and A. Rudin round out the space.

The living room flows into the adjacent dining room, which is open to
the kitchen (a hidden pantry kitchen is used for parties). The homeowner
favors blue; Carroll infused the tone throughout to connect the room with
the water beyond. The use of color is subtle, found in the slate-blue leather
Poltrona Frau dining chairs surrounding a custom, modern patchwork
table from Dune, and in the handcrafted blown-glass chandelier from
jGoodDesign. “We chose that fixture because its blue and amber glass give
it a presence at night during dinner,” says Carroll. “The brass core makes it
feel really warm.”

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CARROLL CONTINUED THE BLUE INTO THE BREAKFAST NOOK just off the kitchen, tucked
behind a structural beam. It is here that the resident starts her workday with coffee at the Eero Saarinen table, taking in
the street-level activity. Barstools from Dennis Miller Associates, covered in geometric fabrics from Romo and Fabricut,
cozy up to a counter space for casual meals in the elm-clad kitchen. The three seamless rooms—living, dining and
kitchen—were kept open to allow a purposeful flow and unencumbered panoramas on the entire west side of the
apartment. It is in this space that the family watches the views change with the seasons: the ice forming atop the
Hudson in winter, and on warm summer evenings, couples dancing the tango on the pier below.

The opposite side of the apartment looks onto the eclectic old buildings of nearby neighborhoods, giving the
spaces therein—the bedrooms, dressing room, the family room and the study—a more urban feel and a deeper
connection to the city. The study’s décor is restrained, allowing the Antonio Citterio for Vitra office chairs to stand out.
The nearby dressing room adds a bit of glamour, with a Lucite bench from Lorin Marsh resting atop a white shag rug
by Rug Art from Sloan Miyasato—this white is repeated in the delicate side chair in the master bedroom, from DDC.
A floor lamp from Flos arcs over the family room, situated at eye level with a nearby building whose copper roof has
patinaed to the exact shade of the Dezza chair from Poltrona Frau and the Tai Ping rug. The glass end table from the
Bright Group reflects the room’s expansive windows, while the gold base of the Diva ottoman by Azadeh Shladovsky
balances with the copper threads woven into the master bedroom sheers that keep the city at bay, but not shut out.
“I wanted the bedroom to be romantic,” says Carroll. “In the morning, the couple will just have sheers closed, and
with the sun coming through, this creates a warm, rosy glow, making it a true sanctuary.” Platt Dana Architects,
646 336 6270, plattdana.com; Northbrook Design, 650 257 3229, northbrookdesign.com

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 Napoli in
HARMONY
INTERIOR ARCHITECTURE AND DESIGN: ALBERTO SIFOLA AND VINCENZO SPOSATO

TEXT: SONIA COCOZZA

PHOTOGRAPHY: GIANNI FRANCHELLUCCI

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111
 LOCATED IN THE PART OF NAPLES SET BETWEEN THE COAST, the
historic center and the hills of Posillipo, an unassuming whitewashed building
stands as an example of the residential architecture that was mainstream
during the expansion of the city at the start of the 1960s. The vaguely Le
Corbusier–style approach to the renovation of one family’s apartment
within was expressed with the help of a few principles of the great master—
le plan libre, la fenêtre en bandeau, le toit-terrasse. Naples-based architects
Alberto Sifola and Vincenzo Sposato undertook the restoration with a sense
of coherence and character.

“Our first target was to lighten the space as much as possible, eliminating
excesses that were in contrast with the rationalist soul of the envelope,” says
Sifola. The apartment, which has completely new volumes, is now an airy
space, open toward the city that appears expanded, thanks to the ribbon
windows that connect the indoors with the outdoors. “We were able to
accomplish a seamless fluidity with an important structural intervention that
merged the terrace ceiling with that of the sitting room,” says Sifola. “It was
a solution that strengthened the concept of the continuity of space.”

The entrance is a dark, moody capsule. The absolute black of the walls
contrasts with the explosion of light that fills the inside of the apartment
beyond. The abstract white marble sculpture by the Italian artists’
collaborative Vedovamazzei, inspired by the 1630s Bust of Costanza
Romanelli by Gian Lorenzo Bernini, is complemented by white stone flooring
underfoot. “We chose a Trani white bush-hammered stone because we
always try to put the structure in context without steering too far from the
original style of the house,” notes Sifola.

The entrance hall leads to an open living room, with a bold balance
of color and art. The chromatic choices show a fondness for warm
Mediterranean tones: The yellow and orange-red of the upholstery, selected
by designer Enrica Torrigiani with the owner, give the area a sunny brightness,
strengthened by a large painting by Sol LeWitt. Directly opposite is a 1970s
mirror sculpture by American artist Neal Small, architectural photographs by
Candida Höfer, a 1930s table and a Spinnaker lamp by Stilnovo. The room
was reconfigured by the architects to include the loggia: With sweeping
views of the Gulf of Naples and Mount Vesuvius, the space is used by the
residents year-round as an open-air dining area that seems to float in a
landscape where the sounds of the city suddenly seem very distant.

112 DEC + JAN 2016

113
114 DEC + JAN 2016
A WORK BY DARREN ALMOND, 11 MILES FROM SAFETY hangs above the entrance to
the dining room, which contains a glass-topped iron and wood Paul Evans table surrounded by
1940s mahogany chairs. Centering the room, on axis with its entrance, is 1, a work by Giulio Paolini.
In this room, as throughout, the repertoire of art plays an important role in the architectural scheme.
Chosen with care and sensitivity, the pieces enhance the delicate balance between functionality
and architecture, landscape and culture.

This cohesion continues in the bedroom, where a geometric piece by David Tremlett sets
the tone. One wall holds a self-portrait of painter Louise Élisabeth Vigée Le Brun, while a corner
accommodates multiple small tables by Italian Pop artist Domenico “Mimmo” Rotella. In lieu of
a headboard, a cabinet holds lamps and more art, including two photographs by the Italian
photographer Marinella Senatore.

Works by artists such as Laurie Simmons, Vincenzo Rusciano and Luis Gispert round out the
home, rich in character and living in constant harmony with the view of the Gulf. Although a
formal cleanliness distinguishes the house, a sense of lightness and placid harmony permeates
each room. Sifola Sposato, +39 081 407721, sifolasposato.it

115
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117
118 DEC + JAN 2016
119
120 DEC + JAN 2016
DIVINE
INTERVENTION
ARCHITECTURAL AND INTERIOR DESIGN: PAS-PARTOE

TEXT: TINA HØM PHOTOGRAPHY: JEAN-MARC WULLSCHLEGER

121
122 DEC + JAN 2016
AT FIRST GLANCE, JAN AND KATHY SMITS’ turreted home—a former
vicarage in the quiet village of Heindonk, near Antwerp—is all Gothic splendor. But the couple,
both designers who make up the firm Pas-Partoe, have a taste for the modern. Their original
spin on the 1910 house begins at the rear, where they have added a contemporary extension
with blackened-oak cladding and soaring double-height windows, connected to the old
structure by a glass box.

Inside, the house serves as a dramatic showcase for Jan and Kathy’s interior design business,
which they run from home and whose offices and showroom are contained in the new volume.
Black and white dominates the décor throughout, and an all-black entrance hall with a solitary
white classical bust sets the tone. As you move to through the rooms, the balance of color
shifts: Some spaces have white walls with black ceilings; elsewhere, it’s the opposite. The more
public zones, such as the living and dining rooms, have windows free of drapery to let the light
flow through. “Varying light and dark spaces helps create a feeling of mystery,” Jan says.

The dining area was once two rooms; Jan and Kathy expanded it into a larger space with
more natural light. A solid-oak table tailor-made for this space is surrounded by Bertoia chairs
and black wood DC10 chairs by Inoda + Sveje from the Miyazaki Chair Factory. A chandelier
by Piet Boon hangs above the table; below is a black sisal rug. The walls hold a work in paper
by Guy Leclef and a photograph from Verne, and in one corner, the couple placed a red
hand sculpture they found at a local antiques shop. As in the dining room, the pair combined
two rooms to create the master bedroom, which plays host to huge monochrome portraits.

The living room is also an artful space, with a gray velvet sofa from Flexform and a variegated
rug from the couple’s own store. A blue painting by Gilbert Swimberghe hangs near a pair of
wood chairs inspired by a design by the Swiss architect Pierre Jeanneret, better known as
Le Corbusier’s less-famous cousin. A bespoke bank of cupboards along one wall conceals
everything from a television to a bar cabinet; this wall also houses two glass-fronted fireplaces
that extend through to the dining area on the opposite side. With extraneous objects hidden
from view, the couple’s display of artworks, books and sculptures are as free to shine as they
would be in a minimalist gallery. “Our home reflects our personalities,” Jan says. “It’s a nice mix
of old and new, and the contrast makes life more fascinating.”

The couple spends much of their down time in the kitchen, where black hues of various tones
and texture are used to add depth to the interior. Glazed Moroccan tiles, also known as zellige
tiles, give an irregular sheen to the walls. Just below, a deep-black Aga range (“my must-have—
it’s the heart of the house,” Jan says) joins custom sandblasted oak cabinets stained black to a
matte finish. An Arne Jacobsen alphabet typography tea towel continues the black-and-white
theme, and the designers replaced the old window with a larger, steel-framed version to invite
more light into the room.

123
124 DEC + JAN 2016
125
126 DEC + JAN 2016
127
128 DEC + JAN 2016
THE KITCHEN’S ORIGINAL FLOOR TILES continue
into the adjacent TV room, creating a sense of cohesion; similarly,
the couple continued the new black tiles from the kitchen to
the TV room fireplace, near which rests a Flag Halyard chair by
Hans Wegner from PP Møbler. “Nothing fake would ever cross
our threshold—no laminate floors or copies of original furniture,”
Jan notes.

In the powder room, antique gold taps, a natural stone basin

and storage units fronted with ink-colored drapes soften the dark
color scheme; such design approaches throughout demonstrate
how warm and inviting black can be. In the cathedral-like master
bath, a tub by Duravit is enveloped within a bespoke wooden
casing, with fixtures by Volevatch. In the hallway and master
bathroom, the home’s original floor tiles have also been preserved,
adding a welcome nod to the past. “It was important for us to
create a nest, a place where we could both feel at home,” Jan
says. “We didn’t want to live in a show house.” Pas-Partoe, +03
866 40 66, pas-partoe.be

129
130 DEC + JAN 2016
131
132 DEC + JAN 2016
133
N OT E B O O K
NORTHERN GRANDEUR (pages 68-81)
ARCHITECTURE: Sol Wassermuhl, Page + Steele/IBI Group Architects, 95
St Clair Ave. W. Suite 200, Toronto, ON, M4V 1N6, Canada, 416 924 9966,
pagesteele.com. INTERIOR DESIGN: Jeffrey Douglas, Douglas Design
Studio, 317 Carlton St., Toronto, ON M5A 2L8, Canada, 416 538 4692,
douglasdesignstudio.com. CUSTOM METALWORK: David Reale, 416 951
8156. ENTRANCE HALL: Circa 1927 White-gold mirror and circa 1930
rosewood console from John Prinster, john-prinster.com; lamp by Robert
Kuo, robertkuo.com; chair fabric from Cowtan & Tout, cowtan.com;
painting by David Mach, davidmach.com; painting by Robert Schaberl,
robertschaberl.com; sculpture, Le Petit Danceur by Dégas. DEN: Custom
chaises designed by Douglas Design Studio with Great Plains fabric
from Holly Hunt, hollyhunt.com; Rug from Weavers Art, weaversart.com;
Pendant lamp from Nessen Lighting, nessenlighting.com; art by Mark
Firth, mark-firth.com; circa 1930 dolphin lamps from John Prinster, john-
prinster.com. LIVING ROOM: painting by Jean-Paul Riopelle; Carol chair
from Jeffrey Douglas Studio Line, douglasdesignstudio.com; Custom
coffee table from Rob Zinn of BlankBlank, blankblank.net; sofa from
Michael Berman Limited, michaelbermanlimited.com; silk velvet sofa
upholstery from Schumacher, fschumacher.com; torchères, Deco
side table and circa 1930 sconces from John Prinster, john-prinster
.com; Fadini Borghi Stresa Lino fabric from Pierre Frey, pierrefrey.com;
Custom silk carpet from Creative Matters, creativemattersinc.com;
ocular table from Holly Hunt, hollyhunt.com; Chambord armchair
fabric from JAB Anstoetz, jab.de. DINING ROOM: wall panel silk and
chair fabric from Jim Thompson, jimthompsonfabrics.com; circa 1930
sconces from John Prinster, john-prinster.com; William Switzer console,
williamswitzer.com; dining table and chairs from Jeffrey Douglas Studio
Line, douglasdesignstudio.com. KITCHEN: oven, hood and cooktop
from Miele, miele.com; Sub-Zero wine refrigerator, subzero-wolf.com;
Piero Lissoni table from Avenue Road, avenue-road.com; chairs from
Jeffrey Douglas Studio Line, douglasdesignstudio.com; chair fabric from
Maharam, maharam.com. MASTER BATHROOM: Tub from BainUltra,
bainultra.com; sconces from Boyd Lighting, boydlighting.com. MASTER
BEDROOM: silk wall damask from Stroheim, stroheim.com; Couture
134 DEC + JAN 2016
Sheers from Kravet, kravet.com; Silk Taffeta drapery by Threadcount,
threadcountinc.com; Valentin sconces from Holly Hunt, hollyhunt.com;
custom bed, chair and ottoman by Douglas Design Studio; Bench from
William Switzer, williamswitzer.com. Bench fabric from Stroheim, stroheim
.com; Custom carpet from Creative Matters, creativemattersinc.com;
painting, Madame Francis H., by Solange Schaal.
RHAPSODY IN BLEU (pages 82-95)
INTERIOR DESIGN: Kara Molinari Interior Design Studio, 19 Boulevard Delessert,
75016 Paris, +33 6 76 72 45 83, karamolinari.fr. ENTRANCE HALL: Custom rug
from Designers Guild, designersguild.com. LIVING ROOM: Link coffee table
by Tom Dixon, tomdixon.net; Tavolo con Ruote coffee table by Gae Aulenti
available at Design Within Reach, dwr.com; custom carpet by Kara Molinari;
artwork on mantelpiece by Jane Puylagarde, sculptures on mantelpiece by
Emmanuelle Piquart, emmanuellepiquart.com; La Chance chairs for Note,
notedesignstudio.se; photograph by Slim Aarons; Hermès blanket, hermes
.com. DINING AREA: EM table by Jean Prouvè, vitra.com; Philippe Starck
Passion and Caprice chairs for Cassina, cassina.com; Base Wall Light by Tom
Dixon, tomdixon.net; Fortuny floor lamp from Pallucco, pallucco.com. FAMILY
ROOM: custom carpet by Kara Molinari; Mercury suspension lamp by Ross
Lovegrove for Artemide; Fjord Stones stool by Patricia Urquiola for Moroso,
moroso.it; Mister sofa by Philippe Starck for Cassina, cassina.com; blue sofa
fabric by Christian Lacroix, available at Designers Guild, designersguild
.com; armchair by Norman Cherner, chernerchair.com. KITCHEN: Big
Bang suspension lamp by Enrico Franzolini for Foscarini, foscarini.com;
vase by Gaetano Pesce, gaetanopesce.com; kitchen by Arrital Cucine,
arritalcucine.com; Lem barstools from Lapalma, lapalma.it; stone floor from
Porcelanosa, porcelanosa-usa.com. VESTIBULE: Murano glass chandelier;
gilded gold leaf artwork by Kara Molinari and Virginie Lesurf; white leather
sofa by Jean-Marie Massaud for Cassina, cassina.com. BATHROOM: Ravello
tub by Victoria + Albert, vandabaths.com; shower ceiling from Porcelanosa,
porcelanosa-usa.com. MASTER BEDROOM: custom headboard by Kara
Molinari; headboard fabric by Manuel Canovas, available at Cowtan & Tout,
cowtan.com; curtains by Royal Hermitage bedding, lachambrebyrhb.com.

WEST MEETS EAST (pages 96-107)
INTERIOR ARCHITECTURE: Platt +Dana Architects, 80 Fifth Avenue Suite
1105 New York 10011 T 646 336 6270. INTERIOR DESIGN: Northbrook
Design, 626 Jefferson Ave., Studio 10, Redwood City, CA, 94063,
northbrookdesign.com. BUILDER: TriesteCorp, triestecorp.com.
ENTRANCE HALL: Lucite console from A. Rudin, arudin.com; brass
box from Arteriors, arteriorshome.com. FAMILY ROOM: armchair
from Poltrona Frau, poltronafrau.com; sofa from Molteni & C, molteni.
it; Evan Lewis end table from The Bright Group, thebrightgroup
.com; lamp from Flos, usa.flos.com; Diva ottoman by Azadeh Shladovsky,
azadehshladovsky.com, for Jean de Merry, jeandemerry.com; from
De Sousa Hughes, desousahughes.com; wallcovering from Donghia,
donghia.com; rug from Tai Ping, taipingcarpets.com; pillow fabrics from
Jim Thompson, jimthompsonfabrics.com; Romo, romo.com; and Pollack,
pollackassociates.com; pillow trim from Samuel & Sons, samuelandsons
.com; from Kneedler|Fauchère, kneedlerfauchere.com; hide pillow and
bone boxes from Aero, aerostudios.com; accessories from Wyeth, wyeth
.nyc; Nest Interiors New York, nestinteriorsny.com. LIVING ROOM: sofa and
cocktail table from Dakota Jackson, dakotajackson.com; sofa upholstery
from Cowtan & Tout, cowtan.com; tables from Holly Hunt, hollyhunt
.com; and A. Rudin, arudin.com; chevron boxes from Aero, aerostudios
.com; armchair from Poltrona Frau, poltronafrau.com; La Mamma (UP)
striped chair by Gaetano Pesce, gaetanopesce.com; available at B&B
Italia, bebitalia.com; carpet from The Rug Company, therugcompany
.com; drum table from Dennis Miller Associates, dennismiller.com; floor
lamps from John Boone, johnbooneinc.com; lampshades from Illume,
illumenyc.com; drapery fabric from Rodolph, rodolph.com; drapery
fabrication and installation, Manhattan Shade & Glass, manhattanshade
.com. DINING AREA: chandelier by jGoodDesign, jgooddesign.com;
custom dining table by Dune, dune-ny.com; chairs from Poltrona Frau,
poltronafrau.com; carpet from The Rug Company, therugcompany.com;
sculpture from Wyeth, wyeth.nyc. KITCHEN AND BREAKFAST AREA: table
from Design Within Reach, dwr.com; stools from Dennis Miller Associates,
dennismiller.com; stool fabrics from Fabricut, fabricut.com; and Romo,
romo.com. GUEST BEDROOM: bed from Design Within Reach, dwr.com;
N OT E B O O K
bedside tables from Bungalow 5, bungalow5.com; chair from A. Rudin,
arudin.com; chair fabric from Rose Tarlow, rosetarlow.com; wallcovering
from De Sousa Hughes, desousahughes.com; sconces from Phoenix
Day, phoenixday.com. OFFICE: chairs from Vitra, vitra.com; lamp from
Room & Board, roomandboard.com. DRESSING ROOM: rug from Sloan
Miyasato, sloanm.com; bench from Lorin Marsh, lorinmarsh.com; bench
upholstery fabric from Pindler & Pindler, pindler.com. MASTER BEDROOM:
bed and lounge chair from Dennis Miller Associates, dennismiller.com;
bed upholstery fabric from Rodolph, rodolph.com; mattress from Keetsa,
keetsa.com; bedside table from The Bright Group, thebrightgroup.com;
side table from Holly Hunt, hollyhunt.com; rug, drapery sheer fabric and
Mokum pillow fabric from Sloan Miyasato, sloanm.com; wallcovering
from Innovations, innovationsusa.com; drapery fabric from Cowtan &
Tout, cowtan.com; chair from DDC, ddcnyc.com; floor lamp from Wyeth,
wyeth.nyc; shade on floor lamp from Illume, illumenyc.com; sideboard
from Converso, conversomod.com; bedding from Bloomingdale’s,
bloomingdales.com; chair upholstery fabric from Romo, romo.com; chair
pillow fabric from Pollack, pollackassociates.com; lounge chair pillow
trim from Samuel & Sons, samuelandsons.com; from Kneedler|Fauchère,
kneedlerfauchere.com; bed pillow trim from Samuel & Sons,
samuelandsons.com; from Kneedler|Fauchère, kneedlerfauchere.com.
NAPOLI IN HARMONY (pages 108-119)
INTERIOR ARCHITECTURE AND DESIGN: Sifola Sposato, Via G. Bausan
36 – 80121 Naples, Italy, +39 081 407721 sifolasposato.it. ENTRANCE
HALL: sculpture by Vedovamazzei, vedovamazzei.com. LIVING ROOM:
artwork by Sol LeWitt; vintage 1940s table; photos of Naples by Mimmo
Jodice; mirror sculpture by Neal Small; photograph by Candida Höfer;
Spinnaker lamp by Stilnovo; artwork by Darren Almond; DINING ROOM:
artwork by Giulio Paolini; table by Paul Evans. BEDROOM: painting by
David Tremlett; Louise Élisabeth Vigée Le Brun self-portrait with appliqué
by Enrica Torrigiani of Sifola Sposato; collage table by Mimmo Rotella;
photographs by Marinella Senatore, marinella-senatore.com.
135
N OT E B O O K

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DIVINE INTERVENTION (pages 120-133)

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be; oversize white vase from Domani, domani.be. LIVING ROOM: sofa brunschwig.com

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from Flexform, flexform.it; Charlie Chaplin painting by Van Rijck; Blue
artwork by Gilbert Swimberghe; Muffin table lamp from Brokis, brokis.cz. New York Paris London

KITCHEN: Aga oven, agamarvel.com; Arne Jacobsen tea towel, CLIENT: B&F
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