In addition to the entrance opening onto a lush patio thanks to an XXL bay window, the space reveals beautiful high ceilings and a fully equipped open kitchen – wooden worktop, raw concrete columns. Designed in a refined spirit by the Jean Nouvel teams, the loft is located at the end of a typically Parisian paved courtyard which can serve as a garage. Special mention for the opening roof of this old warehouse which has regained its splendor while awaiting the arrival of new owners.

www.architecturedecollection.fr

Article originally published on AD France.

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My goal was to create a unique interior that responds to the architecture of the building, built in the late 2010s.” The original plan includes two small bedrooms, a living room with kitchenette and a bathroom. In order to create a spacious and functional living space, the architect enlarged the living room and the kitchen and removed one of the two bedrooms to keep only one – also enlarged and hiding a large dressing room behind the headboard wall. . After integrating the lighting and air conditioning installations without visually reducing the ceiling height, Dawid Konieczny set about giving character to this modern apartment without adding soul.

The sandy deserts and their hills like so many monochrome undulations broken in certain places by plant or rock formations. “I wanted to introduce this unique environment into the apartment that I wanted in total monochrome. » From then on, the curve is invited both to outline the contours of the bedroom and its opening onto the living room in a spectacular rounded arch at its base, or even in the shape of the sofa or the contours of the kitchen island. To these organic shapes, the architect combines an all-over beige coating for the walls and ceilings and a micro cement on the floor of the same tone, right through to the kitchen furniture, which visually enlarges the space and gives it its inimitable character. Large beige velvet curtains obscure the room in a soft undulation of folds that can be found on two entire sections of walls inside the room, creating a minimal but warm cocoon.

“I wanted to show that despite its extremely modern character, an interior can be romantic and delicate. By choosing the right materials, often on the basis of contrast…” This is how the micro cement floor is matched in turn by the large curtains, but also the curvy buckle of the sofa, the mango wood of the coffee table, the black wood woven with leather of the armchair… or the large ceramic vase on its dark wooden base, matching the monochromy of the place.

In the bedroom, the frame and head of the bed are covered with a veneer designed by Ettore Sottsass for Alpi which inspired the design of the brass wall lights. To distinguish the bathrooms in the living room, Dawid Konieczny duplicates the monochrome all-over in lichen green which stands out, in its entrance, on the large beige wall of the vestibule. Between monochromy and assertive contrasts, a mix of organic shapes and subtle modernism, the use of quality materials combined with original architectural ideas, this apartment definitely has a unique and timeless harmony.

A green monochrome applied to the entrance to the bathroom visually signals its entrance. The curved wall leading from the living space to the bathrooms and the entrance is an architectural highlight of the apartment.

In the monochrome green bathroom, all surfaces are covered with plaster, which, together with a huge mirror, further enlarges the space, although it is a good size. Just like in the kitchenette, the surfaces of the long vanity unit literally blend into the decor. The architect designed brushed steel hooks which perfectly match the texture of the coating. Faucets (Ramon Soler).

The plan of the apartment after the work. The curved partition and its arch are housed in the middle of the window of the old bedroom.

Article originally published on AD France.

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“Without wanting to disrespect them,” jokes Kevin, a lawyer, “we didn’t want our house to look like our parents’. » The couple loves clean lines, natural wood, neutral palettes and space. “We dreamed of a modern home,” continues Nahal, a dietician. During their research, the couple fell under the spell of the work of architect William Hefner, based in Los Angeles. “His houses were beautiful and timeless,” notes Nahal, “and we tracked him down to get an appointment. » The couple first asked him to renovate their Beverly Hills residence, but the architect refused the project due to its scale. Over the years, Kevin and Nahal Danesh regularly contacted him again, in the hope that one of the houses he had designed would come back on the market. In 2018, the couple finally found a large flat plot of land and commissioned William Hefner to build them the house of their dreams. Completed in August 2022, the brick and stone residence, Mediterranean but of classic structure, is arranged in an L shape around a courtyard crossed in the middle by a striking wing of glass and steel.

“Nahal and Kevin were ready to try something different,” rejoices William Hefner, who confides that he thought of the project as a very old residence in rural France, enlarged by a modern extension: “It is through juxtaposition that the things get interesting. » Wide arched passages, tall arched windows and monumental glass and steel doors that open onto the garden and courtyard blur the boundary between inside and outside, flooding the house with light. The central staircase, in pearly white plaster, a project dear to Nahal, stands out as the centerpiece and offers a sculptural counterpoint to the square lines of the house, while emphasizing the junction between the floors. The owners are also proud of the marble bar in the living room, their idea… A comfortable corner to sit in when the couple entertains in small groups, which becomes a very popular space during parties.

When it comes to decoration, the Danesh fell in love again, this time with decorator Jeremiah Brent. Its modern aesthetic with understated luxury, its affection for grays, calming beiges and chalky whites perfectly match the couple’s vision. “Jeremiah fully understood what we wanted, while also pushing us out of our comfort zone,” says Kevin, who recalls how the decorator convinced them to install an antique, reclaimed black marble fireplace surround in their bedroom. in a castle in France. It was again he who pushed them to turn to vintage lighting, such as a mid-century floor lamp by Luigi Caccia Dominioni. For Jeremiah Brent, nothing is too small, too big or too excessive. He thus imagined the elegant bronze snake handles of the bar and stood firm to convince the contractors to have the exterior bricks of the house cut, then washed and rewashed, to give them the most aged appearance possible.

As for the dining room, it is undoubtedly the busiest in the neighborhood. It is here, around a white oak table that can easily accommodate 16 people, that the family organizes a warm Shabbat dinner once a month. “Nahal and Kevin may have rebelled against their parents’ decorating, but everything they did here, they did with their extended family in mind,” says the designer. In short, this house was built on love and tradition, even if it is devoid of any Persian carpets.

Article originally published on AD France.

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The decorator confirms: “Our bond was very real. Shula studied architecture and is a patron and gallery owner who supports women and Middle Eastern culture. She had occupied this imposing residence for years and raised her children there, but she was not necessarily comfortable there. The house was very big and his sons were going to college. » Modernizing the important modernist residence to adapt it to the rhythm and lifestyle of the 21st century is always a delicate exercise, which requires juggling historical verisimilitude and contemporary expression. Shulamit Nazarian met the challenge with patience and integrity.

She lived in this house for more than ten years before embarking on a complete renovation – initially, she set about modernizing the garden designed by Garrett Eckbo, a master of modernist landscapes. “A. Quincy Jones and the Smalley family were longtime friends. It was here that the architect’s eulogy was delivered. I understood the importance of this house in all of its work, and I knew that I was going to become its guardian, continues the owner. But architecture is a living material, it must adapt to our lifestyles. So we used the language of A. Quincy Jones in all the modifications we made, to elevate and amplify the power of his architecture. » From the beginning, the star architect had installed the children’s bedrooms, the family corner and the kitchen on one side of the 700 square meter structure, while the master suite occupied the other side. Between the two, a large living room was created, delimited by an impressive dividing wall in rough-sawn cedar which crosses the house and extends into the garden, a signature detail which underlines the dynamic link between the interior and the exterior.

“The biggest change we made was moving Shula’s bedroom into the former children’s space in the more private wing of the house, on a much more human scale. In the old main room, the gallery owner has installed a large desk from which she can work. The way the house is now composed seems more natural and easier,” explains Pamela Shamshiri of the reorganized plan. Next to the office, the designer installed a spa including a clay sauna, a whirlpool and a bench with a biomorphic look made of black river stones inlaid in concrete, also black, a structure reminiscent of floors in concrete saturated with stones dear to the architect. These floor coverings will also influence the choice of stone in the kitchen.

“It’s the most complicated kitchen I’ve ever done,” laughs Pamela Shamshiri, given the very limited margins left by the walnut cabinets and doors. For Shulamit Nazarian, the game is worth it: “The kitchen is the room where we meet and share meals. This new design connects the more formal rooms of the house with family spaces in a warmer and more generous way. »

The interiors are full of curved shapes and sinuous lines, described by the decorator as “a soft, feminine counterpoint to the rigidity of vertical black mullions and sharp modernist planes.” In the living room below, a circular Milo Baughman sofa is complemented by Mushroom chairs by Pierre Paulin and a rounded cocktail table by Paul Frankl. The seats rest on a green carpet reminiscent of the geometric rugs of Edward Fields, recommended by the house’s first decorator, Steve Chase, an American legend now deceased.

The dining room is built around an imposing Wendell Castle table placed under an Ayala Serfaty light fixture which overlooks the room like a luminous cloud. The installation of his art collection offers Shulamit Nazarian another opportunity to leave his mark on this architectural gem. “The structure enjoys its own beauty, without the need for artwork. The most intimidating part was renovating the imposing dividing wall. Pam and I had many ideas but we found the solution that was most respectful of the integrity of architecture and art,” explains the gallery owner. One of the property’s major works is a mosaic fresco by artist Summer Wheat custom-made to surround a fountain nestled beneath the master bedroom, in a location previously overlooked. “It’s a stroke of genius from A. Quincy Jones for leaving this space unresolved, as if waiting for a future project, concludes Shulamit Nazarian. This opens a discussion between the past, present and future, and isn’t that the sign of all great architecture? »

The kitchen, in a tour de force of design and engineering, has been completely reimagined and structured around a stone and American walnut countertop.

Decorator Pamela Shamshiri and her brother Ramin.

By Mayer Rus

Article originally published on AD France.

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Twelve years later, the farm changed owners, and they unexpectedly contacted Bjerre-Poulsen to make the original project a reality. The architect was thus able to submit the original plans to a meticulous revision. “Basically we didn’t change anything, the idea remained the same. » The house has now been refreshed, the small annex building has become a studio, with a music room, and the adjacent barn has been reduced to half its initial size. It now houses Tesla batteries which store the energy captured by the solar roof and ensure the property’s energy supply.

“I’m not a fan of numerous partitions that cut up a room,” explains Jonas Bjerre-Poulsen. You also need to be able to walk along the exterior walls from the inside and thus benefit from the full extent of the room. » A bit like Japanese homes, he continues, determined by the size of the tatami mats, and where everything that fulfills additional functions faces outwards, like the annex. The main thing is that the interior space remains free and clear.

The Pavilion House is designed as an open space where semi-open compartments in the middle conceal a bathroom, a bedroom and a kitchen. The front door is centered on one side of the house – the path leading there is part of the experience (as is the one leading to the sauna in the annex) – which then opens to its full length. “It’s the environment that plays the main role here,” says Bjerre-Poulsen. With this construction he offers him a magnificent scene – and this time, he is completely satisfied with the result.

Article originally published on AD France.

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“The beauty of traditional Japanese townhouses lies not in their decoration, but in the elements of their structure,” explains Hana Tsukamoto. The superfluous must disappear, to allow the essential to flourish. Originally, the machiya, these wooden houses in the center of Kyoto, belonged to merchants and artisans, and were located in the quieter neighborhoods of the city – this is the case of Maana Kyoto, the first house of ‘guests opened in 2018 by Chang and Tsukamoto. The building, all in warm mineral colors, exudes something more traditional than Maana Kamo, because its wooden ceilings, window frames and original shôji have been preserved. The living room, which opens onto a small garden, is centered around a custom-made wooden table decorated with low rattan seats. The old kitchen was transformed into a luxury bathroom, with a view of the maple tree in the garden, and the bathtub was made by craftsmen specializing in Shigaraki ceramics.

“Wherever possible, we strive to preserve the character of the building,” adds Hana Tsukamoto. With the consequence of creating a contrast, because the machiya which survived the fires, the earthquakes and the wave of recent constructions, are today victims of the luxury hotel industry. Every day, news items are destroyed even though they are classified as historical monuments. In a country where faith in progress often works against the preservation of heritage, fines are anecdotal – even more so in Kyoto, where tourism represents a significant financial windfall. Many Japanese remain indifferent to this phenomenon. “Most of our compatriots consider that modern life is incompatible with machiya”, considered old-fashioned and too cramped, deplores Irene Chang. The two women want to demonstrate the opposite – and offer an alternative halfway between Airbnb and boutique hotels. Check-in is done on a tablet but a concierge remains available 24 hours a day to reserve a restaurant at the last minute, manage the delivery of kaiseki (traditional Japanese meal) or arrange for a masseuse.

The latest machiya from Maana Homes, Maana Kiyomizu, located in the immediate vicinity of the historic Gion district, has its own kissaten – a tea room open all day. Unlike other guest houses, Maana Kiyomizu is not an independent building, but brings together three suites. One of them has a large bathtub with a view of Toyokuni Shrine; the second bedroom is surrounded by a bamboo trellis, usually hidden by a traditional coating. In the third, the walls are covered with washi panels, created by the artist Wataru Hatano. The old wooden benches coexist with chairs by Karimoku Case Study and lighting by Elsa Foulon.

Some of the hand-made objects are available for sale in the adjoining Pieces of Japan studio, which also offers various workshops, open for reservation – to discover, for example, kintsugi, a technique for repairing ceramics using gold lacquer, or sashimono, the subtle art of Japanese carpentry. “The goal is to develop a relationship with the things around us,” concludes Irene Chang. Kyoto is not just about beautiful gardens and pretty temples. Here, we offer our guests a way of life that revolves around the idea of ​​simplicity.»

Article originally published on AD France.

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The apartment benefits from a double exposure which the duo was able to take advantage of. On one side, the entire row overlooking the Seine has been structured with all the day rooms: the kitchen, the dining room, the living room, a small office in the style of a guest room, as well as a bathroom adjoining bathroom. In the kitchen, the studio has created a space dedicated to breakfast facing the Seine. On the other, a more intimate part – including a bedroom and a master bathroom, as well as a large dressing room – overlooks Place Dauphine. “The project’s approach consisted of reclassifying the spaces by giving them a historic character, while providing a more minimal reading in the design. It’s a mix of very designed and sophisticated decorative elements and elements with more sober lines,” specifies the architect.

The studio restructured the volumes by bringing in functional elements that did not exist, particularly in the entrance where it created an alcove with a bench seat. Heating has been integrated into the floor, as has air conditioning in a very discreet manner. “The idea was to keep as much height as possible in the noble areas and to house all the technology in the circulation areas, behind false ceilings treated in the old-fashioned way,” he says.

The tandem paid particular attention to invisible details such as the standardization of passages. Francesco Balzano reveals “all the work done to magnify spaces thanks to repetition effects and harmonize doorways by simplifying their dimensions. » All the windows on the Seine side were adorned with a bronze radiator cover and a stone shelf, which create a very strong presence. The duo highlighted the frames with wooden shutters, meticulous work on the cornice and a color treatment that extends from the ceiling to the plinth.

To imagine this decor combining naturalness and refinement, AFTER BACH was inspired by Italian palazzi and the roots of the architect, whose visual culture is imbued with images of Venice, Florence, Rome and Capri where he spent his summer vacations , but also paintings by Balthus where there is a touch of orientalism. Italian architecture is present through elements of transoms and woodwork. The palette of colors and materials fits well into this heritage: lime coatings, old-fashioned artisanal paints, corded lacquers, brass grilles, bronze hardware… In the bathroom, the shower treatment – ​​curtains and large rods – is inspired by the world of large mansions, such as the Villa Medici and the Villa Camondo in Paris.

On the furniture side, the creations of Francesco Balzano and pieces from the JAG gallery rub shoulders with vintage furniture and contemporary works of art. This Parisian pied-à-terre “on a human scale, intimate and quite incredible in scale” testifies to the talent of the two aesthetes for combining purity and quality of detail in high-quality projects.

Jessica Berguig and Francesco Balzano, from the AFTER BACH studio, pose in the bookseller and guest room, Ceramic vases by Rémi Bracquemont and paintings by Camilla Reymann, from the JAG gallery. © Vincent Leroux

Article originally published on AD France.

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The dining room is bathed in light thanks to the (very) high ceilings.

Completely renovated, the open kitchen is equipped with state-of-the-art equipment.

The family home is 300 square meters in the La Muette district.

A library lounge has old parquet flooring, recently renovated.

The house from the 1900s is completely through.

In a bathroom, the walls are painted red.

A living room with immaculate shades invites light inside.

The house was sold for 8 million euros.

Article originally published on AD France.

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Julia Bimer designed this minimalist, yet very convivial, kitchen for a single person occupying an apartment in a typical pre-war building in Warsaw. As these old buildings are becoming increasingly rare in the Polish capital, it was particularly important for the designer to preserve as much as possible the original elements such as the parquet floors, windows and of course the ceiling moldings. In order to complement these elements with another strong point, the designer specializing in the creation of realistic 3D visualizations chose brushed stainless steel, a modern “design object”, according to her. Julia Bimer finds that this material is often underestimated and still mainly used for restaurant kitchens, while it “can, with appropriate treatment, evoke great elegance and comfortable warmth by reflecting the light and colors of the rest of the House “. Light is provided in the open kitchen by sculptural lighting fixtures which are none other than those of the designer’s father, the artist and sculptor Marek Bimer.

“Everything, except the mainstream!” » This wish of the owners guided the client in the development of a new building in Pullach, near Munich. With the Italian manufacturer Abimis, it found the ideal partner for the design of the kitchen, the manufacturer building models for yachts and restaurants, among others. To give the polished, shiny stainless steel a warm character, the architect combined it with brass, colorful artwork, vintage furniture and lots of indirect lighting.

In this Milan apartment, a simple Abimis stainless steel kitchen reflects a weathered interior: original colorful hexagonal tiles from the 1960s, cloudy rendered walls, plus modern glass fixtures and a seating area made up of vintage furniture. This refined mix is ​​the result of the thoughts of the owner, an Italian fashion stylist, who has created a steel kitchen that is not at all cold and perfectly highlights the full potential of this material.

Visually, the kitchen designed by interior designer Marcin Czopek for the Warsaw apartment is probably more reminiscent of a piece of furniture than a classic, fully equipped kitchen. “The owner doesn’t cook a lot and wanted to reduce the cooking to the strict minimum,” says Marcin Czopek. We therefore quickly decided to design it in the form of another piece of furniture. » What, with its mahogany brown fronts in ALPI veneer, looks like a ceiling-high cupboard from the outside, turns out to be a hiding place for the refrigerator, oven and storage space when opened. A simple steel kitchen line, desired by the owner and typical of the postmodern style which is sometimes characterized by a bold mix of materials, contrasts with these elements. Connected to the wall cabinet by a narrow built-in niche, the kitchen unit includes the stove and sink, while small white tiles serve as splash protection. The dark joints match the tone of the wall cabinet. Opposite, a large window whose rim the interior designer has enlarged in depth and width, transforming it into a sort of bar table where you can have your morning coffee, with a view of the garden.

Article originally published on AD Germany.

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The white and blond wood master bathroom of this weekend home in the Hamptons is the result of an overall architectural design in harmony with the surrounding nature. Obviously, interior designer Sandra Weingort chose natural materials, such as wood. Above the sinks, the vintage Italian mirrors take on rounded shapes and the pendant light by Alvar Aalto (Jacksons) contributes to this soft and organic layout. The vase by Casey Zablocki (RW Guild) is made of terracotta.

In the bathroom of this country house, decorator Jacques Grange was inspired by a white plaster dove by the famous sculptor Alberto Giacometti integrated into a wall, to compose this custom design. The white walls painted with lime and the wooden floor echoing the bathtub, are the setting for precious and unique pieces such as this English piece of furniture in lacquered wood, a photo by Jean Larivière, a bronze of a centauresse from the 19th century and the small stool in raw wood.

In designing this minimalist villa in Mallorca, the Catalan agency Nora Arquitectura was tasked with using local natural materials. A major environmental issue which has oriented each room of the house towards nature. The door and the wooden furniture in the bathroom on which the sinks are placed, outline the refined elements highlighted by the off-white limed walls.

Bathrooms designed like living rooms where wood and bright white dominate, we all dream of them! That of the Nay Palad Hideaway hotel in the Philippines is among the most luxurious bathrooms in the world, in which each guest can enjoy a rain shower thanks to a large shower head fixed to the ceiling. The water cascades over a bamboo mat surrounded by rocks while organic bath products and the aromatherapy diffuser complete the ultra-natural experience dedicated to well-being.

Article originally published on AD France.

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All with a disconcerting modesty, because at the top of these steps a dreamlike world awaits us. Take a designer and a furniture publisher, give them an Art Nouveau house in the heart of old Milan, place it all in the middle of Design Week and you get this enchanting place. This is what happened at the last Fuorisalone: ​​Giuseppina Motta, architect and designer, and Claudio Spotti – heir with his brother Mauro to the family furniture business which he successfully transformed thanks to the Spotti multi-brand showroom and SEM editions – have decided to open the doors of their house, furnished with new and old SEM collections.

The historical envelope combined with contemporary pieces from numerous creators rewrite their respective journeys together, to weave a beautiful story. Claudio Spotti brought furniture and objects that he had designed over the years by Zaven, Giacomo Moor, Hannes Peer, Valentina Cameranesi Sgroi, Maya Leroy, the Marcante-Testa duo, Elisa Ossino, Vormen… and Giuseppina Motta herself -even. It is the latter who orchestrates the whole, chooses the colors and locations of these elements; it’s up to her to furnish and design, and she knows this house well where she originally lived alone.

“I moved here six years ago. The building dates from the early 1900s and was built by the owner of the premises. The apartment has a beautiful independent staircase and it initially occupied a surface area probably larger than today. When I arrived, it was all white with a gray ceiling and the living room was divided into two rooms, because the house previously housed the offices of a fashion house. »

Giuseppina Motta gradually returned the spaces to their original proportions, preserved the decorated doors and the old window frames, deliberately dilapidated, kept the stuccoes and frescoes of the central core on the ceilings, while often changing the colors of the entrance. In the kitchen, when you look up, Latin inscriptions are legible on the ceiling. On the floor, parquet or red cement gravel. And in the bathroom, redone more recently, Giuseppina Motta left the beautiful decorative tiles and ceramics intact and only intervened in the shower area in order to replace a fake marble with a real one, a Verona red.

She then designed the kitchen and some custom furniture, including a large built-in cupboard in the living room with panels with geometric patterns obtained by working on the stucco, sometimes waxed and sometimes scratched, “because the house lacks storage despite its 170 square meters,” explains Motta.

The original plan includes two bathrooms, two bedrooms, a kitchen, a living room, a dining room and two offices. “It’s Motta’s studio-office, but we also sometimes call it Spotti’s studio,” the couple explains to us. “It is in the studio that we spend the most time, with its pink ceiling and light wood desk from the Neolithic collection designed by Giuseppina for SEM, with a small reading and relaxation area. The entrance, with its round table and decorated ceilings, is very picturesque, but the studio is the corner that we love the most,” continues Claudio Spotti.

“We decided to open our house during Design Week because I have always shown SEM collections in showrooms or as installations, like in Alcova for example. This time, I wanted to give an immediate character to the design of SEM, which has a strong identity but can also speak to everyone, and adapt even to a distribution as classic as the rooms in this apartment. All the furniture was designed and created by different designers, with no common theme, but they fit well with each other and in different contexts. They are all customizable; here, we chose warmer, welcoming tones and natural materials, because the house is already quite busy with decoration. Giuseppina interpreted them remarkably well,” he continues.

“I deliberately chose raw and organic materials throughout the house to create a warm atmosphere. The curtains are made of frayed linen, some walls are covered with straw, and then there is rope and wood,” adds Giuseppina Motta. To complete this work, there are the works of art. Giuseppina Motta and Claudio Spotti, with the support of Sara Raza, invited the A+B and Edoardo Monti galleries from Brescia to collaborate, and placed works in each of the rooms of the house. Design Week ends, but the house remains.

Many elements remain there, even if for professional reasons and out of passion, Giuseppina Motta and Claudio Spotti often like to “rotate” the furniture and bring new points of view to their familiar environment. What remains is, above all, a renewed interior design, reflecting their life project. Because the passion for beauty, the dialogue between heterogeneous minds and elements, and the past which merges into the future do indeed compose the ingredients of a universal recipe – a recipe which is however not given to everyone to master.

Article originally published on AD France.

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The architectural columns, plaster birds on the ceilings, white stucco walls with panelling and the collection of spectacular interior pieces are a dream come true.

Each part of Pernille Teisbaek’s home exhibits a distinct sensibility to neutral colours and clean lines. Such as unusual steel kitchen benchtop and cabinetry which well-contrast with the romanticism of stucco walls and the stone-wrapped baths with the sense of combining practicality and style equally.

The pristine white wall accentuates the clear natural light of Denmark. Pernille Teisbaek, a stylist and influencer, isn’t afraid of all-white spaces, though. The it-girl is a true minimalist when it comes to interior design, loving fashion, art galleries, chairs, and vintage furniture.

As the couple wanted to start from scratch and combine old components with more modern elements, the 1875 house required eight months to renovate.

Examples of some of the classical features are the stucco which is typical of residences in centre of Copenhagen or the white plaster birds that are scattered across the ceilings of the rooms.

The magnificent staircase, which has organic curves reminiscent of the dwelling The Boston House, a masterpiece by Steven Harris Architects, is one example of a contemporary aspect.

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Anna Foresio and Pietro Carlino have also fitted out a kitchenette which, although small, is equipped with everything necessary. It is connected to the bedroom-living room furnished with a table and a small sofa bed. The pre-existing wooden floor was also “cleaned and sanded to look completely new,” the duo continues.

“A large sliding opening was also installed between the living room and the bedroom to allow natural light to flood all the spaces and to create beautiful continuity between the entrance and the bedroom window,” add Anna Foresio and Pietro Carlino. In the bathroom, the shower is also moved close to the window. A small niche has been placed not far away to store everyday objects.

“Overall, we wanted to bring color, particularly in terms of storage,” indicate the architects and designers in charge of the project. They were the ones who installed almost all of the furniture on site. Wood is for this reason a leitmotif in the apartment: we find it on the custom-made furniture, as for the shelves, the base cabinet in the living room and those in the bathroom.

Apart from the parquet, the floor of the apartment is covered with light gray sandstone. As for the kitchen, it was colored yellow to bring brightness. “We combined this shade with decorative tiles with geometric patterns using colors that can be found almost everywhere on site,” conclude Anna Foresio and Pietro Carlino of Fo.Ca Studio.

Although small, the kitchenette contains everything you need and communicates perfectly with the living space.

The kitchen is originally the darkest room in the apartment. The yellow of the furniture helps illuminate the space. “We combined decorative tiles with geometric patterns using colors that can be found almost everywhere on site,” explains the duo from Fo.Ca Studio.

The kitchenette is directly connected to the living space which is furnished with a table and a small sofa bed.

“A large sliding door was installed between the living room and the bedroom to allow natural light to flood all the spaces, but also to create a beautiful continuity between the entrance and the bedroom window,” explain Anna Foresio and Pietro Carlino.

The light wood of the parquet floor is a leitmotif in the apartment: it is found on custom-made furniture, such as the shelves, the low cabinet in the living room and those in the bathroom.

A small bookcase/bedside table and a niche, also in oak, complete the layout of the living room.

“We made almost all the furniture in the bedroom, including a large oak bed with storage on the sides and under the slats,” say Anna Foresio and Pietro Carlino.

A light blue wall cabinet brings a colorful touch and energizes the room.

The bathroom has been completely redesigned. The shower was moved near the window, next to a storage area.

“We opted for shiny rectangular tiles in a light blue-green color,” conclude Anna Foresio and Pietro Carlino of Fo.Ca Studio.

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