Art and Nature Take Center Stage in This Aspen Residence

CCY Architects does not typically design a long entry sequence for houses in Aspen, Colorado, which gets over 12 feet of snow a year. But for a mountainside residence overlooking the Roaring Fork Vall­ey, the firm built a 90-foot path between the parking area and the front door. By local standards, “That’s a long, long walk,” says CCY principal Alex Klumb. But the clients, an art-collecting couple, sought to highlight a recent acquisition: a reflective PVD-coated stainless-steel head by the Swiss artist Not Vital. CCY placed the sculpture at the end of an allée of aspens leading to the entrance. “It frames nature, draws you to the door, and slows everybody down before releasing to an incredible view,” Klumb explains. It also establishes the home’s focus on art and the outdoors.

Besides the Not Vital sculpture, the clients hadn’t earmarked specific pieces for the house, so they worked with Kleinberg to see which fit best: a Calder over a guest-room bed, a James Rosenquist at the top of the stairs. In the dining room, a David Hockney drawing echoes the moun­tains outside the window. It hangs above three square oak tables that can be joined or separated depending on the size of the group—the sort of practical touch that makes the home livable. The paintings and views may be spectacular, Kleinberg says, “but the interiors have to hold their own.” The result is as layered as a work of art.

A Mountainside Vacation Home Designed by CCY Architects

through galerie carole decombe: mirror (entry)

apparatus studio: con­sole

11 ravens: custom billiards table (rec room)

adam otlewski: side table

soane britain: chairs (dining room)

minotti: pendant fixtures

focus fireplaces: fireplace (guest sitting room)

perennials fabrics: sectional fabric

through 1stdibs: lamp, coffee table, chair

cassina: armchair

romo fabrics: armchair fabric

scott group studio: rugs (guest sitting room, living room)

colorado pool designs: custom pool, spa (terrace)

zachary a. design: tables

knoll: sofas, lounges, chaises

a.r.s.antiqua: custom wood cocktail tables (living room)

fernando mastrangelo studio: custom square side tables

blanche jelly: round side table

through valerie goodman gallery: custom floor lamp

cowtan & tout; edelman leather: sectional fabrics

glant textiles: lounge chair fabric

wud furniture: nightstand (bedroom)

bourgeois boheme: custom sconce

dune: custom bed

nobilis paris: headboard fabric

through twentieth gallery: bench (hall)

Roll & Hill: pendant fixture (study)

warp & weft: custom rug

nada debs: side table

charles h. beckley: daybed cushions

mark alexander fabrics: cushion fabric

Design Within Reach: chairs

token: barstools (rec room)

arabel fabrics: sectional fabric

adam otlewski: side tables

arrigoni woods: wood flooring

ergon engineered stone: tile flooring

grabill windows and doors: windows, doors

lift studio: land­scape architect

ls group: lighting design

kl&a engineers: structural engineer

woody creek engineering: civil engineer

anthony lawrence-belfair: custom furniture work­shop

structural associates: general contractor

RIOS Turns to Healing Elements for the Lawrence J. Ellison Institute for Transformative Medicine in Los Angeles

If ever there were a multilayered hybrid collaboration, it is the Lawrence J. Ellison Institute for Transformative Medicine. A long, narrow new-build oriented on a north-south axis not far from the University of Southern California’s campus, it encompasses 84,000 square feet across five floors, and includes 3,500 square feet of coveted outdoor space. HLW completed the structure’s core and shell architecture. RIOS, under the leadership of creative director and partner Sebastian Salvadó, handled the remainder of the project, which took three years to complete, just as COVID-19 hit the scene.

Primarily a cancer research initiative, the institute is led by founding director and CEO David Agus, a physician and researcher, and was spearheaded by Oracle Corporation cofounder and noted billionaire Larry Ellison’s $200 million donation. A place for both labs and clinical services, it is a healthcare facility, but it’s also a workplace requiring offices, conference rooms, lounges, and staff amenities. Adding to the hybrid designation is the project’s educational component, which consists of a gallery celebrating medicine’s history and advances and an event space for symposia, and a repertoire of blue-chip artwork, much of it coming from Ellison’s private collection.

“The program is broken into three types of spaces,” Salvadó begins. Solitary rooms are for focused work. Lounges encouraging collaboration are dubbed transitionary spaces. They adjoin public zones, which include conference rooms and a kitchen. Arriving at the concept was not only Salvadó and the RIOS team but also the doctor and the donor. “Sebastian was amazing in figuring out a way to include me in every decision,” Agus enthuses. “He made models so I could understand.” And Larry, who Agus first met while treating his nephew, was “involved in every decision, too.” To which Salvadó adds, “Our goal was to take Agus’s vision and translate it into a built space.” It’s a holistic vision, including wellness programs and nutrition counseling, that acknowledges nature as a healer, while also integrating AI, physics, biology, math, and engineering.

Labs hold the key to the project’s organization. They are visually open to everyone on all floors and on all sides of the building. It was an expensive move but worth every penny: It not only anchors internal neighborhoods but also guarantees interdependency and that user paths intersect. Circulation is anything but orthogonal and the scheme is quite a departure from standard silo situations. The predominant use of wood—in the white-oak exposed ceiling and beams, thermally modified ash-slat partitions, and brushed oak flooring—is unusual, too. The setting is warm and “reminiscent of old warehouses,” Salvadó notes, and also underscores the project’s nature-centered theme.

Set atop a two-story parking garage, the institute centers on a three-story atrium. A pair of stairways lined with live plants (as well as elevators) lead up to reception on the atrium’s second floor, where the gallery is also located. From there, a path proceeds to a lab fronted by a large glass expanse so that even visitors can see in. Nearby is the donor wall, its brass plaques arranged in the form of an olive branch, the ancient symbol of healing. Toward the back of this floor is Agus’s office, a bright aerie complete with a Charles and Ray Eames lounge chair upholstered in indigo corduroy, a slatted wood ceiling, and access to a landscaped terrace. It’s here that, among other work, Agus meets with donors, broadcasts lectures, and writes; his fourth book is a deep dive into nature, which he believes holds all the answers.

That’s in step with the large, Pacific Ocean–facing terrace off the building’s skylit top floor, half of which is devoted to office areas and staff amenities, including a combined gym and yoga studio and a librarylike lounge with shelves of books holding the entire sequencing of the human genome. The other half of the floor is dedicated to patient care. Although more clinical and white than the institute’s other areas, forms, such as the check-in desk, are rounded, and vertical surfaces are wrapped in grass cloth-esque wallcovering. A bridge spanning the atrium connects the two sides and adjoins the project’s experiential aspect: a grass and rock garden built on top of one of the labs. “It’s not Japanese but more West L.A,” Salvadó says. “The gravel looks like beach sand and the greenery is bright like what’s found in the Santa Monica Mountain canyons.”

Hope and love, also crucial to healing, are literally spelled out in Robert Indiana’s immense sculptures, both located in the atrium lobby. They’re joined by pieces elsewhere in the hospital by such bold-face names as Jim Dine, Keith Haring, and Ai Weiwei.

Le Corbusier famously said, “A house is a machine for living in.” Agus proffers his version. “RIOS made a building that enables us to work. The building is not separate from the work, it’s part of it.” He hopes it encourages the next generation to enter science and medicine to discover a cure.

Art Therapy

At L.A.’s Lawrence J. Ellison Institute for Transformative Medicine, concerns for health and wellness extend beyond research, labs, and treatment clinics. Art plays a part in healing, too—at least it does to the institute’s founder and CEO David Agus and establishing donor Larry Ellison, also known as the cofounder of Oracle. Together they conceived of a plan in which art would pervade—and elevate—the premises. Among the artists featured are Bunny Burson, Jim Dine, Donald Sultan, and Ai Weiwei.

“I had the privilege to work with Steve Jobs,” Agus says. “He implanted in my brain that every detail matters.” Jobs’s fellow tech titan Ellison donated many of the center’s pieces from his collection. So far, they number 35 and encompass a range of mediums, including a granite bust by Jaume Plensa. Some even allude to cancer, the institute’s primary research initiative. One is Jeff Koons’s 12-foot-tall magenta sculpture of an elephant; the animal has genetic mutations precluding it from developing the disease. Another is Jacob van der Bruegel’s mixed medium covering a wall on the building’s top floor. Its components resemble cancerous cells as seen under a microscope while searching for better treatment.

RIOS: clarissa lee; devin miyasaki; erin williams; haoran liu; laura kos; melanie freeland; misato hamazaki; nicole robinson; tom myers

Oculus Lighting: Lighting Consultant

Harold Jones Landscape: Landscaping Consultant

Risha Engineering: Structural Engineer

CRB Engineering: mep

Systems Source: furniture dealer

Andrea Feldman Falcione: art consultant

KBDA: gallery consultant

Sierra Pacific Constructors: general contractor

Tom Dixon: tables (lounge)

Bla Station: sofas

tech lighting: pendant fixtures

muuto: chairs (lounge), rug (library)

Design Within Reach: chairs (library)

Indo: table

Luminii: linear fixtures (gym)

Regupol: flooring

Kvadrat Maharam: curtain fabric

Louis Poulsen: pendant fixtures (lounge)

tacchini: white sofa, ottoman

bernhardt design: lounge chair

Hay: side chair

Pierre Augustin Rose: coffee table

Green Furn­iture Company: benches

MDC: wallcovering (hall, clinic reception)

Miller Knoll: chairs, ottoman (office)

Systems Source: custom desk

armstrong: ceiling

XAL: recessed ceiling fixture

bentley: carpet

Amerlux; Lucifer: lighting

Ariana Rugs: custom carpet

Thermory: wall slats, ash flooring

Galleher: custom oak floor planks

Benjamin Moore & Co.; Dunn-Edwards; Farrow & Ball; Sherwin-Williams Company: Paint

Rapt Studio Employs an Outdoorsy-tech Aesthetic for VF Corporation’s Headquarters in Denver

VF Corporation has come a long way since its founding as a maker of gloves and lingerie. Once named Vanity Fair, the 120-year-old company has ditched the intimates line, built a portfolio of 13 outdoor and apparel brands, and made it a mission to promote active, sustainable lifestyles. Most recently, VF re­located executive headquarters from Greensboro, North Carolina, to Denver, where it shares a 10-story downtown high-rise with five of its previously dispersed brands: The North Face, JanSport, Altra, Icebreaker, and Smartwool. For this major strategic move, VF called on a trusted partner, Rapt Studio, to conceive a vertical campus that fosters intramural collaboration.

Rapt has worked with VF since 2000, creating offices first for The North Face in San Leandro, California, and then for several other labels. That history was important for the Denver project because it required “empathy for each of the brands,” says Rapt CEO and chief creative officer David Galullo, who led the project with design director Mike Dubitsky. Sharing a roof with the parent company “was like a teenager being asked to move back home. We could stand strong and say, This is how the brand needs to identify itself.” Rapt’s challenge was to design a workplace that reflected the ethos of VF as well as the character of its subsidiaries, which make everything from ergonomic footwear (Altra) and merino socks (Smartwool) to backpacks (JanSport) and outdoor gear (The North Face).

Taking on the project in 2018, Rapt began with spatial organization, making stacking diagrams and considering how employees would move through the 285,000-square-foot building. The team researched the work habits of different departments and what they needed to be productive, like material libraries for product designers. “Our discovery dives deep into the personality of groups and how they fit into the purpose of an organization,” Galullo explains. “We focus on how a company supports its workforce.” He believes that strategy made Rapt’s concept for VF resilient when the pandemic hit during the construction phase. So far, layouts are unchanged; desks were always well-spaced. Though most of the 1,200 employees at VF Denver are still remote, the 300 or so who have trickled in this summer have ample room for social distancing.

Each brand has its own office, lounge, and tinker zone. On floors four to seven, The North Face has the largest footprint, with a communicating stair and maker spaces at each landing; Smartwool occupies the eighth floor and the other companies share the third. “We worked with each group to develop ways to express their brand that go farther than this month’s advertisement,” Dubitsky remarks. On the Smartwool floor, for example, a local crafts collaborative installed woven yarn pieces on colorful vinyl-covered walls, while The North Face’s corridors are lined with framed drawings of its sponsored athletes (climber Ashima Shiraishi, runner Coree Woltering).

All employees share the double-height lobby and fitness center on the ground floor, a coffee bar on level two, a pair of lounges, and a café with terrace on the fourth. “Our big push was to develop spaces where people from different brands would come together and share best practices,” Galullo says. For the common areas, he and Dubitsky used earthy materials and interactive graphics to channel the company-wide focus on technology and the outdoors. Entering the lobby, staff and visitors encounter a 12-by-20-foot screen displaying nature photography or abstract imagery, boulders serving as benches, and a rammed-earth wall that looks like sedimentary rock. Whether you work for Altra or JanSport, “You feel you belong there,” Galullo observes. “The lobby isn’t heavily identified with one brand, but it’s in sync with all of them.”

Beyond is the fitness center, designed with input from professional rock climber Conrad Anker. It not only has a 26-foot-high climbing wall but also an alpine training center where employees can exercise with oxygen depletion. “A lot of people who work there are avid climbers, so we made sure there wasn’t just some dopey corporate gym,” Galullo continues. Prospective employees get a close-up view of this company culture: The second-floor interview rooms face the climbing wall. “You could be interviewing for a job while someone is climbing 15 feet away,” Dubitsky notes. “It presents a notion of purpose around the company, that it’s a lifestyle.”

The mountaineering theme continues throughout the building. In the elevator, video panels depict scenes from different altitudinal zones as it ascends, from grasslands below to snow at the top. Finishes and materials in the lounges subtly correspond in green, brown, or gray tones; in the ninth-floor leadership office, white-ash flooring and white-oak benches evoke the frosty nival zone. GPS coordinates on painted-steel wayfinding pillars similarly make trekkers feel at home.

Most VF employees will work from home at least until October, and the company expects a mix of in-person and remote going forward. But the office will be vital to its future. As VF chairman, president, and CEO Steve Rendle states, “People are wired to connect with each other, with nature, and with a sense of purpose, and Rapt designed this space to capture that spirit.” After all, there are certain things you can’t do over Zoom—rock climb with colleagues among them.

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Rapt Studio: christine shaw; teresa mcwalters; jack solomon; nick tedesco; ashlynne camuti; yuechen wu; brett su

oz architecture: architect of record

dna associates: digital integration

studio nyl: structural engineer

me engineers: mep

bluestone supply:

concrete collaborative: stonework

edge construction specialties: woodwork

saunders construction: general contractor.

entre-prises: climbing wall (gym)

naughtone: chairs (lobby)

ege: rug

Design Within Reach: side table

stylex: sofas (lobby, penthouse lounge), side tables (penthouse lounge)

Andreu World: chairs (pantry)

Hay: table

rich brilliant willing: sconces

kvadrat: sofa fabric

statements tile and stone: treads, risers (north face stair)

watson: table (tinker zone)

egan: whiteboard

uline: storage units (tinker zone, office area)

sancal: chairs (penthouse lounge)

maars living walls: storefront system

mdc interior solutions: acoustic ceiling systems (lounges)

karndean: floor tile

bernhardt: table (interview room)

luminis: pendant fixtures

geiger: chairs (interview room), workstations

koroseal: cork panels (office area)

earthbuilt: rammed-earth panels

3m: vinyl wallcovering

milliken: carpet tile

terra mai: wood floor planks

alw; intense lighting; lightolier; luminii:

tech lighting: lighting

benjamin moore and co.: paint

Richardson Pribuss Architects Designs an Artists’ Residence in Mill Valley, California

When a New York–based artist couple decided they needed an exurban getaway, they opted out of the usual suspects. No Hamptons, Hudson Valley, or Berkshires. Instead, they cast their net some 3,000 miles away and landed in Mill Valley, California, where they purchased a diminutive cottage, one of four built almost a century ago along Corte Madera Creek. Considering that the wife is originally from Carmel Valley, the destination wasn’t such a stretch. What might have been, though, was their choice of Richardson Pribuss Architects. The owners came upon the local firm simply through Googling. “The clients’ executive assistant called, set up an interview and site meeting, and we were hired the next day,” principal Heidi Richardson recalls.

At that initial encounter, Richardson and principal Andrew Pribuss mentioned original drawings would be helpful. The couple pulled them from a closet, and Richardson discovered a prior owner to have been erstwhile clients for whom they’d rehabbed a nearby property. Kismet aside, initial plans for mere renovation morphed into a full-on rebuilding effort—COVID-challenged, at that. Along with preserving the locale’s giant redwoods and optimizing views of them, the overarching intent was to remain true to the cabin vernacular while “boiling down the essence of domesticity to just 1,600 square feet,” Richardson notes.

A gamechanger was easing up the entry sequence from the carport, bedeviled by clunky staircases and changes in grade. “We took a ton of dirt and back-filled a corner of the property at the far side of the porch to level things and create a meandering path,” Pribuss explains. Another big move entailed restoring and enhancing the dwelling’s standout architectural element: its gables, which had been subjected to an awkward addition and framing-over during previous renovations.

Everything else is new. That means butt-joined cedar siding, its verdant color appropriately selected by the artists. Cedar, too, are porch railings and decking; the custom front door is hemlock. Blackened steel surrounds enlarged openings and a quartet of new skylights situated “to nail views of those trees,” Pribuss continues.

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The architects reconfigured the floor plan, providing new walls and finishes throughout. Three bedrooms became two, resulting in an expanded living-dining-kitchen area plus an entry-adjacent mudroom zone. Client requests included wide-plank European white oak flooring and a wood-burning fireplace to replace the chunky river-rock original. As for the kitchen, the wife had photos to back up her mind’s-eye vision of the island: part butcher block, part Brazilian soapstone, its plywood cabinetry painted a blue-green shade whose appearance changes according to the light. (Speaking of lighting, the couple wanted it low tech, ergo the white-oak pendants and spots.) The minimal palette is simplified to the max. Walls are limestone plaster that is slightly reflective. The primary bath is predominantly Fontainebleau limestone. Main sleeping quarters have a hemlock bed niche.

With the advent of COVID, the owners were constrained to just one more job-site visit, which occurred during framing. That was it for in-person communication. “But they had so much trust in us,” Richardson says. “In turn, we had to fall back on our instincts and drill down on the details.” Only at the end of the year-and-a-half process did the owners come to see results. They discovered the firm had gone beyond its architecture purview to stage furnishings—including Lievore Altherr Molina’s Alya chairs in the dining area and the Sunbrella-covered two-seater on the front porch—meant as suggestions for future purchases.

Design Within Reach: Chair (Porch); Sofa (Living Area)

Blu Dot: Sofa (Porch)

Ore: Firepit

Stickbulb: Lighting Pendants (Living Area)

Ortal: Fireplace

Lulu And Georgia: Coffee Table

Hd Buttercup: Lounge Chairs

Burke Decor: Round Side Table (Living Area); Stools (Kitchen)

West Elm: Square Side Table (Living Area); Chair (Bedroom)

M. Teixeira: Soapstone (Kitchen)

Blanco: Sink

Dornbracht: Sink Fittings (Kitchen); Tub Fittings (Bathroom)

Rocky Mountain Hardware: Cabinet Pulls (Kitchen, Bathroom); Sink Fittings (Bathroom)

Andreu World: Chairs (Dining Area); Table (Bedroom)

Through Moma Design Store: Art Print (Dining Area)

Sun Valley Bronze: Door Lever (Entry)

Kohler: Tub

Michael’s Upholstery: Custom Ottoman (Bedroom)

Allied Maker: Spotlights

Dinesen: Flooring

Jada: Windows

Royalite: Skylights

Ecostucco: Wall Plaster

Haussmann: Stone

Abacus Builders: General Contractor

Turbin Structural Engineering: Structural Engineer

Arterra Landscape Architects: Landscape Design

Ghislaine Viñas Creates a Calm Yet Vibrant Getaway in Palm Beach, Florida

With the constant drama of crashing waves right outside, creating a beachfront home that feels restful can prove surprisingly challenging. But New York–based interior designer Ghislaine Viñas ran with that sense of theater at this 3,900-square-foot ground-floor condo in Palm Beach, Florida, artfully drawing in the colors and movement of the water visible at every turn through floor-to-ceiling windows.

This is Viñas’s second project for the clients, the first being their Manhattan apartment. (A third project is also underway.) The owners, a married couple with two teenagers, wanted a getaway where they could relax and spend time with relatives, many of whom live in the area. Because of their past collaboration, Viñas was able to nail the brief right out of the gate. “They wanted a feeling of joyfulness and relaxation—but in an energetic sort of way,” the designer says. Comfort, she adds, was paramount. She also knows the clients to be modernists with an abiding love of midcentury furniture; the wife grew up with Arne Jacobsen Egg chairs, Eero Saarinen Womb chairs, and many other iconic pieces in her childhood home. And because this is a beach house, everything had to be easy to upkeep. “It’s supposed to be a stress-free living environment—it’s not supposed to be fussy!” Viñas says.

Although the living area’s coffered ceiling was deemed worthy of preservation, one element original to the 1980s condominium that absolutely needed to go was the “hideous” dark-cherry woodwork in the kitchen and bathrooms, which felt very heavy and contrary to the open and airy atmosphere Viñas was aiming for: “We cleaned out everything and created a fresh, white, invigorating space.” She left stonelike ceramic-tile floors in some rooms, including the living area, but specified white-ash planks for the three bedrooms and installed new baseboards and architectural lighting throughout. She also opened up the kitchen to the public areas and added an eating bar with high stools—perfect for breakfasting, lunching, and general hanging out. Shaker detailing on the cabinetry doors echoes the gridlike coffers overhead. “It’s not a look-at-me kind of project, so the little details are important,” Viñas explains.

As for the palette, the clean white base is spiked with serene oceanic blues, soft corals, and moments of terra-cotta, plus Viñas judiciously placed more intense accents throughout. The wife loves bold hues, especially when they jump from warm to cold tones. Viñas accomplished this chromatic sleight of hand by letting artwork and a few carefully chosen pieces do the heavy lifting. For example, the custom-colored yellow poufs in the living room and a series of hanging lamps in the octagonal entryway, the rainbow shades of which were woven using recycled soda bottles as a sort of armature.

Just below that fixture, the classic Saarinen laminate-top pedestal table was a natural choice given the wife’s love of the classics. It softens the room’s hard edges, as do the round ombré rug and custom crescent-shape wall-mounted consoles. “The repetition of circular forms is very pleasing and relaxing,” the designer observes. Ditto the pair of paintings by Ludwig Favre that Viñas describes as “other-worldly underwater-y”: fantastical compositions of tropical leaves mixed with flashes of bright color.

Comfort was taken to what some might call an extreme: The clients asked to test-drive every chair and sofa before they agreed to live with it. (The Egg chairs, of course, didn’t need to interview for the position.) Wherever possible, Viñas used performance fabrics for seating upholstery, many from her own line for HBF Textiles. The L-shape sectional in the living room—substantial and deep enough to provide plenty of room for family gatherings—is clad in her Sister Solid polyester-acrylic, while dining room chairs sport her Sir Stripe-a-lot Sunbrella.

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In the middle of the apartment, Viñas created a cozy media room, which can be shut off with glass doors to provide privacy without skewing cavelike. Two walls are dressed in another of her designs, Wild Thing for Flavor Paper, a tropical-leaf motif that can, in certain colorways, be quite wild indeed. Here, though, Viñas specified a custom shade—a subdued sand—which allowed her to introduce riotous pattern without overwhelming the smallish space.

The primary bedroom started with the view; namely, “how the color of the ocean changes all the time as the sun hits it,” Viñas reports. “And how, when the sun goes down, it transforms from green to blue in a really beautiful way.” She pulled those hues into the carpet (Vestry Street, one of her designs for Aronson’s) and lounge chairs (upholstered in a blue-and-coral stripe) and even the ombré walls, which transition from soft blue to white. “The room has a beautiful tranquil feeling,” she says, stating the obvious.

Although everything is done with great subtlety, the overall effect is quite striking, a sophisticated yet unpretentious take on the prototypical beach house. “It is definitely the kind of place,” she notes, “where, when you walk in, you say, ‘Oh my gosh, I’m so glad I’m here; it makes me feel good.’”

george beaver: general contractor/builder

custom cabinetry: woodwork

aronson’s floor covering: custom rugs (living area, primary bedroom, entry, media lounge)

republic of fritz hansen: egg chairs

designtex: fabric (living area)

Property Furniture: poufs

Knoll Textiles: fabric

ligne roset: sectional (living area), sleeper sofa (media lounge)

hbf textiles: sectional fabric (living area); chair fabric (dining area)

interiors by laura: custom head-board fabrication (boy’s and girl’s bedrooms)

nectar: bed bases (boy’s and girl’s bedrooms)

febrik: bed and headboard fabric (boy’s bedroom)

the rug company: custom rugs (boy’s and girl’s bedrooms, entry)

cappellini: cabinet (dining area)

moroso: chairs

edelman leather: seat leather

dualoy leather: arm strap leather

material through scandinavian spaces: table

romo: headboard fabric (girl’s bedroom)

serena and lily: hanging chair

cowtan and tout: cushion fabric

zero through global lighting: sconces

flavor paper: wallpaper (girl’s bedroom, media lounge)

rich brilliant willing: chandelier (kitchen)

i colori through stone source: backsplash tiles

Design Within Reach: stools

richard schultz through knoll: chairs (patio)

acdo álvaro catalán de ocón through for me lab: lighting pendants (entry)

knoll through design within reach: table

regeneration: credenza (primary bedroom)

calico: wallpaper

rh: platform bed

perennials: upholstery

knoll through evensonbest: bench

herman miller through design within reach: lounge chairs

Janus et Cie: fabric

lekker home: side table

louis poulsen through ylighting: table lamps

kvadrat: curtain fabric

vitra: lounge chair

david sutherland: fabric

lepere: side tables

collector nyc: ustom consoles (entry, hall); custom coffee table (living area); custom bedside tables (primary bedroom); custom mirror (hall)

artstar; scad artsales: artwork